The Amazing Spider-Man 2
Music by: Hans Zimmer & VA
Label: Columbia/Sony
Source: Digital Version
Quality: Mp3-160k
Total Length: 1 hour & 58 minutes
01. I’m Electro
02. There He Is
03. I’m Spider-Man
04. My Enemy
05. Ground Rules
06. Look at Me
07. Special Project
08. You Need Me
09. So Much Anger
10. I’m Moving to England
11. I’m Goblin
12. Let Her Go
13. You’re My Boy
14. I Need to Know
15. Sum Total
16. I Chose You
17. We’re Best Friends
18. Still Crazy
19. The Rest of My Life
20. You’re That Spider Guy
21. The Electro Suite
22. Harry’s Suite
23. Cold War
24. No Place Like Home
25. It’s On Again
26. Song for Zula
27. That’s My Man
28. Here
29. Honest
30. Within the Web (First Day Jam)
31. Ohne zur???ck zu sehen
32. Electro Remix
https://mega.co.nz/#!314WULRC!gd7GlsZNd_CXO5AlCIgO0Wg682Bya124_4QzE5m Pv6w
Thank you!!!!!!!!!
I???ve seen the film and it doesn???t…. it???s truly awful….. both score and film
Some parts of this sound promising, but by the end I’m left with this cold feeling that film scores will never be the same again and that somehow this score could be worse than Man of Steel.
What the hell, that’s a theme for Electro, just like that car crash sound for The Winter Soldier.
I will salvage the few pieces from this score.
Thanks for the share though, Goback 🙂
The Amazing Spider-Man 2
Hans Zimmer and The Magnificent Six; Pharrell Williams; Johnny Marr
Released: 2014
Format: MP3 160kbps
Size: 142 MB
Tracklista
"01. I’m Electro [00:47]
02. There He Is [02:54]
03. I’m Spider-Man [01:04]
04. My Enemy [08:18]
05. Ground Rules [01:12]
06. Look at Me [03:10]
07. Special Project [03:14]
08. You Need Me [03:17]
09. So Much Anger [02:12]
10. I’m Moving to England [01:03]
11. I’m Goblin [03:42]
12. Let Her Go [00:34]
13. You’re My Boy [02:57]
14. I Need to Know [05:00]
15. Sum Total [02:51]
16. I Chose You [01:34]
17. We’re Best Friends [02:17]
18. Still Crazy [02:42]
19. The Rest of My Life [02:28]
20. You’re That Spider Guy [05:30]
21. The Electro Suite [12:36]
22. Harry’s Suite [10:07]
23. Cold War [03:28]
24. No Place Like Home [01:53]
25. It’s On Again (Alicia Keys feat. Kendrick Lamar) [03:50]
26. Song for Zula (Phosphorescent) [06:10]
27. That’s My Man (LIZ) [03:47]
28. Here (Pharrell Williams) [04:38]
29. Honest (The Neighbourhood) [03:57]
30. Within the Web (First Day Jam) (Czarina Russell; Hans Zimmer and The Magnificent Six) [04:31]
31. Ohne zur???ck zu sehen (Tim Bendzko) [03:39]
32. Electro Remix (Alvin Risk and Hans Zimmer) [03:28]"
ul.to
http://uploaded.net/file/xkuvkgny/TASM2-HZ.rar
rg.to
http://rg.to/file/d54daf5b37dd67c561272fdb15307e8b/TASM2.HZ.rar.html
freakshare.com
http://freakshare.com/files/k7s15kx5/TASM2.HZ.rar.html
rapidu.net
http://rapidu.net/3843303439/TASM2-HZ.rar
Enjoy and Please Say Thanks 🙂
A great THANK YOU for this.
Some parts of this sound promising, but by the end I’m left with this cold feeling that film scores will never be the same again and that somehow this score could be worse than Man of Steel.
What the hell, that’s a theme for Electro, just like that car crash sound for The Winter Soldier.
I will salvage the few pieces from this score.
Thanks for the share though, Goback 🙂
What should set alarm bells ringing is not the fact that this is so shit it???s an embarrassing listening experience is the fact that Webbs choice was not Horner or Zimmer for the sequel but fuckin Jablonski…. us film score fans are fucked… truly fucked….doomed I tell ya…..
Make no mistake the Zimmer fanboys will hail this as Epic/masterful and the best thing to come out and the Spidey-Theme pisses all over Horners 😉 sad times we live in indeed
Zimmer once said that he would write music that Peter Parker would listen to…. I guess he was lying through his fuckin teeth 😉
Still the best Spider-Man score is Christopher Youngs Spider-Man 3 imo
"This is the most offensive science report I have ever heard! How could you do such a thing?" – "Eh, Beavis helped me!" 😉
The Amazing Spider-Man 2
Music by: Hans Zimmer & VA
Label: Columbia/Sony
Source: Digital Version
Quality: Mp3-160k
Total Length: 1 hour & 58 minutes
01. I’m Electro
02. There He Is
03. I’m Spider-Man
04. My Enemy
05. Ground Rules
06. Look at Me
07. Special Project
08. You Need Me
09. So Much Anger
10. I’m Moving to England
11. I’m Goblin
12. Let Her Go
13. You’re My Boy
14. I Need to Know
15. Sum Total
16. I Chose You
17. We’re Best Friends
18. Still Crazy
19. The Rest of My Life
20. You’re That Spider Guy
21. The Electro Suite
22. Harry’s Suite
23. Cold War
24. No Place Like Home
25. It’s On Again
26. Song for Zula
27. That’s My Man
28. Here
29. Honest
30. Within the Web (First Day Jam)
31. Ohne zur???ck zu sehen
32. Electro Remix
https://mega.co.nz/#!314WULRC!gd7GlsZNd_CXO5AlCIgO0Wg682Bya124_4QzE5m Pv6w
Thanks so much for sharing this link. Gonna take a listen to this soundtrack right now. All we need now is a booklet.
I mostly like Zimmer when he is creating new sound (as opposed to copying his old works), but a lot of this score is just unlistenable noise. Where is the heroism in this? Batman and even Man of Steel had at least a little of that.
I get the feeling that this would have been a rejected score, IF the producer’s name weren’t Hans Zimmer. Now I see why Webb wanted Jablonsky. That guy may stand for the old RC style, but at least he is easy on the ears.
Have truer words been spoken?
Nope.
It happened in 2012 when The Dark Knight Rises was compared to Horner’s score for the first Spider-Man. Endless comparisons about how Zimmer was king and this simplistic Catwoman piano was the greatest invention there was, so full of incredible emotion….something Horner comes up with in his sleep but since he’s not Zimmer, he’s trash….just like Williams is trash and Man of Steel is pure gold. Elfman’s Batman is crap compared to Zimmer’s.
Happens all the time.
Zimmer fanboys must trash others in order to make Zimmer seem better….no room for anyone else in their ears.
Me, "Horner Fanboy" am giving this score a fair chance.
I have room for both Horner’s and Zimmer’s approaches if I like this score.
