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I agree that Elfman's theme fits into Nolan's films as long as they are adapted to them. However, I think the way things have gone was not bad. TDK trilogy was marked as a project fruit of Nolan's unique vision. Although the themes do not respect the orchestral tradition are more memorable than those composed for more than half of the films of heroes of the last 25 years.Zimmer's entry into the genre can be interpreted as a breath of fresh air in a saturated marketplace at the time. But I agree that the lack of originality these days falls on Zimmer and his company and that the goal of it goes far beyond bringing talents to light.Now we need something new, again.@Hybrid any news on Season 2 soundtrack release?Of cause Balfe worked on it !!! His whole team are credited !!!!!!!Honestly, the purpose of RCP is essentially to take Zimmer's style and make it widespread for use...WB not using ANY RCP to score this seems to have been deliberate, as there's literally no reason it couldn't be done.^ hahaha :D<br><br>I think you're forgetting that Balfe also ghostwrote The Lord of the Rings?
They're starting to send screeners. Finger crossed for the FYC :DThe score reflects the situation of DC movies very well. If Zimmer, like Snyder, continued, the result may not please everyone. A lot of people were unhappy with Snyder's work in the genre, just as many fans of soundtrack were with Zimmer's contributions that never followed the path taken by all the other composers who came before him.<br><br>The two left (regardless of the reason that led them to do this).<br><br>When Zimmer left everyone knew that XL would not hold the pressure or that the result would not be satisfactory for most.<br><br>When Elfman and Whedon were announced we all knew that they were hired to go against everything DC has done before to try to reach the first film of the franchise to reach 1 billion. Even if they were to follow Marvel's script and drop their originality.<br><br>But the hiring of Elfman and Whedon shows that the studio was long lost. Snyder succumbed to BvS. The only salvation for the DCEU are the solo films like Wonder Woman, the next Batman, Aquaman ...and freedom. Freedom for the directors, composers... Warner has always had this advantage over Marvel.@Edmund <br>Given the chance I think Junkie probably could deliver a pretty fun score that stayed thematically consistent with the current universe. It all depends on what the studio/director wants out of the music. The biggest disappointment to me is that this was a huge missed opportunity to do a heroic take on Zimmer’s Superman theme, something we haven’t heard since MoS. Hell, even the trailers did that.... -_-rumor has it Lorne Balfe did this score<br><br>I guess if we do not get any credits then that proves it<br>======================================<br><br>Oh, absolutely! I'm sure we will soon find out that Balfe also scored Star Wars and Titanic. And Harry Potter. And Indiana Jones.Edmund, I somewhat agree - I've seen very little from Junkie to make me think this would have been a groundbreaking, wonderful score. However, maybe it's the Zimmer fan in me, but I would have loved to hear "stock, barely-altered reprises of Zimmer's themes all over the place" in this score. So many scenes begged for just that. Compositionally it doesn't make for an interesting soundtrack or film score, I agree, but I would be willing to sacrifice that for thematic continuity.
I certainly understand the criticisms leveled at Elfman's JL score, but I'm not at all convinced Junkie would have been a better option. I've never been too convinced by him anyway (Mad Max was a situation where his sound happened to be a good fit, but even then I think a better composer could have made much more out of the same ingredients). And since anything worthwhile in the previous two (and yeah, I'm aware I like MoS and BvS waaaaaaaay less than the average reader of this site) ended up being by Hans anyway, I really doubt Junkie flying solo would have been up to much. My guess is he would have pulled out stock, barely-altered reprises of Zimmer's themes all over the place without adding much new material on his own, which would have satisfied the DC fans more than what Elfman did, sure, but would have been a lot less interesting as a score album. I mean, say what you want about the questionable thematic decisions Elfman made, the two gigantic full-length action cues are pretty solid in and of themselves. I'll take that over Junkie letting the drums pound for eleven minutes straight, any day of the week.The studio is the music owner now.There you go. So we probably will never get to hear what Tom planned/did for this movie. I really believe that it would've been great compared to the generic score we got. <br>Only two tracks stood out to me and only one was an actual cue from the movie.Gabriel Yared leaked his Troy back in 2004 but I think he got in quite a lot of trouble for that. There's a reason he hasn't done too many high profile films since then, I think. A few rejecteds have slipped out over the years but it's pretty unheard of for the composer himself to be the one to leak it I think, that would be career suicide if they got caught. Usually they come out the same way complete scores do, some anonymous person working on the scoring team probably did it.and Zimmer criticized Elfman...back and forth, etc. So what? The movie is lame, the score is about as lame as Bat V Sup
@JBSO99 you're right. It's so big and widely spread.<br><br>And you're right about me forgetting those score. I just picked these three because Elfman critized Zimmer@Iamtommie  You forgot the theme by Elliot Goldenthal for Batman Forever and Batman & Robin, for not to mention the theme from the 60's TV show and all the themes for all the different animated motion pictures such as The Dark Knight Returns, Mask of the Phantasm, or the videogames like the Arkham series.<br><br>Batman's musical legacy is very big so him saying there is only one theme and his the one he created is really disrespectful to a big amount of composers.Yeah, that's what I thought you meant. And that's what Elfman should have done if he wanted to use the old themes.I think what Elfman said is not true.<br>Batman has different themes for different movies because every Batman is different.<br><br>Michael Keaton as Batman: Elfman's Theme<br>Christian Bale as Batman: Hans' Theme<br>Ben Affleck as Batman: Hans & Junkie's Theme.<br>Of course much more but the most important.<br><br>Each one if dies Batman's have a different story and a different universe. I think that for each universe a new theme is the best thing you can do. With a different theme you can relate more to this Batman than a previous one.<br><br>By the way, I think TDK, MoS & WW are 3 of the top 10 themes by Zimmer. I think what Elfman did the WW theme is an abomination. He removed the key instrument in the theme because he thought it was childisch.<br><br>I think the Justce League score is way worse than previous DCEU or Batman movies. I hope that Lorne of Junkie will do future DCUE movies instead of Elfman.<br><br>(Seeing Justice League thursday. I am curious if it is really that bad as everyine says)GITS was unreleased, JXL's JL score was completely rejected. The real qustion is how many rejected scores have leaked in the history of modern film scoring?
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Hans ZimmerBenjamin WallfischSteven KofskyAlan Meyerson
ComposerComposerMusic Production ServicesMusic Scoring Mixer
Blade Runner 2049
Label: Epic Records
Length: 93'22 (Score: 75'21)
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   3/5 (666 votes)
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  1. 2049 (3:37)
  2. Sapper’s Tree (1:36)
  3. Flight To LAPD (1:47)
  4. Summer Wind - Frank Sinatra (2:54)
  5. Rain (2:26)
  6. Wallace (5:23)
  7. Memory (2:32)
  8. Mesa (3:10)
  9. Orphanage (1:13)
  10. Furnace (3:41)
  11. Someone Lived This (3:13)
  12. Joi (3:51)
  13. Pilot (2:17)
  14. Suspicious Minds - Elvis Presley (4:22)
  15. Can't Help Falling In Love - Elvis Presley (3:02)
  16. One For My Baby (And One More For The Road) - Frank Sinatra (4:24)
  17. Hijack (5:32)
  18. That's Why We Believe (3:36)
  19. Her Eyes Were Green (6:17)
  20. Sea Wall (9:52)
  21. All The Best Memories Are Hers (3:22)
  22. Tears In The Rain (2:10)
  23. Blade Runner (10:05)
  24. Almost Human - Lauren Daigle (3:22)
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Ahmad reply Replies: 3 || 2017-11-18 10:18:47
The CD has been shipped finally!


