Well, like I did with The Dark Knight Rises Trailer 3 last year, from a digital cinema packaged version of the new Man of Steel trailer…
The new English DCP I got my hands on today has virtually no SFX, apart from the damn echo at the start… so it’s completely lossless now for the FLAC version. 🙂
Download (v3 thanks metrotokyo!):
FLAC (https://mega.co.nz/#!vsYhmZ4K!D4jj5kdAiRaaZQSsZinxe0cPQ5pM9FjGuIRZZ36 F3IU)
MP3 (https://mega.co.nz/#!XwY13SwI!Y7tNSToEpXec10scnVax2VVuS6YTpr-3-kMyDJqDsgA)
(mirroring greatly appreciated)
Listen to it on SoundCloud (http://soundcloud.com/antovolk/hans-zimmer-man-of-steel)
Runtime: 3:00
Enjoy!
On that note, anyone know what the difference is in the two editions of the soundtrack? Both are 2 discs, apparently, but what else comes with the deluxe?
Personally i`m very dissapointed that he got this assignment, i never like this individual with his electronic and sinthesysed oriented scores, it`s a real shame that new Directors in Hollywood seems to have the same tastes, and choose to go with him, or with any of his gang for his movies.
It is my personal opinion, don`t take it the wrong way, maybe it`s just me, i dislike him a lot and it`s a real real shame this situation, when John Williams it was the perfect man for this job, if not posible then Alan Silvestri, James Newton Howard, Christopher Young, John Debney or Patrick Doyle would be a better choice.
Anyway, i`m so sad 🙁
Zimmer has his uses – though his influence on the art has been baleful. But this piece seems very much his standard product, I’m afraid. I’m not counting out the score yet, but my hopes have been tempered.
Since Snyder seems to be going for gravitas, I would have recommended Desplat.
Personally i`m very dissapointed that he got this assignment, i never like this individual with his electronic and sinthesysed oriented scores, it`s a real shame that new Directors in Hollywood seems to have the same tastes, and choose to go with him, or with any of his gang for his movies.
It is my personal opinion, don`t take it the wrong way, maybe it`s just me, i dislike him a lot and it`s a real real shame this situation, when John Williams it was the perfect man for this job, if not posible then Alan Silvestri, James Newton Howard, Christopher Young, John Debney or Patrick Doyle would be a better choice.
Anyway, i`m so sad 🙁
Zack Snyder is no new director. Dawn of the Dead, 300, Watchmen, Legend of the Guardians (the owl movie). He’s no newbie. And Christopher Nolan trusted Hans for his Dark Knight trilogy. Gore Verbinski trusted him with the PotC films (and even Rob Marshall for OST), Michael Bay for The Rock and Pearl Harbor, I could go on and on. And your opinion is your opinion, it is absolutely fine that you don’t like him. But maybe Hans has quite an impressive resum� because he’s one of the best. It seems all John Williams does these days is Speilberg films. Just my two cents
He did!
Say what you want, but ever since the Rock his music has saturated the industry to the point of absurdity…
And now, fast forward almost 20 years later? It’s practically a standard.
Like it or not, it is what it is…The synth has finally made its mark on the scoring world, and it’s now practically mandatory.
What else can I tell you man? We now have about 7 years of dubstep arguably and partially thanks to this man’s work…
It is composers like John Williams who use full orchestras to realize their music, John Powell, Michael Giacchino, Danny Elfman and many more still use predominantly full symphonic orchestras.
Well, these composers are all ‘classically’ trained musicians and know how to work the full package. Zimmer however, doesn’t know shit about orchestration. He has his longtime friend and orchestrator Bruce Fowler, doing that job for him, collaborating on all movies Zimmer worked on since Bird on a Wire (1990). Wiiliams, Horner, Goldsmith, Giacchino,… all know (knew) how to direct a full symphonic orchestra, how to get the best out of it. Zimmer can only give directions to Fowler. Does that make him a worse musician? No, it does not, to me at least. And that’s what I love about Zimmer, he creates from his feelings, knows how to put music on emotion/action, whatever is on screen, just by looking inside him and let feelings guide him. I understand completely why people diss him for that. But for me, that’s the exact reason why his music works for film.
Unfortunately, this is not entirely true. It was (POTC, Pearl Harbor, …) Jerry Bruckheimer’s decision. Michael Bay clearly favored Steve Jablonsky, Gore Verbinski tends to Alan Silvestri.
Well and Christopher Nolan? The best passages in the Dark Knight trilogy are those written by James Newton Howard.
It is probably simply a cost – benefit analysis. A good composer takes time and costs money. An orchestra? Hmm costs.
Quality is definitely not the criterion. Hans Zimmer is certainly good to find talents, but he is not a good composer.
Beyond the pale is the right word.
Believe me, it’s not just you. The piece in the trailer is completely forgettable and disgustingly mundane. A real composer should have handled that assignment.
Well and Christopher Nolan? The best passages in the Dark Knight trilogy are those written by James Newton Howard.
It is probably simply a cost – benefit analysis. A good composer takes time and costs money. An orchestra? Hmm costs.
Quality is definitely not the criterion. Hans Zimmer is certainly good to find talents, but he is not a good composer.
Beyond the pale is the right word.
Well done couldn�t have put it better myself….well said…..
As for the music in the new MOS trailer…well it�s god damn awful…..but it�s what I expected from Zimmer……but hey the kids these days love and it�ll be declared an epic score and the greatest thing since slice bread….
Well and Christopher Nolan? The best passages in the Dark Knight trilogy are those written by James Newton Howard.
It is probably simply a cost – benefit analysis. A good composer takes time and costs money. An orchestra? Hmm costs.
Quality is definitely not the criterion. Hans Zimmer is certainly good to find talents, but he is not a good composer.
Beyond the pale is the right word.
Peacemaker, Lion King, Crimson Tide, Prince Of Egypt, and I can go on. Zimmer has tons of impressive scores on his resume. He’s a great composer. Just that his body of work in the last decade doesn’t have much to show for it. He has maybe 5 good recent scores, including the first Sherlock, but lately he’s taking on way too many projects and isn’t spending enough time on each of them.
All those score you listed are awful and could be composed by a monkey with the exception of Lion King…..Zimmer�s scores haven�t changed a bit in the last 20 years…..he still refuses to write for an orchestra….from what I�ve heard Zimmer doesn�t write the scores for the movies he works on…he writes the themes….His minions fill in the blanks under the guidance of Zimmer….
