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So I've finally decided to give this a listen today, and it was a lot of fun! The general quirkiness, source cues that actually benefit the score, and one of the best themes that I've heard from Zimmer in Moriarty certainly make this one a keeper. A lot of people barp on the OST, but it certainly made me interested to hear the music in a better form. I'll probably have to listen to it again before forming a definitive opinion, but as is, it managed to actually live up to the hype.Music By Harry Gregson-Williams<br>Additional Music By Stephanie Economou<br>Music Supervisor By Jabari AliTotally phoned in...I got nothing from this...Y'know, up until recently, I also thought Lorne was one of the least interesting RCP composer next to Junkie XL. Then I listened to Genius: Picasso (because of that one Balfe troll's recommendation interestingly enough), and now I see enormous potential in him. That is one of the most interesting television scores I've heard so far. The orchestrations and overall complexity is an enormous achievement for Lorne and shows that he can do much more than generic sample composition. <br><br>I'll probably skip this score because I have no interest in Mission Impossible, but I have a lot more interest in Balfe's career now thanks to his work on Genius: Picasso. If he continues on that level of composing, he may actually get some notoriety.Um.....guys, why are we acting like Kraemer doesn't have the skill to do a different sort of score? I'm fairly positive Jack Reacher doesn't sound anything like RN. Really, the reason he wasn't brought in was because, apparently, McQuarrie was pissed that he was overruled in how he wanted the film to sound, so be deliberately chose not to hire him this time. Purely a thing of spite. And a lot of the disappointment lies in those who normally don't pay attention to film music, which shows just how special that particular score was.<br><br>Really, I'm confident that had McQ had his way this time, and with Kraemer on board, he would've made something that did fit the new tone of the film. Composers should be able to challenge themselves to do something that is out of their comfort. Which is likely why a lot of Zimmer scores are the way they are, since he's allowed to differentiate every once and a while.<br><br>As is, with this logic, Cruise should not have hired McQ again if he wanted a different kind of movie for Fallout.
Hot take: Cruise saying that Fallout is the best score in the franchise is the equivalent of Danny Elfman saying there is only one Batman theme. Just marketing tricks to get one more excited.<br><br>Me personally, the general M:I sound isn't something I tend to get excited for, though I definitely acknowledge it's objectively well done. With M:I-2 though, while it's technically dated and incredibly cheesy, I admire it for those reasons, and is incredibly fun for me. Not to mention that the Spanish guitar is a lovely touch, and Injection is proof that there is more to Zimmer than some might think.<br><br>Balfe as a composer, to me, seems like tbe sort of guy who's told to get synth that fit the film well enough, and call it a day. Sure, there's one or two scores that go above and beyond to actually be something of note, but otherwise he's among the least interesting of the RCP bunch. Feel free to feel however you want, but that's my two cents.<br><br>It's frustrating that you have to deal with some of the touchier fans Edmund, but I'll admit that I do get a laugh everytime it happens. I love music, but I don't feel the need to get overly defensive about. I would just enjoy it and leave it like that.Meh on this one...Listening to it doesn't really do much for me. Maybe because I dont care for Cruise, or MIssion Impossible, or maybe because I already heard better from Inception and Fury Road....Even on last year's Dunkirk Hans wrote 90% of it. Unless you are born in the last few months there is plenty of music which Hans wrote and many can remember.Interstellar is barely 3 years old.SamualPF - there people go again misconstruing my comments about some of the posters here as negative comments against Balfe or his music. I didn't say anything about the score. But sure, keep pushing that agenda.<br><br>George, you make fair, well-articulated points and for what it's worth, I never included you among those who have, shall we say, aroused my suspicions. I'm looking forward to checking out the score for myself and rest assured I'll give it a fair shake when I do. I've liked plenty of Balfe scores in the past, I swear I'm not a hater! :p