MaxPotcats2017-11-18 18:28:18
Nice!
What about the 2nd CD?


Ahmad2017-11-18 19:07:16
It's the same 24 tracks divided on two CDs. I'm truly hoping for a nice numbered digipak that separates the limited editions from the regular release otherwise it would be quite a crappy move from the record label.



john2017-11-20 14:38:23
cd may have been shipped but ups tracking refrence shows up nothing on there site anyone got an ideas at to why this may be many thanks

d a r t h reply Replies: 17 || 2017-10-05 18:16:51
argh... it's maybe very good in the movie, but very flat without... :-(


d a r t h2017-10-07 12:23:37
no real themes, it's more ambiant sounds for elevator or relaxation than real music... it's very sad :-(

1/5


JBSO992017-10-07 13:00:01
In the movie, the score is amazing and if you mix this wonderful soundscape with the beautiful imagery you have a very captivating and visually stunning movie (I absolutely loved it). And it's true that the album alone it's a bit simple but after you have watched the movie, the music makes a lot more sense and it's more enjoyable.
Anyway, I was expecting something similar to this, maybe a bit more thematic, but in the movie this works perfect, so for me it's okay.


Meta2017-10-07 15:35:53
I'm notorious for taking a soundtrack score and chopping it up to fit my personal playlist encompassing 30+ years of music....Right now I'm at 13 Gigs. It's a squeeze, but I gotta boil it down to the essentials.

Lets just say out of this entire album runtime I managed to boil Blade Runner 2049 down to 27 minutes of material; And this is only for RIGHT NOW, as I'm sure I'll be making beef jerky out of this score as I find myself listening to less and less tracks as time goes on...

And just an FYI yes, this is without having seen the movie. And while I understand the movie plays an important role with the soundtrack, I dont really design my life around the movie so much as I do the music itself, which to me I use to serve as a personal diary of sorts, so the album itself should be - I would imagine to most music lovers, anyway - a listening experience to be appreciated in and of itself, outside of the film it represents. Yes, I know one goes with the other. But I'm talking about ignoring the film itself and focusing on the emotions the artist interprets into sound. Let's just say I'm the kind of person who doesn't need music with lyrics telling me what or how to feel - I write my own lyrics to music.