Well, at this point, there’s nothing to argue since you can’t be more wrong. All those scores are quite impressive, and are as good as Lion King. He does write for orchestra every now and then, and what you heard is not true. He has ghostwriters working on most projects, but Zimmer writes scores, not just themes, where ghostwriters can help with certain small themes are motives, but the score is always written by Zimmer in the end. And that is a rather recent thing, Zimmer didn’t have anyone helping him when he wrote Crimson Tide or Peacemaker, which are both milestones in synthetic film scoring and have been copied to death, mostly by Zimmer himself. Prince of Egypt is melodically as diverse as Lion King with some brilliant orchestral passages. If you have not listened to Chariot Race, then you missed one of the best orchestral action tracks Zimmer has written ever.
Well and Christopher Nolan? The best passages in the Dark Knight trilogy are those written by James Newton Howard.
While Zimmer was not Verbinski’s first choice to score Pirates, the two have developed a close working relationship ever since. Not only did Zimmer score the other two movies Verbinski did for the Pirates series, but he was also brought on for Rango, and now he’s on The Long Ranger. Clearly, Gore enjoys working with Hans.
One question: And who produced these movies? Jerry Bruckheimer
Unfortunately, this is not entirely true. It was (POTC, Pearl Harbor, …) Jerry Bruckheimer’s decision.
AND Spielberg has always stated that he greatly enjoys Zimmers music and probably would be using him in future films would Williams ever retire/finds his resting place. And this comes from one of the best directors so Zimmer most be doing something right to impress.
As for MoS, I must admit, I’m not convinced… like many of you, yet. But I’m sure it will fit the movie, as it always does with his music.
Ahhh, good times.
This is too horrible for me to accept without proof and a cursory Googling found none. Can you link to such a statement?
Assuming it’s true (and when have you ever lied to me?), could it just be lip service to a major Dreamworks collaborator?
Keep in mind that Spielberg would be speaking from an unimaginably sheltered perspective. For his entire 40 year career, he’s been able to use the greatest living composer. (And the one time he didn’t, 30 years ago, it was with the second greatest!) So he hasn’t had to shop around.
Actually, I wouldn’t be surprised if the end of Williams’s career marked the end of his own. He’s in his late 60s now. His immortality is insured. [Though nothing he’s made in the last 15 years will be mentioned in his obituaries.] He’s richer than God. He’s got his Oscar. And producer activities would be more than enough to keep him busy and feeling important.
And while we’re on the subject of directors not always getting their first choices, I always wondered how Branagh was able to get Patrick Doyle onto Thor. I can imagine that he might refuse to work without him. But what clout does Branagh have? Was Marvel so eager for the respectability of his name that they would give him carte blanche with the score?
Jerry Bruckheimer did not produce Rango. He also didn’t produce "The Weather Man", another post-Pirates Verbinski movie that he collaborated with Hans Zimmer on. Oh, wait a minute, what is this I see on IMDb? "The Ring"? Directed by Gore Verbinski. No producer credit for Jerry Bruckheimer. And who composed the score? Why… Hans! And a whole year before Pirates! So Gore Verbinski has actually had more collaborations with Hans Zimmer than with Alan Silvestri. Not to mention that when you direct a movie that makes as much money as "Curse of the Black Pearl", the director typically get carte blanche. (For example: When "Iron Man" became a surprise hit, Jon Favreau got to bring in his original first choice, John Debney, to score the sequel.)
It seems you just can’t wrap your mind around the notion that maybe directors commission a Hans Zimmer score because they, y’know, like his music.
Assuming it’s true (and when have you ever lied to me?), could it just be lip service to a major Dreamworks collaborator?
Keep in mind that Spielberg would be speaking from an unimaginably sheltered perspective. For his entire 40 year career, he’s been able to use the greatest living composer. (And the one time he didn’t, 30 years ago, it was with the second greatest!) So he hasn’t had to shop around.
Actually, I wouldn’t be surprised if the end of Williams’s career marked the end of his own. He’s in his late 60s now. His immortality is insured. [Though nothing he’s made in the last 15 years will be mentioned in his obituaries.] He’s richer than God. He’s got his Oscar. And producer activities would be more than enough to keep him busy and feeling important.
And while we’re on the subject of directors not always getting their first choices, I always wondered how Branagh was able to get Patrick Doyle onto Thor. I can imagine that he might refuse to work without him. But what clout does Branagh have? Was Marvel so eager for the respectability of his name that they would give him carte blanche with the score?
well if you listen to the Score from Thor Marvel made sure Doyle comply to the Zimmer way ;( and the score imo in lesser for it…..I�m more surprised that Marvel allowed Brian Tyler to go full on Orchestra on Iron Man 3
Group hug!
It seems you just can’t wrap your mind around the notion that maybe directors commission a Hans Zimmer score because they, y’know, like his music.
That was not the point of the discussion. To me it does not matter which director which composers favored and why. Please read my first comment.
I’m not going to get involved here on any pointless discussions of some HZ groupies. Bad music is bad music, no matter by whom. Point.
Enjoy the music or not. The universe does not care.
I’m not going to get involved here on any pointless discussions of some HZ groupies. Bad music is bad music, no matter by whom. Point.
Enjoy the music or not. The universe does not care.
Hear,Hear….again well said
I’m not going to get involved here on any pointless discussions of some HZ groupies. Bad music is bad music, no matter by whom. Point.
Enjoy the music or not. The universe does not care.
Yes because your opinion on which music is bad is what decided which music is bad, right?
About the "John Williams was the right man for the job", that was 30 years ago. The Superman that became known with Richard Donner’s films was, like Williams mentioned, fun, theatrical, and not meant to be serious. No matter how iconic his Superman theme is, it’s attached to Richard Donner’s Superman. Nolan and Snyder’s Superman is serious and realistic, and Williams’s theme doesn’t fit, especially since that it’s a complete reboot of the franchise, and a new take on the original comics.
I think that Zimmer wrote a theme that feels heroic, but not bombastic and cheesy. A theme that it’s not only supposed to enhance Superman’s new heroics, but also, his emotional side.
And Superman, like Batman and Spider-Man, already had new themes written in several animated movies of the character. Unfortunely, most of film (and film music) fans are narrow minded old farts who think they’re still living in the 70’s.
About the "John Williams was the right man for the job", that was 30 years ago. The Superman that became known with Richard Donner’s films was, like Williams mentioned, fun, theatrical, and not meant to be serious. No matter how iconic his Superman theme is, it’s attached to Richard Donner’s Superman. Nolan and Snyder’s Superman is serious and realistic, and Williams’s theme doesn’t fit, especially since that it’s a complete reboot of the franchise, and a new take on the original comics.