As for the score, liking it so far, and loved Horner’s too.
We’ll see.
Guess you have your reasons to insult and hate for a simple soundtrack that isn’t your thing. It’s like watching films of the gnere you most hate just to have something to complaing and scream about. Sad really.
Also, Disc 2 isn’t that great thanks to the songs, and the Electro suite is weird as hell 😀
———- Post added at 12:12 PM ———- Previous post was at 11:57 AM ———-
Wondering what’s missing too, since the film is 2 hours and 32 minutes long, I doubt this is all the music in the film. Maybe, as with some films happens, the recording sessions are a better listening experience.
Nope.
It happened in 2012 when The Dark Knight Rises was compared to Horner’s score for the first Spider-Man. Endless comparisons about how Zimmer was king and this simplistic Catwoman piano was the greatest invention there was, so full of incredible emotion….something Horner comes up with in his sleep but since he’s not Zimmer, he’s trash….just like Williams is trash and Man of Steel is pure gold. Elfman’s Batman is crap compared to Zimmer’s.
Happens all the time.
Zimmer fanboys must trash others in order to make Zimmer seem better….no room for anyone else in their ears.
Me, "Horner Fanboy" am giving this score a fair chance.
I have room for both Horner’s and Zimmer’s approaches if I like this score.
This is absolutely not true. On the internet (and, specifically speaking, on this board) I see MUCH more hatred than love for Zimmer’s works (just look at the comments on the multiple Man of Steel threads). And this hatred comes mainly from Horner or Williams fans.
Zimmer always creates new universes, works with different people, deliver in lots of different genres (Man of Steel, Lone Ranger, Rush, Winter’s Tale and now Spider Man 2, they are all totally and completely distinct from each other). He’s incredibly open-minded to new styles and experimentations, something that cannot be said of a lot of modern filmmusic composer…
Certainly more inventive than Horner’s generic score
Certainly more inventive than Horner’s generic score
you see people… read that last line from the quote …. that is the reason why we are fucked and the end of talented composers ever getting to write for a full orchestra 😉
Zimmer always creates new universes, works with different people, deliver in lots of different genres (Man of Steel, Lone Ranger, Rush, Winter’s Tale and now Spider Man 2, they are all totally and completely distinct from each other). He’s incredibly open-minded to new styles and experimentation, something that cannot be said of a lot of modern film music composer…
Truer words. I just don’t understand why all the hatred and saltiness when it comes to Hans’ composed work (see the Robocop’s soundtracks– The late Basil Poledouris [1987] vs. Pedro Bromfman [2014]). After listening to the Deluxe Edition of The Amazing Spidey 2, I thought it was great… especially the first track that scares the crap out of me. There was some touching moments in the middle of the first disc while the rest is just fun and interesting. Can’t wait to watch that sequel next month. Overall, I give it a B-.
you should listen to more scores.
And since when is orchestral = good?
Goldenthal does(or did) orchestral music and it was unique and great
Horner does orchestral music and it’s mostly generic
But without a strong main theme (Superheroes need a strong main theme in my opinion), it’s another missed effort. Horner’s didn’t set the world on fire, but at least it had a strong main theme, and a very good love theme (it was hardly generic, too). There’s none of that here. It feels like a back catalogue for previously unused ideas.
A failed experiment is the nicest thing I can think of for this.
We can’t enjoy or not like anything without coming to this drama and bitching and crying, pathetic.
I’m not a digging either of the composers, this is just my opinion. maybe it will grow on me as i had expectations for zimmers work.
So…there are two different internets?
Because I’m not just referring to film music websites. I’m referring to more generalized movie sites, sites where film fans are more abundant than film SCORE fans.
Superherohype, imdb, collider, etc, just about any generalized board for movies, genre movies, comics, whatever the subject. Film music boards are elitist as hell, true. No argument there.
And it will never end ;(
And since when is orchestral = good?
Goldenthal does(or did) orchestral music and it was unique and great
Horner does orchestral music and it’s mostly generic
I have more than scores than I can count…… your last line proves to me that you don???t listen to scores yourself because Horners score are anything but Generic ….. Shirley Walker has said a few interesting things about Goldenthal wasteful use of an Orchestra … personally I think he???s a genius …. I???ve met him a few times…. a really nice guy
Orchestral music used in the right way can really make a picture come alive … really supports the image….. If you think what Zimmers does to an orchestra is healthy well I just don???t have any hope for future scores
———- Post added at 08:56 PM ———- Previous post was at 08:56 PM ———-
I’m tempted to download this just to get a hear of how bad this really smells.
It???s bad …. smelly shit
———- Post added at 08:59 PM ———- Previous post was at 08:56 PM ———-
Truer words. I just don’t understand why all the hatred and saltiness when it comes to Hans’ composed work (see the Robocop’s soundtracks– The late Basil Poledouris [1987] vs. Pedro Bromfman [2014]). After listening to the Deluxe Edition of The Amazing Spidey 2, I thought it was great… especially the first track that scares the crap out of me. There was some touching moments in the middle of the first disc while the rest is just fun and interesting. Can’t wait to watch that sequel next month. Overall, I give it a B-.
Not sure what you meant by this …. The late Basil Poledouris [1987] vs. Pedro Bromfman [2014]) …. because the 2014 version was a steaming pile of Horse manure …. an abomination of EPIC proportions
Oh you know "A million threads are coming of arguments". Horner VS. Zimmer
Yep. I was gonna post my thoughts on being "a Zimmer fanboy" and how we’re always stating Zimmer scores are superior to everything else. I have an argument against this, but it’s not worth getting into.
Oh I think its worth it. Personally, I feel the bigger problem on this thread is all the Zimmer haters! Yes Zimmer fanboys can get a little annoying, but nowhere as annoying as the Zimmer haters.
I think that most of the users who claim they hate this score, would actually like it (or not hate it as much) if Zimmer’s name wasn’t attached to it. That, or they are just whining that it isn’t a traditional orchestral score. I think they would automatically hate anything with his name attached. It pisses me off really.
Now I can understand if you truly don’t like this score, but I personally think its not bad at all, and defiantly not as bad as all the haters are saying. A lot of you are saying its garbage. Really? There is some REAL garbage film score, this is not one of them. It defiantly wont become my favorite Zimmer score, but its decent. I like the incorporation of the dubstep elements myself.
Oh no, you’re gonna make me giggle too?
OK… big breath…
…that’s profoundly dumb, dude.
OK… big breath…
…that’s profoundly dumb, dude.
gururu… ask yourself this question. Why so serious?
———- Post added at 03:28 PM ———- Previous post was at 03:27 PM ———-
Man, this thread bored me to death, I’m gonna keep listening to the score, quite entertaining instead of just rants and complains and "I’m better for hating Zimmer." comments.
I second that, Clovie.
I am totally not a fan of all this dubstep/skillrex style in trailers and scores. It really hasn’t anything to do with ‘musicality’ for me anymore. I like the more dramatic tracks. But all the rest is totally meh.