For Blade Runner 2049, FOR ME, it's mostly meandering sound design followed by two or three simple themes that don't need an entire CD to represent. Now, I found this to be similar with Dunkirk, but not so much with IT - which I think Wallfisch put more effort into, because I got more out of IT than I did with Blade Runner 2049. I don't know what Zimmer is up to these days with his music, as it seems he's more into doing sound design type music while he lets his other workers do the harder stuff. I get it - He's getting old and probably doesn't want to overexert himself, or he's choosing projects that call for this kind of thing by the director, or maybe he's just not feeling very creative, which is fine. But still - FOR ME - I can't enjoy a score that's weak on themes and is mostly droning sound design.

Here's the tracks I boiled it all down to:

2049
Rain
Memory
Mesa
Someone Lived This
Thats Why We Believe
Sea Wall
Tears in the Rain
Blade Runner

- Tracks like Mesa and Blade Runner I cut WAY down because it just reprised the same music or just ended in droning sound design noise which mean nothing to me, plus I enjoyed the simple theme from Sea Wall, which seems to be the best theme I think, so the Blade Runner Track (end credits?) I cut down to the final 2 minutes, while Sea Wall I edited down to 7 minutes to cut out all the sound design fat.


Not much else to say, here, really, except:

I found Chappie to be a more inspired score, Vangelis put more effort into the original score than Zimmer did with this, which I find odd considering he says Vangelis was a major inspiration, and not that I'm trying to insult Zimmer and his work, but the the trailer music for Blade Runner 2049 I found more entertaining than the entire score as a whole.


Anyway, that's my take and it's time to move on to Justice League and see what Danny Elfman digs up, clashes with and transfers...OH BOY - that will be an interesting score, I think....


Hybrid Soldier2017-10-07 16:36:02
You realize most of this score is Ben ? HZ did what he could in between his tour shows. :)


Mortifer V.2017-10-07 23:19:33
I would also add 'Wallace' and 'Joi' to that list.


JBSO992017-10-08 11:54:46
Joi was a really good track and the scene where it appeared was breathtaking. I would also add Pilot.


Meta2017-10-08 15:37:28
@Hybrid

Wow, didn't know that and I'm actually surprised at that. I understood Zimmer considered it a personal mission, since he said Vangelis was like a sole inspiration for his music...Mind blown.


@Mortifier and JBS - I will give a relisten to Joi, Pilot and Wallace, but from what I heard of those at first glance, they did not stand out - without having seen the movie, of course. I was mostly focusing on the main themes to extract. Joi sounded pretty, but it felt superfluous, Wallace sounded motify with the guttural vocal chanting sounds, but I will check that one out again in context of the film. Pilot....um...Jesus that one is gonna be hard to figure out, as by itself it makes my teeth grate.

Thanks for the input!


Jorn, Norway2017-10-09 01:23:42
Mesa (08) makes my heart skip a beat. I stop breathing when it comes on screen. Its life itself.


JBSO992017-10-09 11:08:20
Meta I talk from the experience of listening the score within the film, because I hadn't listened to the album until I watched the movie. In the album itself the ones that stood out the most were 2049, Wallace, Mesa, Joi, Sea Wall, Tears in the Rain and Blade Runner, but then again, it's after listening to it in context.

Also Wallfisch appears first on the credits of the movie so he had a bigger role in the score than Zimmer.


Meta2017-10-09 14:25:55
@JBS

In context I can myself listening to tracks like Joi and maybe Wallace or Pilot, but then you would be linking those tracks to the movie memory, and not your own personal memory, which tends to get muddled once you see the movie and the context of the score falls into place. I tend to use the score for my own personal palette first before exposing myself to anything having to do with the source material it is based on.

Haven't seen the movie yet....


JBSO992017-10-09 18:36:57
@Meta Yeah, well I most of the times do the opposite. Listen to it first within the movie to see how it works the music as was meant to be in the movie, and then I listen to the album itself to get my personal opinion on the score based on how it works in the movie (or TV show or whatever).
But there are times when I listen first to the album and I start creating the feelings around the movie even before seeing it.
Depends on the score but I always try to listen to it first within the movie.


Hedon2017-11-15 02:48:46
I think we all know that if Hans had the time to do this himself, which was impossible as he was on tour, the score would have been much greater, more personal and "Zimmerish". I believe this is a project Zimmer would have loved to put as much of himself into as he possibly could, if he had sufficient time. He is an expert with many many years of experience with synthesizers and synthesizer programming, and he has a shitload of equipment from all eras, even the CS-80! I can think of no better to emulate Vangelis style than him. If anyone is to blame here, it is the director for not realizing this from the start and for not calling in Zimmer earlier in the process.

Also, Wallfisch was a strange choice, given that his background is with orchestral music, and not electronic. Of all composers at RCP, why choose the composer which has the least experience with synthesizers when the director was quite clear that he wanted an all electronic score?


Leonard Dante2017-11-15 13:57:36
Answer: Dunkirk.


Edmund Meinerts2017-11-15 15:27:20
Re: why Wallfisch, I feel like Hans kind of goes through these phases of a few years at a time where he has a new "toy" (maybe not the most respectful word :p ) he likes to play with before either he moves on himself, or else the toy in question starts forging their own solo career. From 2009-2013, it was primarily Lorne Balfe. 2013-2016, it was Junkie XL, Mazzaro and Kawczynski. This year it seems to be Wallfisch. A couple years from now, who knows?


