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So first impressions:<br><br>JP knocked this one out of the park! The whole score has this excellent swashbuckling vibe, which is surprisingly aggressive during the action sequences (entirely due to his trademark percussion).<br><br>The writing style is really interesting, it’s basically John Powell doing his usual style but with some Williams flourishes, especially during the softer cues. The Star Wars themes do return, but not as heavily as Rogue One. And of course the JW cue is great, although surprisingly structured more as an action cue as opposed to a concert suite.<br><br>And for some reason the Han theme sounds vaguely similar to Poe’s theme from Force Awakens.Let’s just say “Reminiscience Therapy”.... hold onto your seats! ;-)This score is awesome!! Powell did a great job at making a score that's differet than all the other SW scores, but still you know it's a SW score. He reprised Williams' theme brilliantly and I can't stop to listen to it!!!what about the music when batman makes it back to the cave and lex opens the case of kryptonite. cant find it in theseYeah I can't agree that Inception or Interstellar are superior pieces of scoring. Certainly not in structure, thematic development, etc. <br><br>What defined those scores is the vision behind them more so than the execution. In so many ways, that is opposite of The World's End. Interstellar is a brilliant score that managed to provide each scene with a simplistic tone, but one that captured the atmosphere behind the scenes perfectly, such as the unique use of the organ. Same with Inception with the guitars. <br><br>With a World's End, the vision is nothing special. It is a rock and roll twist to classic music. But the execution brings enormous power and gravitas to the movie.<br><br>I would sum it up by saying that in Interstellar and Inception, the creation of the music drives the movie's ideas while in At World's End, the movie drives the creation of the music.
Nazg&#251;l for Azog I will never forgive. It's not a Servant of Sauron theme, it's a Ringwraith theme, and Azog's not a Ringwraith, he's a goddam Orc, and that theme doesn't belong there, full stop. It was just put there because it sounds "epic" and would "pump up the action scene". Gondor Restored at the end is just as stupid. And the Dreaming of Bag End theme for Bilbo is indeed lovely, and would have been lovelier still if it actually appeared in the movie. Instead it just gets replaced by copy/pasted Hobbit music from LOTR instead because Peter Jackson desperately wants his audience to remember how good those movies were in lieu of the Hobbit ones being any good on their own. Needless to say it goes missing entirely from the second and third score...along with the Misty Mountains melody (the strongest theme of the first one). I still really like those scores overall but they got absolutely butchered in terms of their thematic usage in the films. Then again those movies were an absolute clusterfuck so I shouldn't be surprised.<br><br>WRT Harry Potter, the 3 note theme does work okay for Voldemort, except that there's already a longer, separate Voldemort theme in Philosopher's, one that I like even more, and which only gets used once in Chamber (when Riddle rearranges the letters). I can understand liking Chamber better than Philosopher when you compare the albums, but in terms of the complete scores there's no contest at all, Philosopher wins by a country mile because of Chamber's rehash issues (and there are some good cues missing from the album, such as the Troll and Forbidden Forest scenes).@Edmund<br>The thing with the Nolan scores (at least Interstellar/Inception) is that they are repetitive, in as much as being built heavily around the suites that I’m guessing they use to edit and temp the film. <br>And while the themes are simple I do think they are structured in a unique enough way which builds emotional resonance through the gradual increase in chords/volume/speed/etc. Even Dunkirk is a relatively simple score theme wise, but is so technically complex.<br><br>And personally I’ve never been in love with Inception. I admire it on a technical level, but outside of “Time” I find it to be a fairly cold score. Obviously what it was meant to do so not a complaint, more of a personal preference thing.You know, I actually like Chamber of Secrets much more than Philosopher's Stone. It has the best moments from that score with improved themes. (I actually like the 3 note motif for Voldemort better than it being used for the stone, it already sounded like the Sith theme from Star Wars so might as well go all the way with it.) It felt more tight, better paced, and had an overall more energetic feel to it.<br><br>The Hobbit, I'm not entirely sure where you're getting heartbreaking from. If you mean the state of its release I absolutely agree, if you're talking about its reprisals the only one I had any issue with was the Return of the King/Gondor Restored theme which had nothing to do with Thorin and Bilbo's relationship. <br><br>The Nazghul theme being used for Azog I thought was fine as he was a servant of Sauron in the movies, History of the Ring and Gollum's themes were used effectively, and the new thematic material for the first film, I thought was wonderful. The themes A Baggins of Bag-End and The Lonely Mountain song being used as a Fellowship type of theme are the greatest highlights for me.See, I don't find Inception or Interstellar (or Thin Red Line) all that "complex". Especially not compared to At World's End (how many themes are in that score, like 15? 20? Pretty much all of which show up in rapid succession during the Maelstrom battle?). The Nolan scores are more about building up around very simple conceptual ideas.