I think that Zimmer wrote a theme that feels heroic, but not bombastic and cheesy. A theme that it’s not only supposed to enhance Superman’s new heroics, but also, his emotional side.
And Superman, like Batman and Spider-Man, already had new themes written in several animated movies of the character.
Also, in my opinion, John Williams would have been the wrong choice for this movie. His score is somewhat "fallen out of time."
I found John Ottman’s Music for "Superman Returns" fantastic, modern, wild and yet as "a return home".
A little more courage would certainly not hurt. Why not Elliot Goldenthal, Alexandre Desplat or Christopher Young?
About the "John Williams was the right man for the job", that was 30 years ago. The Superman that became known with Richard Donner’s films was, like Williams mentioned, fun, theatrical, and not meant to be serious. No matter how iconic his Superman theme is, it’s attached to Richard Donner’s Superman. Nolan and Snyder’s Superman is serious and realistic, and Williams’s theme doesn’t fit, especially since that it’s a complete reboot of the franchise, and a new take on the original comics.
I think that Zimmer wrote a theme that feels heroic, but not bombastic and cheesy. A theme that it’s not only supposed to enhance Superman’s new heroics, but also, his emotional side.
And Superman, like Batman and Spider-Man, already had new themes written in several animated movies of the character. Unfortunely, most of film (and film music) fans are narrow minded old farts who think they’re still living in the 70’s.
The music heard in the trailer ain�t a mock-up….it�s from the actual score….Although I believe the Brass are synths but have been replaced by real Brass (I hope)…….also I believe that�s Supermans theme we hear in the trailer…..
And for what it�s worth….this movie doesn�t look anymore serious than Donner�s version esp Donner�s version of Zod who was murdering people left right and center in the white house in Superman 2 (Donner Version)…..
The only seriousness I can find in MOS is that Superman might have Daddy issues 😉
In saying that I�m really looking forward to The Man Of Steel
I found John Ottman’s Music for "Superman Returns" fantastic, modern, wild and yet as "a return home".
A little more courage would certainly not hurt. Why not Elliot Goldenthal, Alexandre Desplat or Christopher Young?
Or Don Davis…..but it would never happen especially with Chris Nolan as Producer….that guy hates music in Films…..hence why the Music in the Batman movies by Zimmer were shite…..
unfortunately true …
Enjoy the music or not. The universe does not care.
Honest and brutal. Truth hurts. Ouch! LoL
Even James Newton Howard’s orchestral and thematic contributions? Please. If Nolan hates music in his films, then he wouldn’t bother to hire a composer to score them. He wouldn’t bother to write notes in the CD booklets talk about the music, the composer, etc. And certainly, he wouldn’t have bothering to ask Zimmer to write a choral theme for Bane, performed with people from all the world, to make them being part of the music.
Also don’t know if already posted but a comment from Zimmer on another forum –
The music is actually from the score. A little bit recut – the tune is actually a bit longer in it’s development. What you think of as synth sounds are 8 pedal steel guitars. Best organic pad sound yet The perc is the session I did at WB and Fox with 15 drummers:
JR Robinson
Jason Bonham
Josh Freese
Pharrell Williams
Danny Carey
Satnam Ramgotra
Toss Panos
Jim Keltner
Curt Bisquera
Trevor Lawrence Jr
Matt Chamberlain
Ryeland Allison
Sheila E
Bernie Dresel
Vinnie Colaiuta
with the amazing JunkieXL conducting (There is something to be said to get a drummer who is a star of EDM and knows how to get a crowd of twohundred thousand people dancing at his shows to liontame and energise this lot!)
But of course the real plus is the lack of sound effects…which gets us back to that other thread about dubbing music loudly
I’m glad you liked it!
-Hz-
http://www.vi-control.net/forum/viewtopic.php?p=3695752#3695752
This is a bit off. Zimmer is not the sole or the first to introduced and played with score utilizing synthesizers and the likes. I don’t know but I haven’t heard of Zimmer in the Thor’s score by Doyle. It’s a bit insulting to say the least and I would take any Patrick Doyle score anytime of the day post Gladiator Zimmer score.
For the sake of your long term emotional development � but more importantly for the sake of any individual or individuals with whom you will one day be intimate � I would strongly suggest you reevaluate your usage of the adjectives "serious" and "realistic" when comparing the merits of two children’s films that recount the exploits of a humanoid who can defy the laws of physics.
He does hate music in his films. That’s why he keeps hiring Hans Zimmer.
Jerry Bruckheimer, a tasteless piece of dreck who never produced a worthwhile film in his life, made those films. Case closed.
Nonsense.
Inception without the score. I can’t even get my head around that one.
Not to mention that his Batman movies never had any of those dreadful "music inspired by the movie" soundtrack albums. Well, okay, Batman Forever’s pop album was off the hook, but most of the time those things suck and don’t really have anything to do with the movie!
Michael Mann’s "Thief". Watch it. It’s good shit.
V2 FLAC (https://mega.co.nz/#!vsYhmZ4K!D4jj5kdAiRaaZQSsZinxe0cPQ5pM9FjGuIRZZ36 F3IU)
V2 MP3 (https://mega.co.nz/#!XwY13SwI!Y7tNSToEpXec10scnVax2VVuS6YTpr-3-kMyDJqDsgA)
for those who care, enjoy it.
source: IMDB (Hans Zimmer – Biography (http://www.imdb.com/name/nm0001877/bio))
One of his biggest fans (after first hearing Crimson Tide) is director and producer Steven Spielberg, whose friendship and loyalty toward John Williams is perhaps the only reason why Zimmer has not become a regular for Spielberg-directed films.
I also seem to remember an interview with Spielberg, where he talks about Zimmer and how he admires his work. Can’t remember where I’ve seen it though…
OP/SoundCloud link updated accordingly 🙂
Is his best film, imo.
He was really experimenting with things. There wasn’t as much slow motion in that film as there was in Watchmen or Sucker Punch.
He really allowed much more to happen and convey the message without going Inception on every scene.
But it’s usually Tyler Bates and Zack Snyder.
I was surprised to find out it was Zimmer and Snyder until I remembered that it was Nolan and Snyder.
On that note, anyone know what the difference is in the two editions of the soundtrack? Both are 2 discs, apparently, but what else comes with the deluxe?
It may be the same as The Hobbit soundtrack. Two discs for both but the Deluxe has longer tracks and Bonus Tracks. If this is the new standard for Warner Bros soundtrakc releases I couldn’t be happier.