James2017-11-15 16:30:04
+

2005 - 2007 - Henry Jackman
2003 - 2005 - Jablonsky and Djwadi
2003 - 2004 - RGW
2000 - 2002 - Heitor Pereira
1999 - 2002 - Klaus Badelt
1998 - 1999 - John Powell
1996 - 1998 - HGW
1992 - 1996 - NGS

Among so many others like

Verbinsky and Brukeheimer efforts: Geoff Zanelli


Hybrid Soldier2017-11-15 22:47:46
2005 - Forever : Lorne BALFE O_O


igur2017-11-15 22:58:11
Best one was Klaus Badelt! Zimmers most epic and beautiful scores were composed when Badelt was his partner.

John reply Replies: 1 || 2017-11-14 15:59:56
Hi There just wondering has anyone on here heard anything more on the double cd release from the Blade Runner 2049 website as there now stating a shipping date of 17/11/17 im just a bit concerned about this can anyone shed anymore light


Geoffrey2017-11-14 23:17:52
No, neither did I. They don't seem very serious at all. We have to be patient I think. And hopefull.

Patrak reply Replies: 2 || 2017-11-04 18:48:30
Here is an interesting look at the sound design of BR2049 :
SoundWorks Collection: The Sound of Blade Runner 2049
https://vimeo.com/237369956

Jump at 06:24, interesting to see Wallfisch using the CS80, the Synthesizer used by Vangelis on BR.

Enjoy.


Ahmad2017-11-04 21:56:51
And Hans working with Zebra :)
Apparently, they used Zebra for most of the score according to Benjamin.


James2017-11-05 00:39:08
I laughed a lot of the people screaming in the tank.

Ahmad reply Replies: 0 || 2017-11-03 23:58:36
Oh for heaven's sake not again! WaterTower or Sony Classics should've handled the soundtrack release.

"Greetings,

Thank you for participating in the Blade Runner 2049 pre-order. CDs are in the final stages of production and should be headed to our facility next week. Orders are now expected to ship on or around November 17, 2017. You will receive a shipping confirmation email once your order ships. We apologize for any inconvenience this may cause, and thanks again for your support.

Thanks,
Blade Runner 2049 Pre-Order Store"

Micah reply Replies: 1 || 2017-10-29 06:08:56
Amazing to hear my girl Lauren on this. She's certainly blown up in the past year. Keep your eyes on her.


Micah2017-10-29 06:09:35
Centricity Music as a whole has been killing it lately. Between her, Unspoken, and Jordan Feliz, their roster is STACKED.

Wallace reply Replies: 2 || 2017-10-28 21:03:49
The suite listed for all to listen to is not a suite. It's the second to last track. Also the end credits.


Ahmad2017-10-28 23:58:57
Which is a suite in itself and has most of the themes.


James2017-10-29 01:37:43
Thanks for suite, Hybrid!

Phil78 reply Replies: 1 || 2017-10-25 06:44:56
VINYL!!!
https://bladerunner2049.shop.musictoday.com/product/Y4LPBR01 /blade-runner-2049-original-motion-picture-soundtrack-2disc- lp?cp=98847_98848


Yannick2017-10-28 17:20:23
Woohoo !!
Just ordered mine.
Thanks for the info.

jewen reply Replies: 0 || 2017-10-23 15:47:29
A total revelation about Wallfisch "Horse Theme" (AKA K/Joe's theme) and its relation with original Tears in the Rain.

http ://www.mundobso.com/bso/blade-runner-2049

Geoffrey reply Replies: 2 || 2017-10-20 13:23:57
I received this yesterday :

" Greetings,

Thank you for participating in the Blade Runner 2049 pre-order. CDs are still in production and your order will be delayed slightly. Orders are now expected to ship on or around November 3, 2017. You will receive a shipping confirmation email once your order ships. We apologize for any inconvenience this may cause, and thanks again for your support.

Thanks,
Blade Runner 2049 Pre-Order Store "


Well , not a big issus cause I've downloaded the tracks from the link they've sent me but clearly, they're not very serious.


Phil782017-10-20 22:00:48
Maybe there is a big surprise and Disc 2 is different from the actual release. If you look at the download files you see 01-01 to 01-24. I think Disc 2 must be named 02-01, 02-02...etc.


Geoffrey2017-10-21 23:57:43
Maybe. Clever deduction. Wait and see then ;)

jewen reply Replies: 1 || 2017-10-20 09:43:57
When we'll know the tracklist for second CD from the Limited Edition??


JBSO992017-10-20 09:49:10
I'm not totally sure, but I think it's the same in here, just splited in two

SPECTER reply Replies: 6 || 2017-10-18 19:42:38
I feel like there should have been a proper theme for Rachael. She was a really important character in both movies and it would have been nice to hear a sad melancholic melody for in her in some kind of Flashback or dream sequence for Deckard.


James2017-10-18 21:27:32
I agree. It is the most beautiful theme of the previous film and one of the biggest in Vangelis' career.


James2017-10-18 21:29:49
@spectre

She has a theme! Search for "Rachael's Song"!