Also, when you listen to it with headphones you will notice a ‘best of RCP soundeffects’. There is Crysis 2, Inception, Pirates 4, Angels & Demons, …
But as soon I read who his collaborators where for this score I really hadn’t high hopes anyway 🙂
Thanks so much.
Not really. It happens all the time. Hating on just a name…
A recent example of this is for the upcoming TMNT film. A lot of people are shitting on Michael Bay for how bad they think the film looks, when in reality, all he did was cast Megan Fox and Fund the film. But because his name is on the trailers, and the fact that there are a ton of Michael Bay haters, they all blame him for how the film looks terrible. They should be blaming Jonathan Liebesman.
———- Post added at 03:28 PM ———- Previous post was at 03:27 PM ———-
I second that, Clovie.
Serious?
OK, so, it’s hard to get the lame comedy beats down around here so, if this were an episode of Friends, I’d be Chandler and hack3rman would be Joey. How’s that?
Well that would make me the funniest…
Then again, most things are funnier than a Zimmer hater.
A recent example of this is for the upcoming TMNT film. A lot of people are shitting on Michael Bay for how bad they think the film looks, when in reality, all he did was cast Megan Fox and Fund the film. But because his name is on the trailers, and the fact that there are a ton of Michael Bay haters, they all blame him for how the film looks terrible. They should be blaming Jonathan Liebesman.
You’re absolutely right. Plus, the worst part is that the movie LOOKS actually well-made. But Michael’s name is enough to upset legions of haters looking for an easy target.
I think that most of the users who claim they hate this score, would actually like it (or not hate it as much) if Zimmer’s name wasn’t attached to it. That, or they are just whining that it isn’t a traditional orchestral score. I think they would automatically hate anything with his name attached. It pisses me off really.
Now I can understand if you truly don’t like this score, but I personally think its not bad at all, and defiantly not as bad as all the haters are saying. A lot of you are saying its garbage. Really? There is some REAL garbage film score, this is not one of them. It defiantly wont become my favorite Zimmer score, but its decent. I like the incorporation of the dubstep elements myself.
Ok then, here it goes.
Am I a Zimmer fanboy? You’re God damn right I am. I have been listening to Zimmer since 1994 when I got The Lion King soundtrack on cassette (yes, a cassette – you dinosaurs know what that is). I played that thing to no end until I one day lost it. I am not just a Zimmer fanboy, I listen to almost everything, emphasis on almost. I have the same outlook on film scores I have on food: I will try anything and everything. Even if I know it’s gonna be nasty, I will try it just to say I tried it and didn’t puss out and say "I don’t like it". And that’s how I see the Zimmer haters: wimps who are pussing out saying "eww, I don’t like it" before even trying it. I’m sure some haters have tried it, and naturally, they hated it. That’s understandable. But to just look at it and see Zimmer’s name on it and judge without even listening is not right. You never know what you’re going to like until you try it.
A lot of Zimmer haters grew up with older scores and therefore Zimmer is not their taste. I get it: he uses synthesizers and all this modern-day technology, whereas old timers like Williams use a full-fledged orchestra, the way scores used to be done. But times have changed. Now I’m not saying that orchestra isn’t the way to go anymore, it’s just that it’s becoming less and less popular. I’m not huge on orchestra myself (typical, since I’m just a dumb Zimmer fanboy, right?), but I do have some favorites. Lawrence of Arabia, Raiders of the Lost Ark, Jurassic Park, Lord of the Rings, The Omen and i, Robot. And Horner, too. I love Casper, Titanic, Braveheart and Avatar. Hornor has a specific sound that Zimmer cannot match (and I’m really hoping TASM1 has his trademark sounds), and I hope Zimmer never does. I love Zimmer to no end, but just because he’s the most listened to composer of all my music (according to iTunes, I’ve listened to "Sent Here for A Reason" from MoS 363 times), does not mean I worship him and think he’s the God of composers like I have seen other people rant about? No. And I’m sure I’m not the only fanboy who listens to music other than Zimmer, or even RCP for that matter. I understand that some of his stuff people just hate, and I feel sorry for those people. Escpecially the scores to good movies (good imo, anyway), too. I’ve seen comments like "Inception caused my ears to bleed". If that’s the case – see a doctor, get the fuck over it and evaluate your life. It’s almost heartbreaking to see all the hate for MoS, given I thought it was such a great movie and the score so beautiful at times. I remember siitting in the theatre with tears coming from my eyes when "Sent Here for A Reason" played, it felt so perfect to what I was seeing on film. To go from that and then to seeing people say they loathe it, it’s such a pity. I would absolutely hate to love a film where the score was horrible. Fortunately for me, that’s almost never the case. The score is so important to me where if I don’t like it, I’ll most likely not end up liking the film.
So to the haters who think us Zimmer fanboys drool all over a Zimmer score and never give praise to anything else – think about this the next time. We’re not all the same, we don’t all listen to just Zimmer. And it might be healthy for you to just give something a try for once in your life. Be adventurous, go out of your comfort zone, don’t puss out. You may just be happy you tried the caviar and didn’t stick with boring mac and cheese. End of Zimmer fanboy rant. Over and out.
That is very hopeful.
I, personally, do not hate Zimmer. But I was biased coming in to this because Horner is my favorite composer and his first ASM score was almost a masterpiece.
Despite all of that, Zimmer’s Spidey score KICKS MAJOR ASS. You heard it here, folks. This score is awesome. It has themes, heroism, awesome creative ideas, and a sense of "fun" that’s been missing in scores like Man of Steel and Dark Knight. It doesn’t get caught up in all this dreary "way too serious" emotional crap that Zimmer has been pulling recently. He has FUN with it, and it shows in the score. I bet if it sounded like that generic piece of crap that Jackman wrote for Captain America, Zimmer fanboys would be drooling over it. But no- Zimmer actually did something ORIGINAL this time and fanboys feel betrayed.
Spider-Man scores live on!
Am I a Zimmer fanboy? You’re God damn right I am. I have been listening to Zimmer since 1994 when I got The Lion King soundtrack on cassette (yes, a cassette – you dinosaurs know what that is). I played that thing to no end until I one day lost it. I am not just a Zimmer fanboy, I listen to almost everything, emphasis on almost. I have the same outlook on film scores I have on food: I will try anything and everything. Even if I know it’s gonna be nasty, I will try it just to say I tried it and didn’t puss out and say "I don’t like it". And that’s how I see the Zimmer haters: wimps who are pussing out saying "eww, I don’t like it" before even trying it. I’m sure some haters have tried it, and naturally, they hated it. That’s understandable. But to just look at it and see Zimmer’s name on it and judge without even listening is not right. You never know what you’re going to like until you try it.