Again…As if this really needs to be addressed:
It’s just the At World’s End theme from Pirates with piano and a little re-tooling…
Think of the basic theme for At World’s End…Did you catch it yet? That’s THREE notes you’re really hearing there.
me? I love that theme…But I cant deny it sounds identical to it.
I like "Heat" better.
The shootout scene on a 5.1 system. :awsm:
Inception without the score. I can’t even get my head around that one.
Would be a better movie. I despised the score in it. Still don’t get why so many drool over it.
One thing I’ve learned lurking around film music-based boards is that Zimmer and his Remote Control bots have the most die-hard fans anyone is capable of attaining, I’ll give them that.
Outside of the Batman films and The Simpsons Movie, I can’t call myself one of them.
99% of the major shares here are from those composers and that’s why I don’t give two shits about 99% of them. Howard’s presence was indeed missed on "Rises", which is a pale, cheap imitation of the superior scores for the first two Batman films. Beyond his own thematic contributions, he also made certain that there was a real orchestra underneath all the synthesized brass and strings. To call this trailer music (which I’ve not downloaded, I just watched the trailer itself) mock-up sounding isn’t an insult because that’s just what Zimmer’s music sounds like and we all know that already. Many people thought the same of Rises and that’s why so many attempts to make the "Return of the Batman" sequence are floating around, because the score was replaced in the film with pieces from the first two.
As for the ‘old farts still living in the 70s’, well at least composers in the 70s had to use their brains to write music and not computers. Old fart 70s-era music sounds like it was written by a person. With intelligence (and not artificial intelligence). With notes written on paper. Performed by musicians.
Guess I’m stuck in the old days, and I don’t even like John Williams (and can’t stand his Superman theme at all).
It’s very telling that a list of 15 drummers made up of people like Pharrell Phucking Williams was put out there. Creates a lot of buzz to know some hip-hop dickhead is ‘performing’ on a Superman score. Doesn’t say anything about the music, just makes for some lame hype.
Bolded emphasis quoted for truth.
Zimmer is more of a salesman and celebrity than a composer, and in addition to the Joker theme stuff (and his complete and utter dogshit line of saying Danny Elfman’s Batman theme was "jolly", for Rises he said he was finally going to ‘unleash’ his full Batman theme after only hearing a build up to it in the first two films, claiming Batman hadn’t earned it yet. Of course he never delivered on that but he sure made it sound like something to anticipate.
As for who knows what makes for a genuine theme, it’s an interesting question. I’ve never really considered any of the Nolan Batman films to have obvious themes, instead more atmospheric ideas. The characters have "sounds" rather than "themes" if that makes sense.
In regard to the Williams vs Zimmer debate:
Zimmer is an atmospheric composer. Williams is a thematic composer.
Zimmer uses synthetic/electronic sounds mixed with strings and brass. Williams uses almost exclusively a symphony orchestra.
Zimmer writes simple and effective music. Williams writes complex and effective music. Williams can also do simple and effective. What’s important here is that they both write effective music for film. However, only one composer here can write music that requires a high level of technique to perform.
Who’s better? Well, it’s purely subjective. However, composing for a symphony orchestra is often regarded as the epitome of musical expression. I have yet to hear Zimmer compose for this medium. So I’m going to give the slight edge to Williams because he’s able to write virtuoso music for the orchestra. I still enjoy Zimmer’s music tho.
Also, in my opinion, John Williams would have been the wrong choice for this movie. His score is somewhat "fallen out of time."
I found John Ottman’s Music for "Superman Returns" fantastic, modern, wild and yet as "a return home".
A little more courage would certainly not hurt. Why not Elliot Goldenthal, Alexandre Desplat or Christopher Young?
Why do people seem to think that Williams is unable to deliver an acceptable score for a modern blockbuster film such as Man of Steel? Williams is a chameleon composer that can adapt to whatever’s on screen and demands from the director. It’s extremely ignorant to say that his score has "fallen out of time". He does not write every score the same way.
As for who knows what makes for a genuine theme, it’s an interesting question. I’ve never really considered any of the Nolan Batman films to have obvious themes, instead more atmospheric ideas. The characters have "sounds" rather than "themes" if that makes sense.
Agreed!
pollux – Why do people seem to think that Williams is unable to deliver an acceptable score for a modern blockbuster film such as Man of Steel? Williams is a chameleon composer that can adapt to whatever’s on screen and demands from the director. It’s extremely ignorant to say that his score has "fallen out of time". He does not write every score the same way.
Glad someone gave this a thought, just what I had in mind so I agree!
And the best part about Shrine is that we have people who speaks their mind boldly and is not afraid to let their voices be heard and not just be a member of the Zimmer-bandwagon.
As a musician, I can’t understand why you don’t have an emotional connection to Williams’ music. Horner and Williams compose in the same vein. If you enjoy Horner, then you should have no problem with Williams. It saddens me as a musician that you have these kinds of opinions on one of the greatest composer of our time. I wish I could educate you on music so you can appreciate how brilliantly Williams orchestrates and composes music.
I’m perhaps Horner’s biggest fan around, and I do not enjoy and I have never had any emotional connection to Williams’ music. They don’t compose in the same vein as far as I’m concerned. They are very different composers with very different styles. I connected very profoundly with Horner’s music, but Williams has always left me cold.
People tend to lump Horner and Zimmer together, though they have nothing musically in common. The only thing they have in common is that when people don’t like their music, it’s not that they don’t like it, rather that people REALLY hate it. They just have a punching bag commonality.
People tend to lump Horner and Zimmer together, though they have nothing musically in common. The only thing they have in common is that when people don’t like their music, it’s not that they don’t like it, rather that people REALLY hate it. They just have a punching bag commonality.
I think so too.
There is a difference between composing in the same vein, and sounding exactly the same.
I do think there is a little something in each composer, that makes them sound unique, even if they are writing in a similar style as each other.
But not only was it more underwhelming than the theme he did in part 2, again it’s a third ascending note strikingly reminiscent of the At World’s End theme.
You didn’t hear it in the movie cuz they cut it from the film, but if you heard the Bruce Wayne suite, there it was – 4 minutes of THE TRUE BATMAN THEME in all its synthy GLORY….I actually liked it and wish he used it in the film, but they went for a rehash of the ending theme for the Dark Knight instead, which was…meh. Tolerable, but meh.
That was the only time I ever preferred the demo recording pieces over the final product…
I do think there is a little something in each composer, that makes them sound unique, even if they are writing in a similar style as each other.