SPECTER2017-10-19 06:12:09
@James

I have heard the original Vangelis theme but I was referring to a new theme for this new movie.


james2017-10-19 12:33:12
i believe that glimpses of the original would have solved the problem ;)


Frank2017-10-19 20:54:27
Go watch the film and you'll understand why there's no Rachel's theme


SPECTER2017-10-20 03:33:14
Maybe not a full theme for Rachael. But perhaps something simple and subtle to melodically yet still in the tone of the film to describe the state of Deckard and Rachael at this point in the film's story. For example, I'm think something along the lines of 3:30 from " Harvey Two-Face", 0:50 of "Sorrow", beggining of "To know my Enemy", 2:30 of "Welcome to the Real World".

jewen reply Replies: 3 || 2017-10-17 14:03:26
Am I the Only one that feels Johánn Johánnsson touch everywere along this score?
Truly is the Vangelis reminiscense in each song, but the style is more near to Johánnsson than Wallfisch and of course Zimmer.
Could be Denis Villeneuve's suggestion, or maybe Benjamin has study Villeneuve last works, but is unquestionable that 2049 score sounds very Johánnsson.

Many people these days talking bad about 2049 score (No melodies, No Vangelis, All ambiance...), but the reality is that this work has perfect match with the rest of the film.

2049 is different to the original Blade Runner. Yes it has the same world and feeling, but is another director's vision, and the music follows (perfectly) the same way.


Medigo2017-10-17 14:28:07
I can hear it
'Her Eyes were Green' gave me a heavy Arrival-vibe for example


Rian2017-10-17 15:23:32
also seems very like ghost in the shell. Did Balfe also help out on this score ?


James 2017-10-17 19:35:49
No he is not. It's just the musical palette created for all the futuristic scifi films that are inspired by what Vangelis did in 1982.

Kalman reply Replies: 0 || 2017-10-17 12:22:16
OK, there seems to be a regular edition at amazon and other retailers with the same content (2 CD) for a cheaper price than the limited one. It's nonsense. Will the record label pay me back a couple of bucks? I don't think it is ethical business at all.

Phil78 reply Replies: 3 || 2017-10-14 08:41:09
2nd Edition Soundtrack also SOLD OUT!


sam2017-10-14 10:48:38
cool, another bunch of dissappointed consumers then.


Medigo2017-10-14 11:51:30
cool, another unneeded comment


Phil782017-10-14 21:06:44
Can‘t wait for my 1st & 2nd Edition Soundtrack CD‘s! I think they are very special collector‘s items! Like the „Deckard Blaster Edition“ Blu-Ray Box...also pre-ordered two of them ;-) I‘m a bit obsessed right now...

Megalith reply Replies: 2 || 2017-10-12 04:14:28
How did Zimmer and Wallfisch score this so quickly? It seems like the news that the other composer was dropping out only happened weeks before the film's release.


Medigo2017-10-14 11:52:10
The news was given weeks before release
the actual change happened earlier


James2017-10-14 12:55:17
They started it in april.

Mephariel reply Replies: 0 || 2017-10-14 08:25:51
Am I the only one extremely irritated by the fact that I can't just buy the "Blade Runner" cue without buying the whole album? I mean, I been around long enough to know this is how things work, but it still bugs the hell out of me.

"Blade Runner" is actually a very good cue, and encompassed some of the best ideas and materials from the whole album.

SPECTER reply Replies: 3 || 2017-10-12 04:57:47
1:00 from "Rudest Bad Boy in Joburg" could have fit in well somewhere in this film. Thoroughly enjoyed the film, score was enjoyable.


Apeters2017-10-12 14:04:59
I wonder if the temp was Ghost In the Shell ? Some of the action sounds very familiar


SPECTER2017-10-14 00:16:07
Just occurrd to me that the first melody from Steve Jablonskies "Burn or Jump" (Deep Water Horizon) could have been a good inspiration for the the Sea Wall rescue/fight sequence. The second part could have been used for when Deckard is going to see his daughter.


Anonymous2017-10-14 07:05:16
Spoilers much?

Hybrid Soldier reply Replies: 12 || 2017-10-06 08:44:33
Has anyone criticizing the score actually... seen the film ? If not I'll pass your comment, we're not talking about a studio album.


Edmund Meinerts2017-10-06 12:26:12
I can't agree. Criticizing a score album is fair game.


Hybrid Soldier2017-10-06 12:38:06
Nope, we will have this debate every single time :P, but I will always hear someone telling me a score is terrible in context... It's just like reviews based on albums lol who have no idea what the "real" full score is...


Edmund Meinerts2017-10-06 12:49:37
When I'm talking about scores I always mean how they work as independent music...It's a totally separate thing from judging how they work in context IMO, and I think it's important to make the distinction, but if you see me make comments, 99% of the time it will be about how the music works of its own accord.


jewen2017-10-06 13:12:14
Criticizing the score without seen the film? That's totally ilogic.
The score always is meant to be part of the film, more than that, the score is the film. You can't analyze the score function if you don't listen in context.
And yes, we have musical albums from films, but this doesn't mean that the score is an ordinary album launch, it's only a musical compilation that represents(sometimes more complete than oders) the original composed music appeared in film.


