The Girl with the Dragon Tattoo
Miusic by: Trent Reznor and Atticus Ross
Genres: Soundtrack
Released: 2011
Format: FLAC
Size: 730 MB
Tracklisting
01. Immigrant Song [02:47]
02. She Reminds Me Of You [04:25]
03. People Lie All The Time [04:10]
04. Pinned And Mounted [05:04]
05. Perihelion [06:01]
06. What If We Could? [04:08]
07. With The Flies [07:41]
08. Hidden In Snow [05:19]
09. A Thousand Details [03:58]
10. One Particular Moment [07:00]
11. I Can’t Take It Anymore [01:48]
12. How Brittle The Bones [01:49]
13. Please Take Your Hand Away [06:00]
14. Cut Into Pieces [04:03]
15. The Splinter [02:32]
16. An Itch [04:09]
17. Hypomania [05:47]
18. Under The Midnight Sun [07:01]
19. Aphelion [03:33]
20. You’re Here [03:29]
21. The Same As The Others [03:08]
22. A Pause For Reflection [04:11]
23. While Waiting [02:17]
24. The Seconds Drag [04:33]
25. Later Into The Night [04:55]
26. Parallel Timeline With Alternate Outcome [06:32]
27. Another Way Of Caring [07:02]
28. A Viable Construct [03:15]
29. Revealed In The Thaw [02:47]
30. Millennia [01:19]
31. We Could Wait Forever [04:21]
32. Oraculum [08:21]
33. Great Bird Of Prey [05:19]
34. The Heretics [05:20]
35. A Pair Of Doves [02:02]
36. Infiltrator [07:03]
37. The Sound Of Forgetting [02:30]
38. Of Secrets [03:25]
39. Is Your Love Strong Enough? (How To Destroy Angels) [04:30]
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I hate it so far and I’m near the end. It’s 3 hours of sound effects.
MP3: $12
FLAC: $14
CD: $14
I’d rather like to see Jacob Groth’s original score to the original movies to get such a decent release, especially after I found cuesheets for the first movie and the cues are all merged together on the official releases.
With "TSN", a good amount of tracks had those sort of what I called "atmospheric themes/melodies" which you can definitely come to appreciate & remember over time.
Well "TGWTDT" feels like an atmospheric Silent Hill VG score-type which is not necessarily everyone’s cup of tea.
Definitely a lot of work has been put into this project & obviously the music will fit the claustrophobic atmosphere of the film.
The technical aspects of the sounds created are once more very carefully/professionally mastered.
Seems like the only acoustic/symphonic instruments Trent & Atticus used are the piano, celesta & a bass(->though just one note & sampled in track 15)
1(nice job there!)-2(sets the mood for the rest, i guess)
-4-6-8-9[this one is the standout track!)-13(sums up the idea of this 3-hour movie music with these functional, ambient, very linear, yet quite subtle tracks)
-14(can’t wait to see where that track fits into the movie :o)
-16(i’ve been told this is the closest to "Nine Inch Nails" music)
-17(most f***** up dirty dissonant track)
-19(more distant-agreable noise for your ears than the other tracks)
-23(closest thing to a human feel in the album)
-26(now, regarding what i said earlier, this one track really feels like storytelling music from start to end)
-28(this & track 32 "oriculum" are the good "experimental" percussive parts of the album)
-33(quite an interesting beat & track as a whole)
-36(back to video game sound effects)
There is one little intimate "theme" played on an upright piano � la T.Newman on track 6, not sure if it’s reprised though.
As I meant before, i felt a little disappointed in the ending tracks after a 3-hour listen, but anyway…
While I’m much more fond of the big symphonic sound of John Williams, i’m not the right person to say if this material from Trent & Atticus will win (nominated for sure…)
Anyway, I’m sure and I hope this score will lead to more discussions about what a film score is/should be…
What do you guys think ? 🙂
What a waste of time …
while this has a few hints of interesting tracks, for example such as a thousand details, its just very long drawn out and boring…
Besides, Fincher didn’t want an orchestra for this film, so complaining about the fact that it’s not orchestral is pointless. It’s not supposed to be. And nobody has even SEEN the film yet, so how anyone can argue that it doesn’t work is beyond me. I agree that it’s not an easy album to listen to, but most scores aren’t the type that you can just throw on and listen to.
Oh yeah, and you’d be hard pressed to find a film composer in this day and age that doesn’t use electronics in some way, so the whole electronic vs. orchestral debate is futile.