I obviously know that, and I maintain that no, they don’t sound alike and they don’t have a very similar style, beyond the fact that they (as most composers) go for a full orchestra and have very melodic music. If they did have a similar style or approach, maybe I would have a better response to Williams instead of one that is basically a polar opposite to Horner. It’s just not my thing. Nothing wrong with it, it’s just not something that resonates with me.
Zimmer is a very unusual composer to me, because it’s as if he’s three different people, and one of them gets a movie at a time:
1. The composer who writes for soloists and a real orchestra for lighter films like "As Good As It Gets" or "The Simpsons" – the composer who is basically in the same vein (to keep that phrase going) as other composers who write more traditional melodic and orchestral fare
2. The keyboard / electronica guy who hammers out ‘Power Anthems’ and endless rhythms over action movies to the point of nauseam (though this is the side of him that got him his fans it seems, and this is the side that gets copied in dozens of other action movies)
3. The ‘Overproducer’ / ‘Overseer’ who crafts maybe one or two themes and farms the rest out to others who imitate his style because he’s either too busy to score a movie himself or…well who knows why he does that compose-by-committee thing.
I just hope that he realizes that MAN OF STEEL requires some hopeful Americana as this film may have pseudo-religious tones. Certainly, there is an apocalyptic scene according to the trailer and BATMAN CHASED just won’t work here.
It is true that we might hear and feel things differently, since I am just a listener, amateur, and not a musician. I don’t have any training in this. but Horner cand give me chills and raise the hairs on the back of my head in almost every score he writes, while Williams, except some moments on the Star Wars scores and his collaborations with Perlman or Yo Yo Ma on various scores, can’t do that. i just don’t feel connected to his music. For me, Williams could never come close to writing something as deep, intense, emotional, harrowing as the themes from Braveheart, for example…
but sometimes he can just be too much
(In War Horse I constantly felt that his music was just telling me how to feel)
I think that the trailer score is just the tip of the iceberg, and it was written just for this trailer, as I don’t notice any odd placed editing. One can only anticipate.
Zimmer is more of a salesman and celebrity than a composer, and in addition to the Joker theme stuff (and his complete and utter dogshit line of saying Danny Elfman’s Batman theme was "jolly", for Rises he said he was finally going to ‘unleash’ his full Batman theme after only hearing a build up to it in the first two films, claiming Batman hadn’t earned it yet. Of course he never delivered on that but he sure made it sound like something to anticipate.
As for who knows what makes for a genuine theme, it’s an interesting question. I’ve never really considered any of the Nolan Batman films to have obvious themes, instead more atmospheric ideas. The characters have "sounds" rather than "themes" if that makes sense.
Couldn’t agree more. Zimmer make stupid statements/promises and nothing comes out of them.
His glorious days are over, I think.
This track is a disappointment.
This year, Brian Tyler IM3 will sweep all other scores. Massive theme and REAL orchestra – at least some people say this after hearing the score.
Symphonic music can manipulate a viewer’s impression of a scene in a manner that electronic music cannot, because electronic sounds do not resonate with human beings in the same way, and orchestral colors (if handled by a master, not Zimmer) can me much more exquisitely "moulded". Orchestral music NEVER gets old. Synthesizers do.
I mean I can see where you are coming from, but I myself have no problem with synthesized music
Sigh. That’s not what I was saying. I don’t have a "problem" with synthesized music, it’s just not as differentiated as acoustic instrumental sounds. Violins e.g. have overtones, each is made of natural woods, each piece with its own "vibration dynamics", and each and every one has an inimitable "voice".
while I do prefer natural instruments, I myself wouldnt say ‘synthetic music’ gets old to me. But thats just me
What is dumb is that you have a problem with intellectual debate. The discussions going on in this thread are fine.
Children of Dune, Far Cry 3.
I think the topic has progressed from just the trailer score. Of course we can’t say this score will be good or bad based on a 2 minute snippet. But we can have a discussion about various composing styles and the changes happening now. I don’t see anything wrong with that, and I had sworn not to participate.
Then stay the fuck out of these threads if you don’t like other’s preferences. No one is complaining here. Go back to your crap Casio keyboard-sounding Zimmer computer sounds or whatever. That is all.
What is dumb is that you have a problem with intellectual debate. The discussions going on in this thread are fine.
Indeed they are. Of course he has a problem with an intellectual debate. Many of Zimmer’s most die-hard fans who cum in their pants over these things are usually plagued with a term Amanda likes to use:
Butthurt.
EDIT: Damn, got ninja’d by haha123…
They only thing they "cleaned up" was the piano opening. They still used the same source, as there are still changes in volume level where there’s supposed to be speaking – the stuff Metrotokyo fixed in my rip. Also, audio is 192k at best 🙂
It probably changes in volume level because they had to make the music softer in order for you to hear the words throughout the trailer. I mean it is technically ‘background’ music, right?
(Sorry for awful quality, but that was what was avalable:))
(http://imageshack.us/photo/my-images/689/443426manofsteelsun.jpg/)(Sorry for awful quality, but that was what was avalable:))
Perhaps one with the Man of Steel out of his costume instead then?
Perhaps!
This one is approved by Shirtless Jurassic Goldblum, the real man of steel !
Loose the brillo pad mullet…and maybe.
v.i. control forum • View topic – Man of steel Trailer [ Guest ] (http://www.vi-control.net/forum/viewtopic.php?t=31102)
he also said, that the "demos" will be released… but where and when.. i don’t know
Man of Steel Trailer 3: John Williams Re-Edit/Re-Score
G Sensat
Someone edited and rescored the trailer on youtube.
Published on 17 Apr 2013
I was asked, so here it is: I’ve edited and re-scored the latest Man of Steel trailer (trailer 3) using the John Williams main theme and other movements from his work for Superman. I was able to subdue most of the trailer’s embedded music, but it got muddled towards the end (so I left out the dialogue). I also added in some sound effects to fill in the quieter moments. I would have added more, but had to move on to something I was actually getting paid to do!
One note/disclaimer: I actually love Hans Zimmer’s film score work, and this is not a swipe at him. I don’t envy his having to step into such an established "musical identity," and wish him the best (as I’d imagine Williams does, too). That said, the John Williams themes are irrevocably tied to Superman for me (and many others). Enjoy!
G Sensat 5 hours ago
I appreciate all the kudos on the edit. To those who have been "offended" by this edit: if you read my description, you’ll see this is a tribute to John Williams and his mastery, not a slam on Hans Zimmer. Still, if you wish to comment on the choice of composer (not the point of this video…but okay), I ask that you disagree without being disagreeable.