Edmund Meinerts2017-10-06 13:34:06
Thing is, I listen to way more scores than I do films. I listen to scores from films I otherwise have never even heard of. I listen to scores from films I have zero interest in ever seeing. I listen to scores because I like the composer, not because I care about the movie. I'm not aiming to write some sort of analysis of the function of the music here, I'm just listening as a fan and judging it by how much the *music* works for me *independently*, as a *listener* rather than a watcher. That's just my choice of how to look at things. You can choose differently, but I don't think my way is any more or less legitimate.

That's why I try not to call something like Dunkirk a "bad score". It's clearly not a bad score, it has a stated purpose, and it fulfills that purpose effectively. It does what it sets out to do. But for me it's not a good or interesting album.


Hybrid Soldier2017-10-06 13:39:05
I watch a lot of films, and I barely listen to any "albums" (outside of HZ & co stuff), I get my opinions from movies directly regarding their music... I have a strong cinema & music passion, you just don't have the cinema one... But anyway, I'm not exactly attacking YOUR points of view Ed... ;)


Waymann2017-10-06 15:19:31
As long as people don't forget that score albums exist because of a movie. Composers don't write music like music artists or band that produce one music album one or two years. The score is a nice addition you get from a film. It's genre on it's own and I always judge it on how well it fits the move AND how the album experience is (which is actually something most score albums can't change much except for changing the order of the track or with suites.) Some films I like to have to full score but that mostly a RCP thing to do.


Bolidzar2017-10-06 18:56:25
Interstellar was successful because as standalone music the motifs and queues in order tell the emotional story of the film without having to actually watch it. I think Dunkirk has some interesting contextual applications, but its not "music" as most people would care to define it, it is closer to sound design. The movement towards droning nothingness for scores is a shame.


Bolidzar2017-10-06 18:59:44
Edit/add: In summary, a good score is both great context to the film and music in its own setting. There is a delicate balance that must be struck.


Naji2017-10-07 00:10:47
When i have criticized Gladiator i wasn't saw the movie it was and still a magnificent Album, so please don't give a bs way of thinking for what we r getting recently from Hans Zimmer OST its bs without the movie!!! And its great with it!!! So y I'll buy and y i have to listen to it.
I have checked this web for long long time maybe i don't have a lot of comments but sorry i can say this is the most nonsense comment ever came from u t its nonsense same as recently HZ work after interstaller to be clear.


Catastrophic Jones2017-10-11 20:03:55
If you've seen a film by Denis Villeneuve you'll know he likes to go for a very ambient yet intriguingly sonic tone for the score. Johann Johannsson used this to his advantage, and while to some his scores could appear bland and boring, they are quite the opposite, especially considering the films they belong to. Prisoners, perhaps the closest to melody so far, brings about that reoccurring depression theme of losing something precious, and that relentlessness to find it. No epic loud bombastic 'on the hunt' music. Much like Sicario with its low and constant percussion and Arrival with its brass 'alien' sound, and much like that vintage 80's meets dystopian future in Blade Runner 2049, minimalism is the key. It allows you to focus on the long and character driven stories instead of overwhelming you. Appreciate the atmosphere, the directing, the motions of the camera and locations along the way. There were quite a few quiet scenes in 2049, giving you that uneasy feeling of not knowing what to expect next, and when the music hit? I love Johnann's vision for the past Villenevue films and while I'm curious to have heard his for this film, Hans & Ben pulled it off fantastically. While it doesn't compare with Vangelis' score, it doesn't need to. This film is darker, the time is 30 years later, it's a much more sinister take on something familiar. Comparing the two is similar to who is better, John Williams or Hans Zimmer, because they both have distinct styles, both far from coming close with one another. Hearing those high synths meshing with the picture was beautiful. I felt like I was in the film alongside of Ryan and Harrison, investigating along the way. Denis proves you don't need to go big to have a memorable film, just as Hans has proven you don't need a huge orchestra (or any) to make a brilliant score. These are tactics that have been employed long since before both their time, and will continue to even after. Watch the film, and you'll understand why the score sounds the way it does, not to mention you'll be enjoying a fantastic film. That furnace setting is probably one of my favorites I've seen in any film to date. Props to the design team for that one.


Guitwo2017-10-12 01:59:22
@Catastrophic Jones : oh boy you summed everything so well!
on point on every aspects.


