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Thank you. And i suppose "Need You Busting My Balls - End Credits" title would correspond to ASCAP "Need You Busting My Balls" + "RUSH END CREDITS", while "Just Married" to "RUSH MAIN ON END"?Thatís literally the best part of the score though. But itís typical Richter (Miss Sloane, Black Mirror: Nosedive).Hunt Drunken Weirdness is barely a cue actually, it's just a patch up of sound designs by Mel...<br><br>Italian Party is a name I made up for a cue that's not used in the movie ! :)In ASCAP there is a cue "HUNT DRUNKEN WEIRDNESS" - is this by a chance an alias to "Italian Party", which is absent in ASCAP. Though there are different credits Zimmer/Wesson vs Zimmer/Klebe.https://open.spotify.com/ track/2UcUL4jytfVpW0jSXi3Ggi?si=ETyixI67R5u9AOU1YuClPw<br><br>very lame the cue from Max...
Tom Holkenborg:<br><br>After Funeral<br>Anguilo Bugged<br>Bathroom<br>Big Italian Dead<br>Billy Connolly Lunch<br>End Credit Suite<br>Main Title Theme<br>Bring Jimmy Into The Tent<br>Connolly and Marianne In The Kitchen<br>Death of Deborah<br>Death of Halloran<br>Death of McIntyre<br>Death of Mickey<br>Death of Wheeler<br>The Disappearance of Whitey Bulger<br>Halloran Interview<br>Hospital Cafeteria<br>Iíll Ask You Again<br>Informing Connolly <br>Jimmy and Marianne/Loading Valhalla<br>Jimmy and Connollyís First Meeting<br>Make A Case Against Him<br>McGuireís Phone Call<br>Native of Southie<br>Picking Up Tommy King<br>Source Overlay<br>Steak Dinner<br>Thereís Nothing More Iím Going To Know<br>Utmost Respect<br>Weíre Doing This<br>2 MinutesTom Holkenborg:<br><br>Jimmy Arrives at Cabin<br>Main On Ends<br>Opening <br>Main Title Transition<br>Alley Transition<br>Happy Ending <br>Hospital Visit<br>Because Youíre Trash<br>Cops Take Michael <br>Execution/Foot Chase<br>I Used To Watch Your Fights Pt. 1-3<br>Iím Coming After Michael Pt. 1-2<br>Jimmy Calls On Michael<br>Michael Calls Police <br>Jimmy Dies<br>Jimmy Hesitates<br>Jimmy Says Goodbye<br>Sean Kills Kid<br>Sean Dies<br>Sean To Michael Transition<br>Street Source<br>Times Square Transition<br>Us Before You<br>Stay Off Main Streets<br>Whatís The Number, Jim?<br>Hit Man Price<br>Jimmyís Coming<br>Shootout in Woods<br>Train Station Pursuit Pt. 1/2<br><br>Tom Holkenborg, Christian Vorlander<br><br>Car Chase<br>Best Chance Youíve Got<br>New York Transition<br>He Killed His Own Cousin<br>The Projects Pt. 1/2Think Hans probably wrote a few notes in a piano mock-up and Lorne did the rest from that starting point... lolSaw the film today. If to talk music only, I heard Max mostly, but... nothing really different from his previous works. I heard the same motif as used in Hostiles and Morgan and probably elsewhere again and again... Nonetheless, enjoyed the movie itself immensely.From Deuscthe Grammophon.<br><br>BTW, i expect the Max Ritcher soundtrack
@MrZimmerFan Ok, thank you for the update about the full soundtrack next monthfrom Max or Lorne?Expected the full soundtrack next month<br><br>btw...<br>deutsche grammophon release tomorrow a track called "to the stars" from max richteroh man, oh man...<br>let's see what happend tomorrow
@Anonymous: technically it's already Friday in some countries, and there's no sign of any album on the iTunes of these countries. And if that were the case, filmmusicreporter would have announced it already, anyway.@DS Possible, but you are right, it could be film release, but why he put hashtags by #soundtrack? I have to wait till filmusicreporter announced for Ad Astra, but if not happen by the soundtrack tomorrow, then, I have to wait till the confirm from the news.@Anonymous: Are you sure Lorne mentionned the soundtrack release, or just the film release? His posts I've seen just say "Ad Astra is released on the 20th"... Pretty sure he means the film.<br><br>@Ahmad: Totally agree with what you wrote. It's an overall dull score, with some nice ideas that go nowhere. A few bits are obviously Lorne (like the opening cue, beautiful but how original is it to use an organ for a space scene?). And a few bits are obviously Richter, who is really on autopilot here (Hostiles - Mary Queen Of Scots - Werk Ohne Autor are nice scores, but all constructed in the exact same way). And the majority of it is quite anonymous, just ambient sounds far in the background. Also it seems like what they did with the score, they did it with the screenplay as well, because that's a freaking mess that doesn't seem to know which kind of movie it wants to be, and ends up being quite flat on all sides. Quite disappointing. Awesome visuals, though, but it's already been seen in the likes of Sunshine, Gravity, Interstellar, The Martian... all vastly superior pieces of cinema.<br><br>Anybody haven't you seen two new tweets update recently by Lorne Balfe from his twitter it said Ad Astra soundtrack will released tomorrow.So Zimmer being listed as the main theme composer at the top of the page is inaccurate too? It definitely sounds more like Lorne than Hans.
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Hans ZimmerKlaus BadeltHeitor PereiraMartin Tillman
ComposerCo-ComposerAdditional MusicAdditional Music
The Pledge
Label: Milan Records
Length: 40'18
HZimmer.com rating:        4/5
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   2/5 (5210 votes)
  1. The Angler (5:24)
  2. Boogie Man (1:28)
  3. Jerry & Lori (1:01)
  4. Church Nightmare (2:19)
  5. Revisit Crime Scene (1:16)
  6. My Coat (2:47)
  7. The Wizard (4:05)
  8. Ex Cop (1:50)
  9. He'd Rather Not (2:00)
  10. Land Of Christmas (1:22)
  11. Reading Stories (3:03)
  12. Turkeys (1:36)
  13. The Pledge (1:19)
  14. The Swing (2:20)
  15. Ginny's Picture (2:31)
  16. You're Crazy (5:57)
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Barbara reply Replies: 0 || 2012-03-10 10:17:44
This is a superb DVD! For a ivnlioist, Frank Peter Zimmermann represents the highest level of musicianship. The Documentary is not just about Bach, in fact it has lots of other footage, including his son and his own performance of the Sibelius Violin Concerto with the Danish Radio Symphony (this is excellent). He plays like Kogan, not surprisingly and his technique is as flawless as any ivnlioist I have seen or heard.