Man of Steel Trailer 3: John Williams Re-Edit/Re-Score – YouTube (http://youtu.be/-DUiXZj1c7M)
it sounds okay.
but the placement is extremely off.
the main theme really punches on a scene that shows the villain.
no extra editing was involved to make the music suit the trailer any better.
Can’t blame him too much though…
but had to move on to something I was actually getting paid to do!
Once he took over Batman, they started to despise Elfman and his "jolly" theme.
Once he took over Batman, they started to despise Elfman and his "jolly" theme.
I’m a Zimmer fan and not offended.
Bigot.
Bigot.
Well you should be, just to be stereotypical!
To ease your existence?
I can see where the wind blows. For the ipod listening experience Remote Control is of course the better way. The easy listening experience is the Hans Zimmer way.
The thin red line and the last samurai are the best examples. Wonderfully unobtrusive way to listen to them or to smoke a joint or to ride in the elevator.
John Williams: And yes, it is sometimes hard to hear, because it is complex music, harmonious, discordant, differentiated, that is his great art.
James Newton Howard is more or less the middle ground. Simple, effective music, melodramatic, sometimes discordant, mostly compliant.
And James Horner? Best example Troy vs. Troy rejected by Gabriel Yared.
The problem is not yet the synthesizer. Jerry Goldsmith was a master of both worlds, experimental, loud, quiet, harmonious and disharmonious. Someone who has loved the music.
For him, music was not a job or a commodity, he wrote from conviction. And, unfortunately, all that does not apply to Mr. Zimmer from Frankfurt.
James Newton Howard is more or less the middle ground. Simple, effective music, melodramatic, sometimes discordant, mostly compliant.
And James Horner? Best example Troy vs. Troy rejected by Gabriel Yared.
If that’s your so-called ‘best example’, you sir are piss-poor at making examples.
A score written over the course of an entire year versus a replacement score written AND recorded over the course of 10 to 13 days….moronic comparison.
Ease my existence? I have no idea what you mean by that. I don’t care.
Man of Steel Trailer #3 Music (2013) – Hans Zimmer Score HD – YouTube (http://www.youtube.com/watch?v=oYVO2iydS2I)
A score written over the course of an entire year versus a replacement score written AND recorded over the course of 10 to 13 days….moronic comparison.
The amount of insults does not increase the correctness.
The quality of work is crucial and not how long you work on it. James Horner has not left his comfort zone for a long time, and you can hear it unfortunately.
Gabriel Yared’s score was too complex (to the ears of the producers), this is not James Horner’s fault. Only the result is not very satisfying.
The quality of work is crucial and not how long you work on it. James Horner has not left his comfort zone for a long time, and you can hear it unfortunately.
Gabriel Yared’s score was too complex (to the ears of the producers), this is not James Horner’s fault. Only the result is not very satisfying.
Still, a comparison that simply does not make any sense.
Of course quality and time play a role, as does the demands of the score regarding its use in the film. Besides, of all of Horner’s scores which are infinitely better than "Troy", it remains a poor example of what Horner has done and therefore your point remains unproven. The only reason you chose it was to single him out. Nothing more. Lame examples don’t prove anything when the examples just don’t make any sense.
I have no more interest in a debate. Not to go all school boy, but he started it and I responded. I’m done. Whether he’s done or not is of no concern to me.
I don’t think this music is great, (I like Williams and other orchestral composers) but I do like certain Zimmer scores in a guilty pleasure fashion.
While you may speak of truth and such but the glaring reality is what is perceived to be cool and the current norm of the moment dictates the majority of those who rather joins where there are many as opposed to those who rationalize for quality and lack of quality of his recent works. Question, is that he’s real work? or someone from his pool of underlings doing the magic? Hmmmm.
I liked this theme, I also love Williams work on Superman too, and his Star Wars scores. I’m a big fan of Carter Burwell, Clint Mansell,, Jerry Goldsmith.
But I like this theme, so I can’t have an opinion, so I’m retarded or something. Really?
If you don’t like it, leave! Go enjoy something you do love instead of staying here.
Ironic isn’t it? a little too ironic…
Yeah I really do think..
The reason is because despite what people say negatively about his work, Hans Zimmer is a very popular choice for film scoring…The majority of viewers love it or at least find his music acceptable. If the majority did not, he wouldn’t be a big presence at all in the media. Therefore the arguments are pointless.
If someone says they don’t like him or they criticize him, how and why would that cause a Zimmer fan to feel compelled to defend him? As if Zimmer’s career is in danger and he needs any defense for his work at this point in the game!
lol
I think your black and white thinking is so 16th century, but I really like your passion. Let us stop arguing about taste, because beauty is in the eye of the beholder. Let’s enjoy music instead!
This is an insane statement. Of course it is an opinion. Music is art, and art is always subjective. What one likes, another will hate. I dislike the style Mr. Zimmer uses on most of his scores. I have no opinion about the man himself, or his worth as a composer. All this hate, one way or the other. It’s not healthy. And this was an interesting conversation for just a bit, and has now degenerated, as it seems all such discussions do. I’m out also.
V2 FLAC (https://mega.co.nz/#!vsYhmZ4K!D4jj5kdAiRaaZQSsZinxe0cPQ5pM9FjGuIRZZ36 F3IU)
V2 MP3 (https://mega.co.nz/#!XwY13SwI!Y7tNSToEpXec10scnVax2VVuS6YTpr-3-kMyDJqDsgA)
for those who care, enjoy it.
Can we get mirror links for this? I can’t download anything from that site.
"hate" could be a bit of an exaggeration. More like being passionate in expressing ones opinion that is. And having one’s opinions to be heard or discussed is not even bad but rather healthy so why be so badly hurt with coinciding opinions or contradictions we go through it and live with it like it or not.
Criticism is not a personal attack, deals exclusively with the work. The reactionary behavior of some fan boys makes no sense.
Disagree? Please explain.
LINK:
Download links for Man_of_Steel_-_Trailer_Music___3_(Hans_Zimmer_-__An_Ideal_of_Hope_).mp3 – Mirrorcreator – Upload files to multiple hosts (http://mir.cr/1JNFHYAN)
Man of Steel Trailer #3 Music (2013) – Hans Zimmer Score HD – YouTube (http://www.youtube.com/watch?v=oYVO2iydS2I)
try downloading the 1080p file, the music there has a better bitrate 😉
Fanboys by definition are inordinately bias and therefore cannot be sourced for rational opinion.