Medigo reply Replies: 0 || 2017-10-12 00:45:42
not much was missing from the OST indeed
though I do wish that we got more of the transition from Joi to Pilot

Medigo reply Replies: 0 || 2017-10-12 00:42:06
not much was missing from the OST indeed
though I do wish that we got more of the transition from Joi to Pilot

Guitwo reply Replies: 7 || 2017-10-10 11:37:05
i don't listen to other score the way I listen to Hans' score but you gotta admit it is a heck of year for him artistically so far.
with dunkirk and now BR2049 i wouldn't understand hans and Benjy not being nominated for best score in a motion picture. At LEAST a nominated. I am not talking about winning.
I don't mind what people will say about the lack of creativity or theme or too much drones or whatever. both scores and pictures stick in your head like crazy and the emotions are so palpable. There is nothing that can compare to Supermarine/The Oil on a physical and psychological basis. and the score of this movie is a character on it's own.
The same can be said about BR2049 to a certain extent. It carries the elements of nature and also the thought of Ryan Gosling.
It's going right through your body and head and it never leaves. I just need to listen at Mesa to see the huge landscapes of LA in BR2049, Gosling watching the buildings through the window of his flying peugeot car and wondering what it is to be human.
the worst part as a movie-goer, I went to the cinema watching BR2049, totally unaware that Zimmer did it. and I was like "damn who did the soundtrack, it's amazing", "damn, why did Hans not worked on this movie" (yes it happened)... the movie finished and I said to myself I need that soundtrack badly. And it appeared on screen: Benjamin & Hans doing the score.


Tom2017-10-10 11:55:30
Very boring and expected more from Hans


Max Potcats2017-10-10 18:14:48
totally agree with you Guitwo :)


Edmund Meinerts2017-10-11 11:49:31
For me, this is yet another weak year for Hans. Just not a fan of the direction his music has been going lately.


George2017-10-11 13:20:18
I agree Edmund... maybe the tour just took up all his time? Maybe thats my wishful thinking though lol


Akan2017-10-11 16:15:40
Not very good and not Zimmer’s best score . They should have used more of the original music


Ian2017-10-11 18:19:46
I'm with Edmund; I can't think of anything of Hans's from this year which has impressed me. 2016 was a weak year too, but at least it had BvS (which for all its faults has some solid thematic material) and Hidden Figures (an especially collaborative score, but one of the better Zimmer et al scores in recent years).


mpolonest123 2017-10-11 18:35:20
Between KFP3 and Hidden Figures, 2016 wasn't a bad year for Hans. Even the parts of BVS he was personally involved in (Beautiful Lie, Batman Suite, etc.) were pretty good.

This year has been fairly disappointing so far, sure, but you have to consider Hans being on tour. And from what it sounds like, at least 70% or more of BR2049 was Bens. I'm sure once he settles down we will get a more diverse range of projects again.

Serj reply Replies: 3 || 2017-10-09 09:18:13
This is not music - it's special effects


JBSO992017-10-09 11:11:08
I don't think so. More like sound design, but anyway, it's really great.


sam2017-10-09 11:29:45
not really.


Max Potcats2017-10-09 13:09:34
I agreed with JBSO99 but since sam said it's not great i can not like this score anymore :/
This is just the traditional debate one again (melodic music v. emotions and "sounds"), but guys, it's a music for an SF movie, Blade Runner furthermore. This is not very melodic, ok. Who cares? It's made to be feel and it works, but it pushes us out of our comfort zone, so i can understand it divides.

Gotham Rogue reply Replies: 1 || 2017-10-08 03:25:30
I for one am pleasantly surprised with this score. I thought it fit the movie very well, and that it was both faithful to the original score while also moving forward. It certainly has some flat parts, but for a synth and drone heavy score, it's surprisingly thematic. I'm not saying it's not compositional genius or the best soundtrack of the decade, but it got the job done, and I've really enjoyed listening to it.


Gotham Rogue2017-10-08 03:26:24
***I'm not saying it's compositional genius...

marcorea1 reply Replies: 0 || 2017-10-07 19:06:25
Here’s my cover of the blade runner theme, hope you like it :)

https://youtu.be/3Y1LiRJvANY

  Your name :   

Please enter number: 1598 

Point Out reply Replies: 10 || 2017-10-06 02:27:36
A lot of people are saying the soundtrack for "Blade Runner 2049" sounds a lot like Vangelis' 1982 "Blade Runner". Has anyone even listened to that soundtrack for even a minute? There are melodies, tonal chord progressions (one might call them correct in a classical sense), themes, and, perhaps most importantly, each piece has a unique quality and something to remember it by (whether that be a theme/motif or a particular synth sound/instrument).

For example, "Tales of the Future" is memorable because of the vocal element, "Blade Runner (End Titles)" is memorable because of the cheesy action synths and effects, "Love Theme" is memorable because of the sampled saxophone and its melody. So far, I have not heard anything on this soundtrack that has caught my ear or made me actually want to listen and engage with what I'm hearing, just lots of Vangelis-sounding synths that are playing long drones, pulses, and a few chords here and there.

I wanted to love "2049" because Hans' (and many other RCP composers') works are (or used to be) so influenced by Vangelis and his original score for "Blade Runner", and I was excited to see what he and Ben Wallfisch would be able to create to pay homage to and extend the Blade Runner sound; however, I'm left dissatisfied with the end result. Again, like Dunkirk (which I still enjoyed), I have no doubts whatsoever that it will work perfectly in the movie, but as a solo listening experience (and compared to Vangelis' original), it pales in comparison.

Head up Hans; maybe next time when he has time to sit and think for a period longer than his 10 day break from his massive (and utterly exhausting) arena tour, he will be able to provide us with a score that we will really be able to sink our teeth into and enjoy.