It’s the score to a film that’s an adaptation of a book originally called Men Who Hate Women. It SHOULD depress you.
I don’t see how that’s got anything to do with what we are talking about. We are talking about a score here not what a the original book was called. I know the history of the book.
And if that’s what the score is supposed to do to you, then expect mass suicide in the next few months.
You don’t see how the subject matter of the film might relate to why the score is so downbeat? I mean, we’re not talking about a happy-go-lucky musical here. Every indication is there that this is going to be a fairly dark film, and the score (at least in terms of mood) seems to be appropriate based on that.
Surely but there are tons of dark and atmospheric scores, which are also great judged as solely musical content as well.
exactly!….thank you!!!
So if a score can’t be listened to on its own, it’s bad? Sorry, but I don’t agree with that at all. There’s plenty of scores that I can’t listen to on their own. A great example is the music for 2001: A Space Odyssey. It’s beautiful when put to picture and and when it serves the story, but on its own it’s not exactly something I would put on my MP3 player and listen to while walking around town. Scores are meant to serve the films they are in, and so far this one seems to fit in very well. I can’t judge it fully yet since I haven’t seen the film yet, but based on what I HAVE seen and what I know about the story, this score is very appropriate for the film, and just because it doesn’t make for easy listening doesn’t make it bad.
If you don’t care for this type of score, fine, but to also download it and then complain about it is kind of silly if you ask me.
If you don’t care for this type of score, fine, but to also download it and then complain about it is kind of silly if you ask me.
I actually bought it.
It doesn’t mean it’s bad if it’s not listenable on its own. It means it’s not listenable on its own. But what is music if it can’t be listened on its own? A film score’s primary purpose is to accompany the film, that’s correct. But a big majority of film scores can be listened on their own, and those scores are the reason we come to places like this and share them. So that argument is the most irrelevant of them all. Why are they selling it, and in a 3 hour release even, if it’s not listenable material? At least make it 25 minute release, and put only the couple tracks, which barely make sense on their own.
I don’t get Fincher. Shore’s score for Se7en doesn’t get a decent score-only release for years and yet we get 3 hours of this, whatever one can call this.
It doesn’t mean it’s bad if it’s not listenable on its own. It means it’s not listenable on its own. But what is music if it can’t be listened on its own? A film score’s primary purpose is to accompany the film, that’s correct. But a big majority of film scores can be listened on their own, and those scores are the reason we come to places like this and share them. So that argument is the most irrelevant of them all. Why are they selling it, and in a 3 hour release even, if it’s not listenable material?
I want to go back to what makes it not listenable in the first place. So far all I’ve heard is that it’s too electronic (which anybody who did a little research would know was intentional), too long (it’s three hours, you should have known that before you bought/downloaded it), and lacks any emotion (again, intentional). It may not be a score you throw on often, but if it works for the film, that’s all that matters.
Honestly, I can listen to a lot of the score on its own. I think it works for exactly the reasons that you guys think it doesn’t, but that’s just me.
At least make it 25 minute release, and put only the couple tracks, which barely make sense on their own.
I don’t get Fincher. Shore’s score for Se7en doesn’t get a decent score-only release for years and yet we get 3 hours of this, whatever one can call this.
I would love to see Shore’s full score get released as well, but Fincher wasn’t involved with the music that was released for Se7en. He was for The Social Network and this film. That’s the difference. I’m sure he would be all for a release of Shore’s score, but that’s not his call.
Plus, why should Shore’s score get a full release, but Reznor and Ross’ has to be pared down to a mere 25 minutes just so people can throw it on whenever they feel like it? If the score feels big, it’s because it is. I didn’t try to listen to it all in one sitting. I had to break it down, and I had to think about what kind of scenes from the book would fit with the music. That’s how I enjoyed it. I don’t know what you guys expected from this score, but I’m happy with it, and I think it’s one of the best ones this year. It does what it sets out to do, and that’s all I asked from it.
Of course that’s not all that matters. We aren’t filmmakers who are using the score in our picture. We are buying/downloading these things to listen to them. If a score was a pounding single note on piano for 3 hours, and yet it somehow worked in film, would we say, ok this is a good score because it works on film? No. There’s a difference between sound effects and music. Obviously that line will differ for everyone, but for me, the majority of this score was closer to sound design, than music. We don’t purchase a movie’s left surround channel and listen to it, do we?