Of course quality and time play a role, as does the demands of the score regarding its use in the film. Besides, of all of Horner’s scores which are infinitely better than "Troy", it remains a poor example of what Horner has done and therefore your point remains unproven. The only reason you chose it was to single him out. Nothing more. Lame examples don’t prove anything when the examples just don’t make any sense.
For (http://sonicbrilliance.com/2011/11/troy/) The (http://www.filmscoremonthly.com/articles/2004/09_Jun—Gabriel_Yared_Troy_Reviewed.asp) Ultimate (http://www.aintitcool.com/node/17575) James (http://www.filmtracks.com/titles/troy.html) Horner (http://www.youtube.com/playlist?list=PLFD3C241F4149F184) Fan (http://www.soundtrack.net/content/article/?id=120)
Unfortunately true…
http://forums.ffshrine.org/f92/hans-zimmer-man-steel-trl-3-ideal-131402/6.html
Interesting isn’t it how one trailer, one very well done trailer, and its music have gotten people excited about MOS. Until trailer #3 there was a lot of doubt about the tone and direction MOS would take: would it be like Superman Returns, or The Dark Knight or, dear God like it never come to that, Batman and Robin. Would Snyder deliver a movie along the lines of 300 or would it be another Sucker Punch – visually interesting but narratively weak. And would Zimmer be able to match John Williams score, which if I had to choose only one score, I would choose, with difficulty, Superman. (There was talk about Zimmer working in the minor keys, etc).
Now all that doubt is gone and if I had one must hear score of the sumer, MOS is it.
Yeah, I’m not really a big fan of Supes, but the latest trailer for the film has made me interested.
I agree. It’s one thing to have an opinion, but to make such a disrespectful, condescending attempt to pop other people’s balloon, so to speak, is not simply about intellectually voicing an opinion. It’s just an aggressive display of narcissism and perhaps even one’s nihilistic side rearing its ugly head. Either way, I prefer enthusiasm — whether you like something or hate it — over stubborn cynicism, if not for the simple fact that such expressions feel honest, open, and handed with a matter of respect.
Hans, I can take or leave his work. I really love a lot of his scores, such as Backdraft, The Lion King, The Dark Knight films, Crimson Tide, and so on. But even his lesser work I find decent and listenable. I think he tends to get a bad rap because of his lesser "imitators." His work tends to fit the tone of the films he generally works on and the aesthetics of the filmmakers, such as Christopher Nolan, that he usually works with. I am looking forward to hearing his score for this film, as well as seeing the film itself. 🙂
But you’re not gonna see me telling someone else they suck because they dislike or like Zimmer’s work…That’s just idiotic.
Honestly? I don’t see much of a difference between this Man Of Steel clip and his 3 ascending note At World’s End theme for the Pirates films…It practically follows the same structure when I listen to it….and I don’t really like the guitars or the gimmick he is employing this time where for DKR it was the million sampled voices for the Rise Chant, now it’s a million professional percussionists doing the percussion for Man of Steel….
I know Zimmer’s game. I get his limitations and his modus operandi…And I’m fine with it.
Still, doesn’t mean he sucks…
Then after, listen to this: 8- Parlay (Pirates of the Caribbean At World’s End) – YouTube (http://www.youtube.com/watch?v=vXEAp021_cU)
Insane Troll Logic – Television Tropes & Idioms (http://tvtropes.org/pmwiki/pmwiki.php/Main/InsaneTrollLogic)
To the best of my knowledge, you’re misrepresenting what Hans Zimmer said. The whole bit about Batman earning his theme was actually said shortly after "Batman Begins" came out. During an interview done around the release of "The Dark Knight", he said that he ultimately scrapped those plans because what he had in mind didn’t gel with the second movie. As for the "jolly" comment, Zimmer was apparently paraphrasing what other people were asking him. I don’t think he meant it to be a slam on Danny Elfman, and, really, the Elfman Batman march is rather jolly. (Contrast it with his morose Penguin theme in "Batman Returns".) Coincidentally, the interview with the infamous "jolly" comment was also the one where he declared that he scrapped the "theme" he was promising to build on.
then this: Gladiator Soundtrack : "The Might of Rome". – YouTube (http://www.youtube.com/watch?v=fedRyexbFHQ&feature=youtu.be&t=2m10s)
What do you say?
But you’re not gonna see me telling someone else they suck because they dislike or like Zimmer’s work…That’s just idiotic.
Honestly? I don’t see much of a difference between this Man Of Steel clip and his 3 ascending note At World’s End theme for the Pirates films…It practically follows the same structure when I listen to it….and I don’t really like the guitars or the gimmick he is employing this time where for DKR it was the million sampled voices for the Rise Chant, now it’s a million professional percussionists doing the percussion for Man of Steel….
I know Zimmer’s game. I get his limitations and his modus operandi…And I’m fine with it.
Still, doesn’t mean he sucks…
IMO Zimmer is nothing but a giant Gimmick……
Second thing: My favorite directors make one movie in maybe two years but my favorite composers are doing one every two months. So I won’t expect all masterpieces but I will pick the cherries, no matter if it’s Zimmer or Shore or Martinez. After spending years disliking Zimmer I began to have some respect for him after realizing that he makes shallow blockbuster scores (because that is what producers pay him for) but inside his niche he tries to explore new sounds and integrates influences from popular. To me that is a good thing because it just wouldn’t fit in anymore to work only with a 19th century symphony orchestra and scoring in Wagner/Tchaikovsky style. I am no Zimmer fan, but I like some of his work, I love some of William’s scores. But remembering when film scores were really fresh of ideas, always Bernard Herrmann comes to mind. Still it is fun to listen to his science fiction and fantasy scores like Gulliver’s Travels or The Day The Earth Stood Still. He tried so many things in orchestration and he would have been the first one to work with synthesized sound, if they would have been available to him.
So my conclusion is (if anybody read this to this point): Stop the hating, just ask: Is this a good piece of music that works for outside a movie? Does it give me something I haven’t heard? Do I want to listen to it again?
Well, for myself I can answer all these questions with "no". But I was curious enough to listen to it and read seven pages of discussion. So, thank you very much for the work, antovolk!
Man of Steel Soundtrack Suite – YouTube (http://www.youtube.com/watch?v=4cDo54JGClc)
I think John Ottman’s score is amazing, would have loved to hear his ideas if they ever did a sequel but this upcoming film will be the superman film and score we’ve all wanted because no matter what Hans Zimmer always comes through.
Portraying Lex Luthor as a real estate swindler was a mistake. Singer should have referenced the animated series and made LL the head of LexCorp. A surprising mistake from the man who finally elevated super heroes with X-Men and X2 from the funny to the serious. (Burton started that process but Schumacher pretty much destroyed the advances Burton made.)