A lot of Zimmer haters grew up with older scores and therefore Zimmer is not their taste. I get it: he uses synthesizers and all this modern-day technology, whereas old timers like Williams use a full-fledged orchestra, the way scores used to be done. But times have changed. Now I’m not saying that orchestra isn’t the way to go anymore, it’s just that it’s becoming less and less popular. I’m not huge on orchestra myself (typical, since I’m just a dumb Zimmer fanboy, right?), but I do have some favorites. Lawrence of Arabia, Raiders of the Lost Ark, Jurassic Park, Lord of the Rings, The Omen and i, Robot. And Horner, too. I love Casper, Titanic, Braveheart and Avatar. Hornor has a specific sound that Zimmer cannot match (and I’m really hoping TASM1 has his trademark sounds), and I hope Zimmer never does. I love Zimmer to no end, but just because he’s the most listened to composer of all my music (according to iTunes, I’ve listened to "Sent Here for A Reason" from MoS 363 times), does not mean I worship him and think he’s the God of composers like I have seen other people rant about? No. And I’m sure I’m not the only fanboy who listens to music other than Zimmer, or even RCP for that matter. I understand that some of his stuff people just hate, and I feel sorry for those people. Escpecially the scores to good movies (good imo, anyway), too. I’ve seen comments like "Inception caused my ears to bleed". If that’s the case – see a doctor, get the fuck over it and evaluate your life. It’s almost heartbreaking to see all the hate for MoS, given I thought it was such a great movie and the score so beautiful at times. I remember siitting in the theatre with tears coming from my eyes when "Sent Here for A Reason" played, it felt so perfect to what I was seeing on film. To go from that and then to seeing people say they loathe it, it’s such a pity. I would absolutely hate to love a film where the score was horrible. Fortunately for me, that’s almost never the case. The score is so important to me where if I don’t like it, I’ll most likely not end up liking the film.
So to the haters who think us Zimmer fanboys drool all over a Zimmer score and never give praise to anything else – think about this the next time. We’re not all the same, we don’t all listen to just Zimmer. And it might be healthy for you to just give something a try for once in your life. Be adventurous, go out of your comfort zone, don’t puss out. You may just be happy you tried the caviar and didn’t stick with boring mac and cheese. End of Zimmer fanboy rant. Over and out.
Looks like you and I are the same type of Zimmer fanboy! 😀 We love his music, but don’t think he’s the god of composers. I really love the analogy you used with food and trying new things. Never though of it that way. 😛
I also use to have The Lion King soundtrack on cassette, but then it broke and my parent bought me the CD. Today that is STILL my all time favorite Zimmer score, and Im so glad Scorepanos shared the score with us before he left. All the haters who say he uses too much synth and electronics in his scores obviously haven’t listen to his score for The Lion King! Yes there are synths and electronic music in there, but its at a bare minimum!
As far as Horners score for Spiderman having his trademark sounds? Dont hold your breath, I was personally a little disappointed with his score for TASM, but I still overall enjoyed it.
Thanks for the link…
I agree that it looks well made, defiantly better than the previous films. I’m actually looking forward to seeing it!
Your ears were blessed by the epicness of Messiah Hans Zimmer 🙂
You’re gonna burn in some hell where the Inception BWAAAHHHHHHHH plays on infinite loop for saying’ that, you know that, right?
Those vocals! Why?!
I can stand the electronic influences. But wow….those awful vocals destroy ANY creditably this had sonically for me.
Let me be clear though, THANK YOU for this post anyway!!!!
Am I a Zimmer fanboy? You’re God damn right I am. I have been listening to Zimmer since 1994 when I got The Lion King soundtrack on cassette (yes, a cassette – you dinosaurs know what that is). I played that thing to no end until I one day lost it. I am not just a Zimmer fanboy, I listen to almost everything, emphasis on almost. I have the same outlook on film scores I have on food: I will try anything and everything. Even if I know it’s gonna be nasty, I will try it just to say I tried it and didn’t puss out and say "I don’t like it". And that’s how I see the Zimmer haters: wimps who are pussing out saying "eww, I don’t like it" before even trying it. I’m sure some haters have tried it, and naturally, they hated it. That’s understandable. But to just look at it and see Zimmer’s name on it and judge without even listening is not right. You never know what you’re going to like until you try it.
A lot of Zimmer haters grew up with older scores and therefore Zimmer is not their taste. I get it: he uses synthesizers and all this modern-day technology, whereas old timers like Williams use a full-fledged orchestra, the way scores used to be done. But times have changed. Now I’m not saying that orchestra isn’t the way to go anymore, it’s just that it’s becoming less and less popular. I’m not huge on orchestra myself (typical, since I’m just a dumb Zimmer fanboy, right?), but I do have some favorites. Lawrence of Arabia, Raiders of the Lost Ark, Jurassic Park, Lord of the Rings, The Omen and i, Robot. And Horner, too. I love Casper, Titanic, Braveheart and Avatar. Hornor has a specific sound that Zimmer cannot match (and I’m really hoping TASM1 has his trademark sounds), and I hope Zimmer never does. I love Zimmer to no end, but just because he’s the most listened to composer of all my music (according to iTunes, I’ve listened to "Sent Here for A Reason" from MoS 363 times), does not mean I worship him and think he’s the God of composers like I have seen other people rant about? No. And I’m sure I’m not the only fanboy who listens to music other than Zimmer, or even RCP for that matter. I understand that some of his stuff people just hate, and I feel sorry for those people. Escpecially the scores to good movies (good imo, anyway), too. I’ve seen comments like "Inception caused my ears to bleed". If that’s the case – see a doctor, get the fuck over it and evaluate your life. It’s almost heartbreaking to see all the hate for MoS, given I thought it was such a great movie and the score so beautiful at times. I remember siitting in the theatre with tears coming from my eyes when "Sent Here for A Reason" played, it felt so perfect to what I was seeing on film. To go from that and then to seeing people say they loathe it, it’s such a pity. I would absolutely hate to love a film where the score was horrible. Fortunately for me, that’s almost never the case. The score is so important to me where if I don’t like it, I’ll most likely not end up liking the film.
So to the haters who think us Zimmer fanboys drool all over a Zimmer score and never give praise to anything else – think about this the next time. We’re not all the same, we don’t all listen to just Zimmer. And it might be healthy for you to just give something a try for once in your life. Be adventurous, go out of your comfort zone, don’t puss out. You may just be happy you tried the caviar and didn’t stick with boring mac and cheese. End of Zimmer fanboy rant. Over and out.
Nice post… well written and I respect that…… I would condsider myself a Zimmer hater because for the last 20 years…. yes 20 years his scores have sucked donkey balls…. why 20 years you say…. well I was going to say 30 but I thought I’d be kind…. the last score I liked from Zimmer was Pacific Heights…. saw it in the cinema and was blown away…. ahhhhh great I thought a new voice to the film world….. Zimmer is the George Lucas of the scoring world…… Once had a talent and a vision but then became a corporate whore …. yes Zimmer is a corporate whore …. he’s no more interested in scoring films but using his name to keep his fucking remote control studios running ….. that’s it ….. he has been like this since he set up Media Ventures ….. corners the market …. dominate the scoring world with a sound so that every fuckin film you see has his trademark sound and melodies composed by many of his 25 collaborators at his studio …. what Zimmer has done is simply forbide up and coming talents to explore film music by been givin the chance to score movies…. I mean even now talents such as Brian Tyler have been forced to use Zimmer style and sound …. patrick doyle to name another…. where are the up and coming future generation of composers that are seeped in Film score tradition ….. no where to be seen or heard …. ya know why because Zimmer has the movie world in the palm of his hand …. The Cunt …..