None of Kraemerís music is reused! Thematic consistency says what?I actually always listen to a new score with an open mind. If I start expecting something and the score doesn't sound like it or doesn't have a certain thing in it I will always be dissappointed. If I don't expect anything and it turns out a score is a dissappointment, it's not such a big deal.<br><br>For example:<br>A lot of people wanted/expected a lot of individual hero themes in Infinity War. I didn't think it was necessary and I'm absolutely in love with the score.<br><br>And in the cause of reprising themes from 30+ different character in a score of 2 hours would have been chaos. If you're talking about LOTR and themes, that's different story. Those scores were almost all 3 or 4 hours.<br><br>But all and all. I don't think this is a better score than RN, but I don't think it's a bad score. It fits the movie, and I think that's what a score is all aboutEdmund ........<br><br>Yet again another negative comment about Balfe based on no fact . Sums you up really . The fact Tom Cruise who has produced the franchise has said he thinks is the best means something .we all get it that you donít like his music but simply contain yourself for always wanting to make pointless comments about him .<br><br>The reviews have been amazing for he filmmand Balfes scores . This may irritate you but at least watch the film and listen to the score then give a proper opinion.give it a goNo offense, Edmund, but if you havenít listened to it then donít make a judgement call on those of us that like it. Fallout in my opinion is the only really good RCP blockbuster score this year, and Iím going to voice my opinion on that. Pacific Rim, Tomb Raider, wrinkle in time, and Skyscraper have all been disappointments for me so when this surprisingly came out two weeks early, and I surprisingly liked it, then of course Iím going to ďflock overĒ and tell you all about how I feel. <br><br>Reviewers liking it is fun for those of us that like it. Tom cruise, who actually IS known to like film scores and has been to concerts for film scores (like Brian Tyler, even though Iím not crazy about him), liking it is also exciting for those of us that like this score and also for us who were excited to hear an updated RCP take on Mission Impossible. I root for all the RCP composers to succeed and create something memorable, and when others seem to like that too then Iím going to comment on it.<br><br>Whether it was Lorne Balfe, Henry Jackman, Ramin Djawadi, or Hans himself who scored this I would have been one of the first to tell you all if I liked it. And if I hated it I would also have voiced my disappointment... but simply put I was not disappointed and Iím glad that others are liking it, including reviewers and Tom Cruise.Once again, and not for the first time on this site, I can't help get the feeling that a Lorne Balfe score page is getting brigaded. Seems like every time he puts a new score out, a bunch of people flock to the page with glowingly positive comments (and brooking not even the slightest criticism), frequently from irregular users with very generic names who don't ever post in threads by other composers. And then using weak, tired arguments like "the reviewers love it" (I trust film reviewers on scores about as far as I can throw them) or "Tom Cruise said it's the best" (and since when is Cruise an authority on film scoring?) or "this is a new/modern/DARK M:I movie" (no excuse for a bad score). It feels, quite frankly, like shilling.<br><br>Disclaimer: haven't actually heard the score, I'm making no judgment on the music itself here. This is merely an observation of the posting patterns here.
Iím right there with you. I definitely think Balfe is very talented, although heís far from one of the best composers out there. Especially compared to Zimmer.<br><br>That being said, Iím not crazy about MI:2. The highlights are solid (Injection and Bare Island especially) but I find most of the score either schizophrenic or just not as developed as the scores that influence it. Sorta like how everybody loves ďThe RingĒ but I canít personally canít help but hear it as a lesser version of Hannibal.Right, which is why Iím ok with this. Look, I love the score for Rogue Nation as much as everyone else, but I still kept an open mind and was surprised that I enjoyed Fallout as much as I did, regardless of the influences.Thank you, Alex.  I appreciate it...Ohhh, nothing......Just here to remind folks what is the best M:I score. *cough*Balfe is not Zimmer*cough*<br><br>Seriously now.......Balfe seems to be turning into a film score version of Christopher Nolan. There are people who think he's the best thing since sliced bread, the next Jesus, and there are people who hate his guts. Personally, I don't mind him and I'm glad he gets to work on these big movies. But on the other hand, his score for the new MI movie is not even close to the greatness of Zimmer's MI2 score. At least in my opinion.I think most people listen to this score with a Rogue Nation kind of movie in their heads. But it's a very different kind of movie en the score works perfectly in the movie i.m.o.
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Composer - Musician : Synthesizer
Hans ZimmerLorne BalfeAtli ÷rvarssonGeoff 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 (40424 votes)
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  1. 160 BPM (6:42)
    Hans Zimmer
  2. God Particle (5:20)
    Hans Zimmer, Lorne Balfe, Atli ÷rvarsson, Mel Wesson
  3. Air (9:08)
    Hans Zimmer, Lorne Balfe, Atli ÷rvarsson, 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 ÷rvarsson
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Anonymous reply Replies: 0 || 2009-08-25 00:00:00
I think Hans is from the same blood of Beethoven. He belongs to his family.