Chris Nolan completed what Singer started and I think if MOS works it will be in large measure to Nolan, his brother Jonathan and David Goyer who all understand the importance of making sure your movie has a script with actual dialogue, (a series of one liners does not constitute dialogue), a well constructed plot (something other than explosions every 15 minutes) and people acting like adults as opposed to overgrown children.
Singer’s been on something of a losing streak with Superman Returns, Valkyrie and Jack the Giant Slayer. Hopefully he recovers his mojo for the next X film.
MoS Music – YouTube (http://www.youtube.com/watch?v=kUbFZHsvtk0&feature=player_embedded)
Personally i`m very dissapointed that he got this assignment, i never like this individual with his electronic and sinthesysed oriented scores, it`s a real shame that new Directors in Hollywood seems to have the same tastes, and choose to go with him, or with any of his gang for his movies.
It is my personal opinion, don`t take it the wrong way, maybe it`s just me, i dislike him a lot and it`s a real real shame this situation, when John Williams it was the perfect man for this job, if not posible then Alan Silvestri, James Newton Howard, Christopher Young, John Debney or Patrick Doyle would be a better choice.
Anyway, i`m so sad 🙁
So true. I guess the music is measured at the Box Office.
Superman Returns wasn’t a bad film
I liked it actually.
Portraying Lex Luthor as a real estate swindler was a mistake. Singer should have referenced the animated series and made LL the head of LexCorp. A surprising mistake from the man who finally elevated super heroes with X-Men and X2 from the funny to the serious. (Burton started that process but Schumacher pretty much destroyed the advances Burton made.)
Chris Nolan completed what Singer started and I think if MOS works it will be in large measure to Nolan, his brother Jonathan and David Goyer who all understand the importance of making sure your movie has a script with actual dialogue, (a series of one liners does not constitute dialogue), a well constructed plot (something other than explosions every 15 minutes) and people acting like adults as opposed to overgrown children.
Singer’s been on something of a losing streak with Superman Returns, Valkyrie and Jack the Giant Slayer. Hopefully he recovers his mojo for the next X film.
Superman Returns was not a "bad" film or score, I am just saying that it didn’t really speak to me personally. I have issues with the events in the last half hour or so, from the beating on the new island on, really. I disliked the lack of resistance, and thought his getting shanked in the back was overly cowardly and undignified. I know, Kryptonite island. I think Clark really needs to spend some time with Bruce in the Cave, learning maybe just a few moves not reliant on being a God, ya know? Whenever he gets weakened, it’s like he has no skills at all. Anyhoo….
https://soundcloud.com/watertowermusic/mos_poster/s-LYFjd
If only there was a version higher than 128k…
I couldn’t figure out how to grab a FLAC version of this. I ended up capturing the video via Freecorder’s Video Recorder, which captured it as FLV; the audio was AAC 44 KHz 51 Kbps Stereo. I used FLV Extract, which according to it’s info: FLV Extract is a tiny utility that is a perfect solution for this situation. It allows to extract the embedded audio part from the FLV file in the original as it is form. As a result you will not experience any loss in quality because of the re-encoding because no re-encoding is involved at all. . So here is the AAC file:
https://mega.co.nz/#!n0BAzRjC!Tfb1aXL8e-j5MliBjIVoBh_t8OBDgC6o6BB6l7x5uwY
Hope this helps…if anyone has any better ideas, please feel free to share 🙂
Yeah, I saw that myself…had no idea what it said so I didn’t go that route lol.
———- Post added at 06:06 PM ———- Previous post was at 06:02 PM ———-
Oh the link it takes you to the program iTudou allows you to download the video, not the audio. So that’s the program it takes you to..
Preview 3 min 8 sec of the new Man of Steel score! Revealed through a QR code on the new official poster, users with a QR scanning app can be connected to the song.
Go ahead and take a listen!
http://f.cl.ly/items/3s0I2K2t200X182Z3b1e/music%20preview.mp3
I right clicked and was able to save it – I believe it’s the same 128 bit version that’s on Soundcloud. Anyway, here it is if anyone is interested:
https://mega.co.nz/#!u8AHSQLJ!HLvr7zXs6dxqtKgSzIjR3RA0s6wdCSiPSGJhHoE 3oXQ
Oh no not again… I hate is when albums are leaked/released track by track. Dark Knight Rises was already an exercise of patience to collect all the tracks and bonus tracks…
I’d be delighted to do it myself but i live in Europe…
MP3-128k: Zippyshare.com (http://www31.zippyshare.com/v/89546430/file.html)
Man Of Steel Soundtrack – Experience App – Hans Zimmer – YouTube (http://www.youtube.com/watch?v=kz0V74eSjKw)
Man Of Steel Soundtrack – Experience App – Hans Zimmer – YouTube (http://www.youtube.com/watch?v=kz0V74eSjKw)
actually it says blocked in my country WTF???
WaterTower Music – Man Of Steel: Original Motion Picture Soundtrack – Limited Deluxe Edition (http://www.watertower-music.com/releases_spotlight.php?search=WTM39426)
It seems Zimmer has re-invented himself:)
Hans Zimmer – Man of Steel extended samples – YouTube (http://youtu.be/-F9aajf2lOg)
So good.
Need a single link for this, stat.
It seems Zimmer has re-invented himself:)
I can not imagine.. Madness-drums-unleashed.. Damn Jxl is a king of drums this year he did a good job huh…
https://mega.co.nz/#!msQDWBQC!I4dCe2ccFxwRHzizLz6aShcRWr8JHeOmbObYpQg LMAo
<a href=”http://www.flickr.com/photos/maklarenvisuals/8719091626/” title=”Man of Steel: Original Trailer Music 2 by Maklaren Visuals, on Flickr”>
https://mega.co.nz/#!78RBlCzJ!ej2tKR25TBjq6oIBySoXQjjsAYpf9Miuub0QMew yIEU
The link in the first post needs to be updated, as it still has SFX in it. This one is clean.
Unless I’m totally mistaken, no version of this track has been provided that’s 100% SFX clean.
Check this out. This one is 100% SFX-free. It’s better than the V3 version posted here a long time ago.
This version was leaked in 320kbps MP3 format. I wonder if I can find its original trailer HD video or FLAC file of this version.
This is the original version, the original theme.
Please someone upload this in FLAC!
Anybody still have this in FLAC?
Online Casino Australia
Online Casino UK
Online Casino Canada