DISCLAIMER: I know that not all elements of a score are up to the composer's himself as he has to SERVE THE FILM FIRST and also please the directors/producers, so I'm not blaming 100% of this on Hans or Ben (in fact, I'm blaming it on their situation of being brought in last-minute to write a sequel score to one of the best movies of the last 50 years); however, this does not stop the end result being one of their more underwhelming listening experiences.


mpolonest123 2017-10-06 03:54:24
I do agree with you for the most part. Blade Runner is one of my favorite scores just based on the variety and uniqueness of the project. And like you, I was expecting something closer to that style.

But in regards to the director situation, you just have to look at the type of music Villeneuve employs in his other films. Both Sicario and Arrival are built on drones and ambience. BR2049 definitely fits the mold of his current output. Granted, I think the fact that it is melodic at all probably had to do with the studio pressuring him (but I'm just guessing here)

Admittedly I'm disappointed as well BUT, I do think there are plenty of strengths here that definitely put this above something like Dunkirk or Inferno.


mpolonest123 2017-10-06 04:05:21
To add to that point;

Inferno: Was pretty bold for going the electronic route regardless of the pre-established style. The electronic music actually added to the overall package, unfortunately there was almost nothing new in regards to themes or concept ideas.

Dunkirk: Did an amazing job of building tension and atmosphere, incredible in context. Definitely hard to listen to however, and felt very "familiar" as far as the techniques went.

BR2049: The strongest of the three IMO. Does a great job of combining the ambient elements with the Vangelis synths and sound design. Does suffer in terms of listenability at some points with filler material, but I'm sure works great in context.


...2017-10-06 04:12:37
^all 3 of them have something in common, they have some unlistenable parts


Point Out2017-10-06 07:30:22
mpolonest123 You are absolutely correct to point out the director's music choices for his films and how "2049" fits snugly in with the rest in terms of drones and ambience. Again, this is another reason why I'm not blaming Hans or Ben for the most of the scores issues (issues for me personally). Both "Inferno" and "Dunkirk" are great recent soundtracks to compare with "2049", in terms of their grating, more unpleasant tones (at least compared to Hans' previous works), and I can see why you personally place "2049" above them.

Another soundtrack which is quite ambient and electronically grating is Chappie: in my opinion, although not a perfect imitation of the Vangelis "Blade Runner" sound by any means, some pieces of music came closer than "2049" to capturing the emotional resonance and sonic range that Vangelis employed in "Blade Runner" (tracks such as "Rudest Bad Boy in Joburg" and "Never Break a Promise" have a few synth portions that really reminded me of some of the sounds used by Vangelis).

I'm sure "2049" will grow on me as I listen to it more and actually see the movie it was composed to.


mpolonest123 2017-10-06 15:38:51
Chappie is actually one of my favorite Zimmer scores, in part due to his adaptation of that style while still keeping the classic “Zimmerisms”. The past few electronic scores he has composed seem to lean more to the experimental/ambient side of things, which certainly isn’t bad.
But if you want a DARK electronic Zimmer score, check out The Fan. One of his best! :D


Ds2017-10-06 17:01:43
Thank you for defending the honor of Chappie. That's such an awesome score, probably my favorite HZ of the past few years. Nice to read I'm not alone thinking this :-p


mpolonest123 2017-10-06 17:50:23
@Ds
Lol, I can definitely understand why some people may be turned off by the harsher aspects of it, but I still cringe when someone says it's just sound design. When you have 4 or 5 themes that organically develop over the course of the score it's not just "sound design"

And let's be honest, "Mayhem Downtown" is such a fucking awesome track, especially to work out to. Only Zimmer can combine a waltz with heavy metal and make it work!


Edmund Meinerts2017-10-06 18:54:40
Chappie is my favorite Zimmer score since Interstellar.


Point Out2017-10-07 02:35:43
mpolonest123 Thanks dude, I will definitely have a listen to "The Fan". Good to know that "Chappie" is enjoyed and respected (at least by some of us). And yes, there is much more to "Chappie" that just electronic sound design.

Edmund Meinerts Although I do enjoy Chappie, my favourite Hans score would have to be "The Lion King". It just hits all the beats: many great, memorable and emotionally-resonant themes, a variety of exotic and region-inspired instruments and sounds (including mallet percussion and African vocals), and some of the best orchestration (on a technical level) I've heard from any RCP soundtracks.


Edmund Meinerts2017-10-07 08:37:17
The Lion King is fantastic, but it certainly didn't come out since Interstellar. ;)

Bibi reply Replies: 0 || 2017-10-06 17:14:29
Boring score but it's a boring movie so it's not Hans's fault.

isildur reply Replies: 0 || 2017-10-06 15:24:02
Hey Hybrid, now that Hans is finished with the tour any news on what is his next project as a composer?

Phil78 reply Replies: 1 || 2017-10-06 07:21:50
Anybody out there who can download already??? I pre-ordered but can‘t see a download option...

https://bladerunner2049.shop.musictoday.com/store/


Phil782017-10-06 08:06:30
Just worked! Downloaded the Soundtrack, but exactly the same Playlist!!!

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Blade Runner 2049 soundtrack - Hans Zimmer - Benjamin Wallfisch 2017