Anonymous reply Replies: 0 || 2009-08-23 00:00:00
great score!! great!

robert langdon reply Replies: 0 || 2009-08-15 00:00:00
anyone ever find out the 5 note ambigram??

BachiG3 reply Replies: 0 || 2009-08-12 00:00:00
Best Film Best Soundtrack vapshemta coool

Brad reply Replies: 0 || 2009-08-11 00:00:00
Can somebody tell me which tracks those credited with "Additional Music" helped on? Thanks...

Anon reply Replies: 0 || 2009-08-08 00:00:00
@Hernan
It's unreleased.
Let's hope/pray for unreleased music to be released.

Hernan reply Replies: 0 || 2009-08-08 00:00:00
does anybody know where can i find or hear the song being played when the camerlengo is breaking the ring of the fisherman ?!?

Emanuel reply Replies: 0 || 2009-07-28 00:00:00
Thanks

Anonymous reply Replies: 0 || 2009-07-25 00:00:00
Hans is going to compose ''Inception'' Chris Nolan's Next Movie.

robert langdon reply Replies: 0 || 2009-07-22 00:00:00
i understand some unreleased music from DVC made it to this album. is there a way to break it up to add that?

Dawn reply Replies: 0 || 2009-07-22 00:00:00
I don't see the point in "breaking" a cue out of DVC to reimplement it in A&D. Orchestrations and instruments are different... this is not the same cue. Enjoy it as it is presented on DVC album... or wait for a true complete score ! No ? :D

Hybrid Soldier reply Replies: 0 || 2009-07-22 00:00:00
Yeah Dawn, like I don't see the point in "cutting" tracks to put them in correct order... I mean, the album is buit as suites !

OK, if you get an album like Kung Fu Panda, with complete tracks isolated from each other, or Sessions with all the tracks, then OK I'd put them in the correct order...

But with albums like A&D or POTC 3, I don't get it !

Adrian reply Replies: 0 || 2009-07-22 00:00:00
Why not cut tracks? Well, A&D/ DvC would be quite difficuilt, but if you have a long suite like in POTC3, I don't think now is the best Time at (aprox) 3 minutes starts Atli's piece, which is quite different from the first part. And Atli out around 4:55... So you have a complete different piece there, right in the middle.
I don't find cutting good for every suite, but this is in my opinion a textbook example of a track which you could cut with a proper argumentation.

Personally, I hate long suites... I find 10 mins too long for one track...

Deakins reply Replies: 0 || 2009-07-22 00:00:00
Long suite is the essence of the true zimmer's style. Remember 'Crimson Tide', 'Beyond Rangoon', 'Peacemaker'. I feel this way is the better for appreciate the globality of a score. Maybe these 30 seconds at the middle of the track (random track) will be bad if the author would cut them for another track.

Adrian reply Replies: 0 || 2009-07-22 00:00:00
Those were awefully compiled scores... Yes to make a track of 30 seconds is aweful too.. I prefer scores compiled like Gladiator or The Holiday, though the last one has some very short tracks...

bondo reply Replies: 0 || 2009-07-22 00:00:00
I 'cut' tracks only to put them in chronological order. I prefer listening to a score as it was heard in the film. Though I only do this when I can do a proper fade in/out.

Anon-Y-Mous reply Replies: 0 || 2009-07-20 00:00:00
Timings:
1. Main titles (God Particle 0:00-1:05)
2. Antimatter (God Particle 1:05-end)
3. Sealing Conclave (Air 0:00-1:54)
4. To Raphael's Tomb (I60 BPM 2:09-4:26)
5. Air (Air 1:54-end)
6. Fire (Fire 0:00-4:57)
7. Cross Rome (Fire 4:57-end)
8. The Illuminati Church (Black Smoke All of it)
9. The Camerlengo's Destiny (Science and Religion All of it)
10. Election by Adoration (Election by adoration all of it)
11. The Cross Keys (H20 all of it)
12. Immolation (Immolation all of it)
13. The last Preferiti (503 all of it)
14. End Credits (I60 BPM all of it)

robert langdon reply Replies: 0 || 2009-07-20 00:00:00
@ anon thanks alot!! :)

Anonymous reply Replies: 0 || 2009-07-20 00:00:00
I do hope they release more tracks later on. If not, ill wait til it comes out and rip the music off.

Anonymous reply Replies: 0 || 2009-07-20 00:00:00
@ anon -

Doesn't H20 come between "Fire" and "Black Smoke," when Tom Hanks rescues the man drowning in the fountain?

Anon-Y-Mous reply Replies: 0 || 2009-07-20 00:00:00
No.
You know how Hans can rename tracks that aren't exactly for that scene ;)

korean man reply Replies: 0 || 2009-07-20 00:00:00
fountain scene is not on this soundtrack.....im very disapointed..

um....whe time has come..i`ll meet the complete score..

korean man reply Replies: 0 || 2009-07-20 00:00:00
ah...fountain scene like a da vinci code ost - the citrine cross.. [2:01-2:45]

Anon-Y-Mous reply Replies: 0 || 2009-07-19 00:00:00
I will post the timings another time.

schwarzaugen@aol.com reply Replies: 0 || 2009-07-19 00:00:00
zimmer you re thwe greatest musiker , thinker about powerful stranger capacity of fantasic
im a phd psychologist , everynight i m analysin' u re music i have explored things that i have been resarchi'always

Schwarzaugen reply Replies: 0 || 2009-07-19 00:00:00
the best zimmer ...

robert langdon reply Replies: 0 || 2009-07-19 00:00:00
@ anon - thanks :)

robert langdon reply Replies: 0 || 2009-07-18 00:00:00
@ Anon...how did you split the music? can you show us? example :

I Know The First 30 Seconds or so of God Particle is the main titles. so for example -

Main Titles : God Particle - 0:00-0:45

Schwarzaugen reply Replies: 0 || 2009-07-16 00:00:00
the greatest composer ever and fprever! all the time is hans zimmer
you are the god of music danke HANS ZIMMER

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Angels & Demons soundtrack - Hans Zimmer 2009