I would love to see Shore’s full score get released as well, but Fincher wasn’t involved with the music that was released for Se7en. He was for The Social Network and this film. That’s the difference. I’m sure he would be all for a release of Shore’s score, but that’s not his call.
Fair enough.
Plus, why should Shore’s score get a full release, but Reznor and Ross’ has to be pared down to a mere 25 minutes just so people can throw it on whenever they feel like it? If the score feels big, it’s because it is. I didn’t try to listen to it all in one sitting. I had to break it down, and I had to think about what kind of scenes from the book would fit with the music. That’s how I enjoyed it. I don’t know what you guys expected from this score, but I’m happy with it, and I think it’s one of the best ones this year. It does what it sets out to do, and that’s all I asked from it.
Because at 3 hours, it has way too many tracks which are basically droning. But what you did is interesting. In a score like this, I’d love to know if it’s actually possible to fit it to the scenes. In a mainstream score, even without looking at the track names, one can watch the film with no score mixed in, and probably guess which track goes where, with like 80-90% validity. But even if I have read the book, with a score like this, I’d have absolutely no clue. This type of scores don’t tell a story. There are no themes to connect to objects/people, there’s no development of any kind, and there’s no beginning and no end. You could scramble the tracks and still make people believe it’s chronological probably. I’m not saying this is a bad thing on its own, some scores don’t tell the story of the film, they simply create atmosphere. And this is certainly staying at the far reaches of those types.
To me it is really hard to start thinking about what is the one formula that makes a piece of music Good (there are none, obviously…), on the contrary i find it much easier to say why one piece is a BAD one either on film or as a standalone listen. And what is "good or bad" / "listenable or unlistenable" in the first place I definitely think film music is quite complex and could be the single most subtle and intuitive element of all the components of production in a film. I mean even when a project is almost fully complete, music is still the last thing that sort of has to be painted "over/among" the rest. And this will either help/ruin the success of the film. I’m not gonna take John Williams as an example because we all know that pratically all of his soundtracks are a piece of art on their own and of course on the movie. Why? Because it is melodic, symphonic, expressive, leitmotifs-oriented & perfect for key characters.
Now one example which comes to mind is David Julyan’s score for Nolan’s "Memento". While it is still more acoustic than Dragon Tattoo, it is still a very ambient, disturbing, electronic-driven work. I know i personally would have found it to be pretty boring "had I not seen the movie first", but now after having seen the movie, i can remember the most meaningless, yet weird sound effects in a specific scene because it affected me when connected to the visuals of the film…
Well then i guess these sound effects are now not so meaningless, because they affected me during that one scene in Memento, which is my point…
Music for me is always associated to images whether it is for a film or not.
Which is why I think Trent & Atticus’s work on "Dragon Tattoo" is to be unterstood as simply their intuitive interpretation of Fincher’s visuals. The soundtrack is ambient but it is not static, it always evolves, and it evolves as each scene evolves in a movie. And as soon as we get to watch the movie we’ll be able to feel much more the dynamic of the music from this album.
+ Trent Reznor comes from "heavy metal" although he is also a "classically" trained pianist. I’m sure he’s got no knowledge issues somehow regarding how to compose orchestral pieces, but instead the choice is made to score the film in a very industrial-rock type of sound. Does that make it potentionally unlistenable?
-Maybe yes for some before & after waching the film
-Maybe yes for some before, but not after…
-> And Vice-versa!
I personally find it quite amazing how my perception can change just based on my relationship between music and visuals of the film. Now i know i said in my previous post that this music doesn’t feel like "musical storytelling" or that it doesn’t have a beginning-middle-end… But what it all comes down to is how i felt during the whole experience… And i think "iBug" you’re very correct when you say this is closer to sound design than music, but it doesn’t change the fact that both have the same purpose in which they are simply "sound structure with rythm" that greatly carry & affect the movie, scene after scene to be experienced…
I think in this case with an ambient film score more than any other scores, it demands to be first evaluated on the images of the movie, which is i suppose a good thing, ’cause i get to be more surprised (good or bad), and then re-listening to the album can only make me "love it or hate it" even more…
I do feel 3hours is a lot to swallow, especially this type of music, but i still feel it is inventive!
Hell it also adds to cinema legacy.
Of course I wish just like everyone here that every soundtracks would get that same release-treatment… 🙂
I think in this case with an ambient film score more than any other scores, it demands to be first evaluated on the images of the movie, which is i suppose a good thing, ’cause i get to be more surprised (good or bad), and then re-listening to the album can only make me "love it or hate it" even more…
I’m not saying this music won’t work in the movie. Hell I bet it’ll work brilliantly considering I hated Social Network on album, but in the film it worked pretty well. Fincher is a good director and his films always had functional scores.