Now onto the I don’t like Zimmer because he uses synths….. to be honest I don’t give a fuck what he uses to be honest …. Barry,Williams,Goldsmith have all used synths in their scores…. but these composers that I’ve mentioned have used them in a unique way…. What Zimmer does is takes what’s popular at this present time and forces it into his scores…. case in point Dubstep in TASM 2….. Dubstep …. jesus christ Dubstep….. he then uses a circle of drummers for the MOS….. really why…. what does it offer to the film….. or the soundtrack….. nothing…. it’s just something cool for Him to market himself through idiotic EPKs …. Now one of my favourite scores is Goldsmiths Planet Of The Apes….. now that is someone writing a score to challenge the listener and also expressing himself musically….. this is something Zimmer never does or has the ability or talent….
Do I hate Zimmer the Man …..nope I’ve met him a few times and he’s a really nice guy …… Do I hate his music…. you bet ya ….. His Dark Knight trilogy sucked major balls….. all the best bits were from James Newton Howard as far as I’m concerned …. you saw the results when he was left to his own devices for The Dark Knight Rises…. a score so bad it didn’t even compliment the movie…. in fact I would say the worst spotted and composed music for film was his Man Of Steel score …… it was so bad it just made the film worse for me…. you see I love film music whether be it Williams, Goldsmith,Horner,Barry,Ottman,David Arnold,Silvestri,Goldenthal,Desplat,Doyle,Tyler… .. you see what all these composer have in common imo is that they enhance the scene with music, makes the listener feel something…. Zimmers music is just there…. whether it’s the banging,the droning or the 2 sustained chords that seem to go on for ever …. it doesn’t evoke nothing as an audience member as far as I’m concerned…..
Well I hope you are not too offended by what I wrote….. oh and I loved your food analogy …….
Oh and one more thing ….. I’ve seen The Amazing Spider-Man 2 and it’s shit ….. and Zimmer’s score sucked major dick…. it was fuckin awful ….. there was nothing in the film that rivaled Horners music for when Spider-Man was swinging through New York…. watch the ending of the fist one and if Horners score doesn’t give ya goosebumps well all hope is lost 🙂
———- Post added at 12:44 AM ———- Previous post was at 12:43 AM ———-
You’re gonna burn in some hell where the Inception BWAAAHHHHHHHH plays on infinite loop for saying’ that, you know that, right?
I don’t mind because that BWAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHH wasn’t created by Zimmer…. 😉
You expected something different after that first piece of shit movie??
When I heard Zimmer was attached to the movie I knew it was going to be garbage but as a longtime Spider-Man fan I’d hoped for something better…. You could tell that Raimi had a love for the character ….. Webb seems like a studio Yes man ….. Oh and I’ll never watch another movie with Orci and Kurtzman as writers again…. fuckin hacks the pair of them
*rant on*
you need to get out and GET A LIFE (sorry for yelling and sorry for quoting the Shat). There???s more to life than scores. I know, for all of us this is a hobby we love and adore… but there are other important things. I for example enjoy reading, eating, sex, people, movies, going outside in the summer (not particularly in that order). Just last week I cleaned the windows of our house; the result made me extremely happy. Have you ever asked yourself, why I take so long for my Deluxe Editions? In fact, I don???t. I work for 2-3 days at max on one Edition (on occasion a whole week), the weeks or months inbetween I do something else more important to me at that moment.
And some people need to view things more differentiated, i.e. with more shades of grey. Also, some people need to shoot the high horse they???re sitting on. Really, filmmusic is not just an orchestra. How limited is that? If there???s one thing movie making history has taught us it???s that scores are one of the most versatile instruments available to film. You can mix countless styles, styles that evolved over the course of several centuries, into just one score. Why not include electronic elements? After all, the composer I myself regard as God (Jerry of course) almost singlehandedly introduced artificial elements into orchestral filmscores. And even though I???m the biggest Jerry-fanboy on the planet I???m still able to say that some of those synths sound baaaaadly dated. And that he produced some really awful and shitty scores. And the best ones in existence. And some mediocre inbetween.
The same goes for Horner. For Zimmer. For JNH. For Danny Elfman. I???m not a fanboy of Zimmer, nor am I a fanboy of Horner. Still, both have produced incredible scores. And both have produced piles of shite. I won???t just listen to John Williams only just because he???s brilliant (he is). But so is Zimmer. He???s brilliant at what he does. And you can be sure that he???s hard working. Otherwise he wouldn???t be where he is now. I???m not saying that everything he does is gold. I hate that he repeats himself, I hate that he just uses/incorporates the work of others without evolving himself… which is something I really hope will happen some day. I hope that some day he will wake up and say "Crap, I???ve been doing the same kind of music long enough, I need to stop, take a breath and learn something new myself." 20 years ago he used to have a feeling as to what music would be perfectly suited for a particular kind of movie. For me, this talent has slowly dwindled away during the last 8 years (The DaVinci Code is 8 years old). I also hate how he uses marketing to sell something as new when in reality it???s just an old hat.
But apart from that? What???s there to say against MoS? It???s a good score! Services the movie, musically it???s not inventive but rock hard solid work (really – apart from the typical suspense building that leads to nothing), stylistically extremely consistent. The latter is one of the reasons why I love love love ‘Inception’. Stylistically brilliant. Certainly not transcendent as he would have liked people to believe. But still a lecture in style. Oh, and I???d take the OST any second over the sessions. Just because it flows much better.
*rant off*
For all the people spewing hate at Horner: why don???t you listen to the Deluxe Edition I produced for the 2012 movie? It???s almost complete, certainly sounds wonderful and is musically interesting. Here it is: Thread 171369
Listen to it and compare it to the sequel score. I???m sure there???s something worthwhile to find in both scores. But you???d need to listen to both 😉
Am I a Zimmer fanboy? You’re God damn right I am. I have been listening to Zimmer since 1994 when I got The Lion King soundtrack on cassette (yes, a cassette – you dinosaurs know what that is). I played that thing to no end until I one day lost it. I am not just a Zimmer fanboy, I listen to almost everything, emphasis on almost. I have the same outlook on film scores I have on food: I will try anything and everything. Even if I know it’s gonna be nasty, I will try it just to say I tried it and didn’t puss out and say "I don’t like it". And that’s how I see the Zimmer haters: wimps who are pussing out saying "eww, I don’t like it" before even trying it. I’m sure some haters have tried it, and naturally, they hated it. That’s understandable. But to just look at it and see Zimmer’s name on it and judge without even listening is not right. You never know what you’re going to like until you try it.
I wouldn’t say my tastes are the same as yours regarding film music, but I have a similar outlook on Horner that you do for Zimmer.