Anonymous reply Replies: 0 || 2004-12-01 00:00:00
Hans Zimmer and Klaus Badelt also worked together on various works including the GLADIATOR and INVINCIBLE soundtracks, but don't expect to listen to anything similar, in the score for THE PLEDGE.

Unlike the last few Zimmer scores, which were vast, dramatic, intense and epic, THE PLEDGE, is built on a more down-beat atmosphere (and thatís of course due to the nature of the movie) The score opens with a beautiful and haunting melody sang by a woman and repeated by a violin.
Track02 contains several percussion beats and creates a scary atmosphere. Parts like this can be found a lot in the score -- where percussion, electronic sounds and effects, scary voices, piano, violin, the female voice and mandolin create a creepy atmosphere, like track04, track05, track09, track12, track13, track15.
In track03, the main theme makes its first appearance. It consists of guitar, mandolin, violin and piano and can be heard several times in the film, sometimes in different versions - the main instrument could be piano in one, violin or guitar in other (track07, track08 (more upbeat and fast, played by beautiful guitar), track11, track15).
The score also has a piano theme that can be firstly heard in track06 and repeats itself several times during the film (like in track10). It has a sad and lovely tune, a real treat for the ears!
In track 12 we have the beautiful female voice again in another haunting melody that features great atmosphere, feeling and depth.
Track14 is a combination of all the themes and great parts of the entire score. It consists of the female voice, vastly beautiful and sad piano melodies and the violin for escort-- probably the best track in this album and some of Zimmer's greatest works up-to-date.
Track16, which closes the film, is also a combination of several themes and parts of the film. It starts with the piano theme (heard in track06 and track10) and goes on with haunting and scary electronic effects and sounds created by percussion, guitar, mandolin and creepy violin. Then the piano theme is played by violin this time and makes a great difference. The track, (at about 3 minutes of play), gets loud, creepy and scary-- then calms down and ends with a more intense variation of track 14, played by violin (as the main instrument) piano, mandolin, guitars and loud percussion, providing the score (and film) with a more up-beat ending.

The entire score is a great work, which has lovely melodies and themes for easy listening. All these create a sad and sometimes creepy atmosphere that fits perfect in the theme and subject of the film. THE PLEDGE is not your typical Hans Zimmer or Klaus Badelt score for sure, with the great choir themes, loud brass and dramatic, epic atmosphere and feeling. It's just lovely, sad and hauntingly beautiful - quality music for all the music and movie lovers, and -of course- Zimmer followers.

Demetris Christodoulides

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The Pledge soundtrack - Hans Zimmer 2001