<br><br>Unless you're talking about emotional complexity, which is a very different thing and not really possible to objectively judge...You know, I don't think I've ever really gotten the full story surrounding that score. I've heard conflicting reports. My personal belief is that Ross did little to no substantial composition and that all the new stuff (themes, suites, new cues and also significantly fresh arrangements of old material) is pure Williams, but that film is full of reused music from the first film (it's actually quite frustrating, not as bad as On Stranger Tides or as heartbreaking as The Hobbit, but a bit of a rehashy mess and it makes the key error of using the Philosopher's Stone motif as a Voldemort theme). That's where I think Ross comes in and was responsible for taking those cues verbatim from the first film and tweaking/rearranging them just enough to match the timings of the scenes without actually adding any of his "own" notes. His role is likely somewhere between additional music, arrangement and music editing (but as Hybrid likes to point out, oftentimes those sorts of roles are really blurred and overlapping anyways).<br><br>A guy at jwfan did an analysis that helps understand the nature of that score, but be warned, it goes *really* deep:<br><br>www.jwfan.com/forums/index.php?/topic/27619-finished-chamber -of-secrets-thematic-and-originality-analysis/
I'm trying to be objective* (sorry haha)@Anonymous Zimmer's best? Well... I'm trying to be subjective:<br>IMO The Thin Red Line remains the pinnacle of Hans' career from an artistic point of view. It's a turning point, though we've been used to this kind of writing since (so many scores have copied TTRL).<br><br>Inception and (especially) Interstellar are superior pieces of scoring as well. Their level of complexity is unmatched in Zimmer's discography.<br>Gladiator is another impressive score, as it combines some of the best action music, best drama and deepest emotions Hans has ever composed for a movie.<br><br>Seems like I'm quite objective here, as none of my favorites scores are on this list ! ;)Interesting you mention William Ross' role in Chamber of Secrets because I've never fully understood what his exact involvement was. Was he just an additional music composer? Or did he actually compose most of the score with John Williams only writing the suites? Just curious if you know.I mean, the thematic situation *is* a bit messy. You've got new themes by Powell, one new Williams theme adapted by Powell, and then existing Star Wars themes adapted by Powell. I agree the credits are a bit long-winded but I can't think of a more concise way to convey all that information.<br><br>What does bother me (and maybe this is my inner fanboy talking) is that it seems to downplay Powell's role a bit, listing him second and with the use of the word "adapted" which makes him feel a bit second fiddle. Remember how William Ross "adapted" Williams' music for Chamber of Secrets, by which was meant largely copying and pasting bits from Sorcerer's Stone? I have no doubt that Powell has done a far, far more substantial job here (and they do say "composed and adapted", to be fair). Then again, it's a Star Wars score, and of course they're going to put Williams' name front and center as much as possible no matter what.<br><br>This is all such nitpicking of the highest order :pHans for Star Wars ?<br><br><br>Never.<br><br><br>Ron probably asked him first and Hans probably was like "JOHN POWELL !!"
What would have happened if Ron Howard would have been the first choice to direct Solo? He would have chosen James Horner (if he wasn't dead) or try to convince Hans Zimmer to do the music. The only collaboration between Howard and maestro Williams was in the movie Far And Away.Poster in SpainA Star Wars score that sounds like a Powell score? I'm in.<br><br>From what I've heard of many people, the score is really great and apart from the Williams theme, I heard Powell also had a lot of great themes.<br><br>I cannot wait for it!Your source?Just saw the film, really fun and faced paced movie. The score is great, it has a solid main theme by John Williams (not as great as Rey theme though) but still memorable and john powell adapts this main theme in various variations throughout the film. Star Wars fan might be dissapointed by the score because this overall sounds like a typical Powell score which doesn’t really sound like a typical Star Wars movie. Still fans of Powell will love this new score.
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Composer - Musician : Synthesizer
Hans ZimmerLorne BalfeAtli ÖrvarssonGeoff Zanelli
ComposerAdditional MusicAdditional MusicAdditional Music
Angels & Demons
Label: Sony Classics
Length: 54'17
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   3/5 (40381 votes)
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  1. 160 BPM (6:42)
    Hans Zimmer
  2. God Particle (5:20)
    Hans Zimmer, Lorne Balfe, Atli Örvarsson, Mel Wesson
  3. Air (9:08)
    Hans Zimmer, Lorne Balfe, Atli Örvarsson, Geoff Zanelli, Mel Wesson
  4. Fire (6:51)
    Hans Zimmer, Lorne Balfe
  5. Black Smoke (5:45)
    Hans Zimmer, Lorne Balfe, Mel Wesson
  6. Science And Religion (12:27)
    Hans Zimmer
  7. Immolation (3:38)
    Hans Zimmer, Lorne Balfe
  8. Election By Adoration (2:12)
    Hans Zimmer, Nick Glennie-Smith
  9. 503 (2:14)
    Hans Zimmer, Lorne Balfe
  10. Bonus Track : H2O (1:51)
    Hans Zimmer, Lorne Balfe, Atli Örvarsson
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Anonymous reply Replies: 0 || 2010-01-30 00:00:00
Modern Warfare 2, Angels & Demons, Sherlock Holmes, It's Complicated at the same year from king of kings Hans Zimmer, this is beyond incredible.