When it comes to Zimmer’s music, it’s more his style I’m not a fan of, similar to how I’m not a fan of Goldsmith’s style.
Every composer has a sound that identifies them, even by a few notes. Most of the time I’m not into Zimmer’s sound. The exceptions I’ve found are the Dark Knight trilogy scores, The Simpsons Movie (Zimmer’s Homer theme is a great alternate to Elfman’s Simpson title theme), Crimson Tide (fantastic theme. It’s damned awesome and is easily (to me) the best representation of Zimmer’s overall sound…I CAN enjoy it at times), and Gladiator. I’m no "Pirates of the Caribbean" fan at all but something about the swashbuckling battle theme in Gladiator (heard in "The Battle" and "Barbarian Horde") is pretty cool.
I should also mention that Simpsons Movie, along with other animated films he’s been involved with, don’t have that sound people associate Zimmer with anyway. It’s a departure from it and a welcome one.
What can I say about Zimmer’s Amazing Spider-Man 2 as someone who is totally in love with Horner’s score for the first film?
Not much since I haven’t heard much of it yet. I heard the first 4 tracks so far. The two words I can describe what I’ve heard so far are "weird" and "fun".
It’s really, really weird. It’s also a lot of fun.
Everything the marketing and the overall look of the film suggests that TASM 2 is a much bigger, more colorful ‘comic book movie’ than the more restrained first film was and the music is a clear reflection of that.
Horner’s score did not have to be so flashy or off-the-wall because the film wasn’t about that. This new film clearly is and has a score to represent that. For that alone personally, as a "Horner fanboy" I don’t see the need to really compare the two just yet. I can say though, that Horner’s title theme will not be unseated as my dear favorite any time soon.
A lot of Zimmer haters grew up with older scores and therefore Zimmer is not their taste. I get it: he uses synthesizers and all this modern-day technology, whereas old timers like Williams use a full-fledged orchestra, the way scores used to be done. But times have changed. Now I’m not saying that orchestra isn’t the way to go anymore, it’s just that it’s becoming less and less popular. I’m not huge on orchestra myself (typical, since I’m just a dumb Zimmer fanboy, right?), but I do have some favorites. Lawrence of Arabia, Raiders of the Lost Ark, Jurassic Park, Lord of the Rings, The Omen and i, Robot. And Horner, too. I love Casper, Titanic, Braveheart and Avatar. Hornor has a specific sound that Zimmer cannot match (and I’m really hoping TASM1 has his trademark sounds), and I hope Zimmer never does. I love Zimmer to no end, but just because he’s the most listened to composer of all my music (according to iTunes, I’ve listened to "Sent Here for A Reason" from MoS 363 times), does not mean I worship him and think he’s the God of composers like I have seen other people rant about? No. And I’m sure I’m not the only fanboy who listens to music other than Zimmer, or even RCP for that matter. I understand that some of his stuff people just hate, and I feel sorry for those people. Escpecially the scores to good movies (good imo, anyway), too. I’ve seen comments like "Inception caused my ears to bleed". If that’s the case – see a doctor, get the fuck over it and evaluate your life. It’s almost heartbreaking to see all the hate for MoS, given I thought it was such a great movie and the score so beautiful at times. I remember siitting in the theatre with tears coming from my eyes when "Sent Here for A Reason" played, it felt so perfect to what I was seeing on film. To go from that and then to seeing people say they loathe it, it’s such a pity. I would absolutely hate to love a film where the score was horrible. Fortunately for me, that’s almost never the case. The score is so important to me where if I don’t like it, I’ll most likely not end up liking the film.
I don’t listen to a lot of soundtrack albums, mainly because I prefer to hear most scores within their films. I won’t listen to Jurassic Park on album but I do enjoy it in the film. Inception was a score I don’t like in the film because to me it just overpowers it, but that’s more a sound mix issue than a musical one. It’s just mixed very loudly. Not a criticism of the music. It doesn’t grab me the way it has most fans, but that’s okay. It doesn’t have to.
Man of Steel is a score that I just don’t see why so many are clamoring for a complete score, since the music sounded so much like two elements: endless percussion loops and a delicate piano melody. If I’m wrong, fine but it seems like a complete score would be more loops and that’s about it. Hopefully we’ll find out one day. If it ever appears I’ll give it a listen. I do like that piano bit. It was my favorite element of the score. The film made me love Superman….I never thought such a thing was possible..
So to the haters who think us Zimmer fanboys drool all over a Zimmer score and never give praise to anything else – think about this the next time. We’re not all the same, we don’t all listen to just Zimmer. And it might be healthy for you to just give something a try for once in your life. Be adventurous, go out of your comfort zone, don’t puss out. You may just be happy you tried the caviar and didn’t stick with boring mac and cheese. End of Zimmer fanboy rant. Over and out.
Thankfully no, not all fanboys are the same but as I said before, it’s more of a generalized movie website kind of thing. Film music fans seem to have a differing viewpoint (and a LOT of bias) compared to a more straight-up movie fan does. The moment Zimmer called Elfman’s Batman theme "happy and jolly" shit hit the fan and it was all downhill from there. It’s as though Zimmer himself started that idea that to appreciate his music, you have to trash the predecessor. That’s unfortunate and unfair but it happened. He didn’t do that for Superman,
How many people have room for more than one "Star Trek" theme in their hearts?
Now how many people have room for more than one Batman, Superman or now Spider-Man theme?
I’d say (given the Zimmer association with the latter three if the various movie boards and sites are any indication) not nearly as many as Trek fans do.
Mac and cheese is something I can’t eat….can’t drink or eat any dairy.
Caviar…well doesn’t it just stink since it’s just fish eggs?
Zimmer fanboy rant APPRECIATED. It was a good read. 🙂
ps. Hail Jerry Goldsmith! 🙂
I won???t comment on the other part of your post… but that Barry, Williams or Goldsmith didn???t include popular music into their compositions is not true. At least two of them – Barry and Goldmsith – have used every possibility they got. Half of what Barry did in the ’60s is pure jazz. And pop. He ‘forced’ it into his scores. Not exactly of course, it???s just what the producers wanted: some hit single to sell. And Barry delivered. Successfully I might add. Goldsmith tried… but sadly his tunes never got a hold on the charts. But when he could he always incorporated some song. Or – very often – the love theme from the movie transformed into a pop version.
Planet of the Apes? Oh dear… that was done in 1969 (I wasn???t even remotely alive back then), that was a different time with a different style that was en vogue then. He wasn???t the first to use this style, he certainly made it popular with POTA. Ask Goldsmith 10 years later and he???d say "Well… interesting… erm… and completely different from the big orchestral styles Johnny Williams re-introduced with Star Wars… which we are using now." That big orchestral style lasted more than 20 years. Wouldn???t you say that that???s more than enough? I want something different. Even if it???s Dubstep. Club sounds. Whatever.
Clovie, this is a thread to also discuss things, if you are adverse to unpopular opinions, I’m afraid you’re in the wrong place.
As for this score, there are a few things I actually liked, but these were overwhelmed by just truly terrible pieces.