But I don’t think this’ll change my listening experience even after I watch the film. Sound design and music serve the same purpose, as visual effects or actors. They are part of the film. But not each different element is supposed to be enjoyed on its own.
And I don’t think in terms of good or bad. That’ll only be decided when people look back 100 years from now. I definitely am not saying that this is bad music. I’m saying this is certainly not something many would enjoy.
And Reznor being a classical pianist is irrelevant. We are not discussing his imaginary capabilities of composing a more classically inclined work. Maybe he can, maybe he can’t. But I doubt Fincher would actually demand a more mainstream orchestral work from Reznor. Why would he? There are tons of composers much more experienced than Reznor on that front. Fincher wants what Reznor is doing, obviously, so he’s making him do what he does.
I’m not really angry at Reznor or Fincher, because films aren’t supposed to be designed around selling as many soundtracks as possible anyway. It’s just an extra something we get.
But I’d be pissed at anyone claiming that this is the best score of 2011, without even seeing the film, which nobody did yet as far as I know.
I’m going to finish by saying one more thing though. With Social Network, I think going electronic and minimalistic was an "ok" choice. That film did not depend too much on music, it would have been an amazing film even with no original score at all. Hell at first I thought half the music in the film was basically previously published material placed appropriately. Even if Fincher worked with Shore or Desplat for the score of Social Network, I doubt the result would be much interesting in any case.
But TGWTDT is a suspense-action film (or so it seems from the trailers, for the readers of the book, is there some action in this or is it only suspense?), and I’d say a film like this could have a mainstream suspense score. A score which everyone could enjoy. So it might have been a missed opportunity in this case. I emphasize might though. First gotta watch the damn film. 🙂
I just feel like sometimes we take music just as a form of pure entertainment that we distract ourselves from these other intents that music can have exactly like in film scoring where the function of the music is not so much on the entertaining sexy side like in action, comedy or romantic scores but more on another emotional level, yet more technical like in "The Girl With The Dragon Tattoo" where music is really more like a visual painting of a landscape than an expressive voice speaking to the listener…
I just feel like sometimes we take music just as a form of pure entertainment that we distract ourselves from these other intents that music can have exactly like in film scoring where the function of the music is not so much on the entertaining sexy side like in action, comedy or romantic scores but more on another emotional level, yet more technical like in "The Girl With The Dragon Tattoo" where music is really more like a visual painting of a landscape than an expressive voice speaking to the listener…
Oh I don’t agree with that even a little bit though. I think TSN did not deserve best score at all. It was functional, as were 20 other scores in 2010.
I have no clue why TSN won, but then again, this is the same academy who gave Jerry Goldsmith only one oscar, yet Gustavo Santaolalla has two consecutive ones. I stopped caring about Academy’s score decisions in 2005. Don’t forget that everyone in the academy votes on the winners so the winner isn’t the choice of composers. Only nominations are done by composers. So the oscars are still a popularity vote. Guild awards make more sense to me.
Seriously, what the fuck is your problem? Every thread you comment on gets slapped with your negative bullshit. Your avatar serves YOU right.
As for this soundtrack, it’s amazing- better than The Social Network. I bought this the first day it came out on iTunes (actually, the first 8 minutes that it came out). I will be purchasing it again in CD form tomorrow, and I cannot wait!!!
Trent & Atticus deserve another Oscar and Golden Globe!
Not in a year when John Williams scored two movies, they don’t. It’s a shame they aren’t eligible for some sort of award for the cover version of "Immigrant Song," though; that deserves SOME sort of recognition.
I’m gonna dload it & check it out as people who say this or that is basing that conclusion on their own opinions. I loved The Immigrant Song so if anything I will at least keep that. And some of u didn’t even thank him for the upload regardless of whether or not u like it.
@fuck23: U can find many converters to convert it to mp3.
"It’s a shame they aren’t eligible for some sort of award for the cover version of "Immigrant Song," though; that deserves SOME sort of recognition."
Totally agree. They should definitely get an award for that at least,
I guess I gotta go watch the movie now to make my final judgement!
John Williams’ scores for Tintin and The Boy with the Horse Obsession were terrible and non-memorable, in my opinion. They don’t have the Star Wars or Harry Potter quality that makes them iconic. Besides, they didn’t fit too seamlessly with the films.
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