Enrico reply Replies: 0 || 2010-01-27 00:00:00
We hope...But Oscar will never nominate Hans again...

Angels & Demons Academy Awards Best Music, Ori reply Replies: 0 || 2010-01-27 00:00:00
This score deserves an Oscar for god sake.

vivo reply Replies: 0 || 2010-01-19 00:00:00
160 BPM, the first track of the soundtrack, to answer the first part of Enrico's question, is refering to the speed at which the song is paced. It is moving at 160 beats per minute. In music, this can be titled as the term "vivo", italian for exiting, energetic. You're welcome.

Fawzan reply Replies: 0 || 2010-01-12 00:00:00
This is the best movie sound track ive ever heard . this is really awesome . great work . want more of these . really very suiting for the movie . and really this pieces of music is capable of changing someone into real . thanks a lot . great work again . i love it

Zara reply Replies: 0 || 2009-12-29 00:00:00
Love 503. I wish there was a longer version. I play this song every night for my son while I rock him to sleep.

Anonymous reply Replies: 0 || 2009-12-17 00:00:00
The best Soundtrack of Zimmer, please release a More Music Soundtrack or a two-disc edition!!!!!!!!!!

Ar@&)-( reply Replies: 0 || 2009-12-17 00:00:00
zimmer WOW the best composer of all times ! zimmer the one
1 zimmer 2 beethoven 3 bach 4 mozart

schwarzaugen reply Replies: 0 || 2009-12-17 00:00:00
oh zimmer u arethe greatest , whoa ! incridable man

genaro luna reply Replies: 0 || 2009-12-05 00:00:00
autstanding music, master piece,

Veggio reply Replies: 0 || 2009-12-01 00:00:00
Are there any project for an extended edition with more tracks of angels demons ost?

Anonymous reply Replies: 0 || 2009-11-29 00:00:00
bootleg....because its got sfx in it.

OMG reply Replies: 0 || 2009-11-29 00:00:00
Hi,

Is the 29 track 2CD expanded score a real promo or just another cut and paste bootleg?

Anonymous reply Replies: 0 || 2009-11-27 00:00:00
amazing, hans.
once again another incredible score.
my favourite at the moment.
actually the track 503 is the top most played song on my ipod. hahaha.
it is great and i am obssesed, both with the movie and the music.
LOVE IT!
THANK YOU!

Skyler reply Replies: 0 || 2009-11-27 00:00:00
I just watched the movie again - It's ridiculous how little of the music actually ended up on the album. I hope the recording sessions surface soon...

Airton reply Replies: 0 || 2009-11-14 00:00:00
Great songs *_*

Anonymous reply Replies: 0 || 2009-11-08 00:00:00
160 BPM is one of the greatest tracks ever, simply Unbelievable, Hans Zimmer i love you man.

MW Fan reply Replies: 0 || 2009-11-07 00:00:00
Are they going to sell a MW2 album or put it on iTunes?

Antas, Webmaster reply Replies: 0 || 2009-11-05 00:00:00
You can now post about the MW2 soundtrack on the promo release page.
www.hans-zimmer.com/fr/newsite.php?rub=detail&id=909

Anonymous reply Replies: 0 || 2009-11-05 00:00:00
Modern Warfare 2 score is AAAAAAAAAAAAAAAAAAAAAAAAAAMMMMMMMMMMMMMMMMMMAAAAAAAAAAAAAAAA AAAAAZZZZZZZZZZZZZIIIIIIIINNNNNNNNNNNNNGGGGGGG

scorefan reply Replies: 0 || 2009-11-05 00:00:00
I really hope there will be an official release for mw2.

Anonymous reply Replies: 0 || 2009-11-04 00:00:00
all what i can say is OMG, Hans did it again, thanks al bundy, that was really awesome, i'm wondering when will we have the score?

al bundy reply Replies: 0 || 2009-11-03 00:00:00
@Enrico
There are covers for MW2 that can be viewed here: scoretemple.blogspot.com/2009/11/call-of-duty-modern-warfare -2-game.html

al bundy reply Replies: 0 || 2009-11-03 00:00:00
sorry wrong link
scoretemple.blogspot.com/2009/11/call-of-duty-modern-warfare -2-game.html

al bundy reply Replies: 0 || 2009-11-03 00:00:00
damn... try this: tinyurl.com/mw2covers

Anonymous reply Replies: 0 || 2009-11-03 00:00:00
OMG thats awesome, is it real or just a fan made?

al bundy reply Replies: 0 || 2009-11-03 00:00:00
this is a gamerip from the x360 game, so its a bootleg (same like cod4)

Anonymous reply Replies: 0 || 2009-11-03 00:00:00
is Hans going to release his version or we will only have the bootleg one??

al bundy reply Replies: 0 || 2009-11-03 00:00:00
If mw2 will be released, they should release cod4 too... because there is also just a rip for cod4 afaik. I think there will be no official...

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Angels & Demons soundtrack - Hans Zimmer 2009