Am I a Zimmer fanboy? You’re God damn right I am. I have been listening to Zimmer since 1994 when I got The Lion King soundtrack on cassette (yes, a cassette – you dinosaurs know what that is). I played that thing to no end until I one day lost it. I am not just a Zimmer fanboy, I listen to almost everything, emphasis on almost. I have the same outlook on film scores I have on food: I will try anything and everything. Even if I know it’s gonna be nasty, I will try it just to say I tried it and didn’t puss out and say "I don’t like it". And that’s how I see the Zimmer haters: wimps who are pussing out saying "eww, I don’t like it" before even trying it. I’m sure some haters have tried it, and naturally, they hated it. That’s understandable. But to just look at it and see Zimmer’s name on it and judge without even listening is not right. You never know what you’re going to like until you try it.
A lot of Zimmer haters grew up with older scores and therefore Zimmer is not their taste. I get it: he uses synthesizers and all this modern-day technology, whereas old timers like Williams use a full-fledged orchestra, the way scores used to be done. But times have changed. Now I’m not saying that orchestra isn’t the way to go anymore, it’s just that it’s becoming less and less popular. I’m not huge on orchestra myself (typical, since I’m just a dumb Zimmer fanboy, right?), but I do have some favorites. Lawrence of Arabia, Raiders of the Lost Ark, Jurassic Park, Lord of the Rings, The Omen and i, Robot. And Horner, too. I love Casper, Titanic, Braveheart and Avatar. Hornor has a specific sound that Zimmer cannot match (and I’m really hoping TASM1 has his trademark sounds), and I hope Zimmer never does. I love Zimmer to no end, but just because he’s the most listened to composer of all my music (according to iTunes, I’ve listened to "Sent Here for A Reason" from MoS 363 times), does not mean I worship him and think he’s the God of composers like I have seen other people rant about? No. And I’m sure I’m not the only fanboy who listens to music other than Zimmer, or even RCP for that matter. I understand that some of his stuff people just hate, and I feel sorry for those people. Escpecially the scores to good movies (good imo, anyway), too. I’ve seen comments like "Inception caused my ears to bleed". If that’s the case – see a doctor, get the fuck over it and evaluate your life. It’s almost heartbreaking to see all the hate for MoS, given I thought it was such a great movie and the score so beautiful at times. I remember siitting in the theatre with tears coming from my eyes when "Sent Here for A Reason" played, it felt so perfect to what I was seeing on film. To go from that and then to seeing people say they loathe it, it’s such a pity. I would absolutely hate to love a film where the score was horrible. Fortunately for me, that’s almost never the case. The score is so important to me where if I don’t like it, I’ll most likely not end up liking the film.
So to the haters who think us Zimmer fanboys drool all over a Zimmer score and never give praise to anything else – think about this the next time. We’re not all the same, we don’t all listen to just Zimmer. And it might be healthy for you to just give something a try for once in your life. Be adventurous, go out of your comfort zone, don’t puss out. You may just be happy you tried the caviar and didn’t stick with boring mac and cheese. End of Zimmer fanboy rant. Over and out.
Thank you, this is a fantastic post. I feel almost exactly the same about Hans Zimmer’s music. I grew with his scores, he opened my ears to film scores, and he’s still the one I prefer. His musical sensitivity matches exactly mine, I guess…
I’m open on Zimmer – if it’s better than that Winter Soldier trash, then it could be worse (and I thought Man of Steel had a few decent action tracks).
I actually like the Electro stuff, but already like industrial, hardcore, etc…so I can see where a lot would hate it.
I mean, it’s REALLY silly. That’s really all I have to say.
Forgive me… but the casual movie goer will probably remember "Non, je ne regrette rien".
They will have a look at iTunes and say "Uh, I want that song from that dream movie, it was so cool and awesome. And kinda… old and retro."
Now where’s the fun in that? BWWWAAAAAAAMMMMMM!!!.
Why… so… serious?
Sometimes the truth isn’t good enough, sometimes people deserve more.
Exactly. I’ve watched the first Amazing Spider-Man exactly once and all it did was inspire me to watch Raimi’s trilogy that weekend. THOSE are great Spider-Man films. Even the not-up-to-par as the first two "Part 3" shines, compared to Amazing 1 IMHO.
I also use to have The Lion King soundtrack on cassette, but then it broke and my parent bought me the CD. Today that is STILL my all time favorite Zimmer score, and Im so glad Scorepanos shared the score with us before he left. All the haters who say he uses too much synth and electronics in his scores obviously haven’t listen to his score for The Lion King! Yes there are synths and electronic music in there, but its at a bare minimum!
As far as Horners score for Spiderman having his trademark sounds? Dont hold your breath, I was personally a little disappointed with his score for TASM, but I still overall enjoyed it.
I tend to be good with analogies, it’s one of my gifts 😉
I still don’t really have any desire to see TASM. I hate Andrew Garfield, I hate the fact that they rebooted after ONLY 10 years, and I didn’t like the spidey suite. Spider-Man is my favorite Marvel Superhero after Captain America, so this one just did not look like it was for me. That being said, I will still try and watch it (because I’m a hypocrite if I don’t, right? TRY SHIT!), and I will focus on the score. Dissapointed to hear traditional Horner isn’t in there, but I’m optimistic about how it sounds.
Nice post… well written and I respect that…… I would condsider myself a Zimmer hater because for the last 20 years…. yes 20 years his scores have sucked donkey balls…. why 20 years you say…. well I was going to say 30 but I thought I’d be kind…. the last score I liked from Zimmer was Pacific Heights…. saw it in the cinema and was blown away…. ahhhhh great I thought a new voice to the film world….. Zimmer is the George Lucas of the scoring world…… Once had a talent and a vision but then became a corporate whore …. yes Zimmer is a corporate whore …. he’s no more interested in scoring films but using his name to keep his fucking remote control studios running ….. that’s it ….. he has been like this since he set up Media Ventures ….. corners the market …. dominate the scoring world with a sound so that every fuckin film you see has his trademark sound and melodies composed by many of his 25 collaborators at his studio …. what Zimmer has done is simply forbide up and coming talents to explore film music by been givin the chance to score movies…. I mean even now talents such as Brian Tyler have been forced to use Zimmer style and sound …. patrick doyle to name another…. where are the up and coming future generation of composers that are seeped in Film score tradition ….. no where to be seen or heard …. ya know why because Zimmer has the movie world in the palm of his hand …. The Cunt …..
I don’t think he’s been composing for 30 years. IMDb does say 1984 (which is exactly 30), but his first major job was Rain Man. Even his Academy Award-Winning score for The Lion King sucked? I have never heard the words "Lion King sucked major balls" (in any order, be it "balls Lion major sucked King") in the same sentence, let alone the same discussion. I’m sorry you feel that way.
Now onto the I don’t like Zimmer because he uses synths….. to be honest I don’t give a fuck what he uses to be honest …. Barry,Williams,Goldsmith have all used synths in their scores…. but these composers that I’ve mentioned have used them in a unique way…. What Zimmer does is takes what’s popular at this present time and forces it into his scores…. case in point Dubstep in TASM 2….. Dubstep …. jesus christ Dubstep….. he then uses a circle of drummers for the MOS….. really why…. what does it offer to the film….. or the soundtrack….. nothing…. it’s just something cool for Him to market himself through idiotic EPKs …. Now one of my favourite scores is Goldsmiths Planet Of The Apes….. now that is someone writing a score to challenge the listener and also expressing himself musically….. this is something Zimmer never does or has the ability or talent….
I agree with you on the dubstep part. Let me be clear: I fucking hate dubstep. It is not music, it’s noise that I find obnoxious on the highest level. But to be fair, the dubshit (as I have dubbed it, pun intended) is probably for Electro, no? It’s electronic in a way, so I’m assuming it’s for Electro. Zimmer gets points from me for that. Not because I’m a fanboy, but because he went for something bold and unusual. I give him points when I have stated my hatred for that dubshit.
Do I hate Zimmer the Man …..nope I’ve met him a few times and he’s a really nice guy …… Do I hate his music…. you bet ya ….. His Dark Knight trilogy sucked major balls….. all the best bits were from James Newton Howard as far as I’m concerned …. you saw the results when he was left to his own devices for The Dark Knight Rises…. a score so bad it didn’t even compliment the movie…. in fact I would say the worst spotted and composed music for film was his Man Of Steel score …… it was so bad it just made the film worse for me…. you see I love film music whether be it Williams, Goldsmith,Horner,Barry,Ottman,David Arnold,Silvestri,Goldenthal,Desplat,Doyle,Tyler… .. you see what all these composer have in common imo is that they enhance the scene with music, makes the listener feel something…. Zimmers music is just there…. whether it’s the banging,the droning or the 2 sustained chords that seem to go on for ever …. it doesn’t evoke nothing as an audience member as far as I’m concerned…..
Well I hope you are not too offended by what I wrote….. oh and I loved your food analogy …….
I’ve never met him. One of my friends is flying out to LA next month to meet him, and I cannot express how happy I am for him, yet at the same time how jealous I am. I’m sorry you feel TDK trilogy sucked just as many balls as The Lion King did. Honestly, his Batman theme is one of my all-time favorites. It’s amazing how iconic a 2-note theme can become. Even my own family asks me "is that Batman" whenever I listen to. And I’m the only one with the film score ears. Even my deaf father asks me "that Batman?" I do not feel TDKR was "a score so bad it didn’t even compliment the movie". If you ask me it did its job and made me feel what I was supposed to feel: happy, joyous, frightened, worried, adrenalized, infinite. I’m also very happy the trilogy as a whole had the same composer. Now do I miss JNH? Of course. I loved his elements of the score just as well as Zimmer’s, but Zimmer was the bigger of the two. Look at other franchises. Aside from Sar Wars, The Matrix, LotR and a couple others, not many have had the same composer. Star Trek, Spider-Man, Iron Man, Thor, Batman, Alien, the list goes on. TDK as a whole is one of my favorite scores of all time.
And some people need to view things more differentiated, i.e. with more shades of grey. Also, some people need to shoot the high horse they???re sitting on. Really, filmmusic is not just an orchestra. How limited is that? If there???s one thing movie making history has taught us it???s that scores are one of the most versatile instruments available to film. You can mix countless styles, styles that evolved over the course of several centuries, into just one score. Why not include electronic elements? After all, the composer I myself regard as God (Jerry of course) almost singlehandedly introduced artificial elements into orchestral filmscores. And even though I???m the biggest Jerry-fanboy on the planet I???m still able to say that some of those synths sound baaaaadly dated. And that he produced some really awful and shitty scores. And the best ones in existence. And some mediocre inbetween.
Well said, scores are versatile. Not EVERYTHING needs to be orchestra, however not everything needs to be synths and all "RCP-ized". Look at TRON: Legacy. A beautiful, perfect blend of electronic and orchestral elements.
The same goes for Horner. For Zimmer. For JNH. For Danny Elfman. I???m not a fanboy of Zimmer, nor am I a fanboy of Horner. Still, both have produced incredible scores. And both have produced piles of shite. I won???t just listen to John Williams only just because he???s brilliant (he is). But so is Zimmer. He???s brilliant at what he does. And you can be sure that he???s hard working. Otherwise he wouldn???t be where he is now. I???m not saying that everything he does is gold. I hate that he repeats himself, I hate that he just uses/incorporates the work of others without evolving himself… which is something I really hope will happen some day. I hope that some day he will wake up and say "Crap, I???ve been doing the same kind of music long enough, I need to stop, take a breath and learn something new myself." 20 years ago he used to have a feeling as to what music would be perfectly suited for a particular kind of movie. For me, this talent has slowly dwindled away during the last 8 years (The DaVinci Code is 8 years old). I also hate how he uses marketing to sell something as new when in reality it???s just an old hat.
I would say that all composers of Zimmer’s and Williams’ rank are brilliant at what they do. It’s why they are where they are, it’s why they have so much respect and are the most sought-after composers in Hollywood. Zimmer does repeat himself, but I kinda like that. I have a friend who I talk to about this constantly. We’ll say "Hey, you know what this sounds like? It sounds like this piece right here from this film". I know a lot of people hate that, but I like it. In fact, Thor was on FX the other night and I could swear I heard Steve Jablonsky’s "Einstein’s Wrong" from RotF. Every composer borrows from another. No composer is a hack more than the other. (Except Tyler Bates, who plagarized Elliot Goldenthal’s Titus and I think something went on with Zimmer’s Gladiator as well.
But apart from that? What???s there to say against MoS? It???s a good score! Services the movie, musically it???s not inventive but rock hard solid work (really – apart from the typical suspense building that leads to nothing), stylistically extremely consistent. The latter is one of the reasons why I love love love ‘Inception’. Stylistically brilliant. Certainly not transcendent as he would have liked people to believe. But still a lecture in style. Oh, and I???d take the OST any second over the sessions. Just because it flows much better.
MoS is a brilliant score. As I said before in my rant, it brought tears to my eyes. That’s how much of an impact that score had on me. It still does, from time to time even after almost 400 listens. I would have to agree with you that it’s not musically inventive. It’s basically drums on steroids and a piano melody that is a gift from God. But still, I love it to no end. Inception really blew me away, I had never heard anything like that before. In Horner’s defense, I can say the same for Avatar. Part of me wishes it won the Oscar instead of Up.
Man of Steel is a score that I just don’t see why so many are clamoring for a complete score, since the music sounded so much like two elements: endless percussion loops and a delicate piano melody. If I’m wrong, fine but it seems like a complete score would be more loops and that’s about it. Hopefully we’ll find out one day. If it ever appears I’ll give it a listen. I do like that piano bit. It was my favorite element of the score. The film made me love Superman….I never thought such a thing was possible..
You are not wrong. It’s just that us Zimmer fanboys want whatever we can get, be it the same material over and over again, albeit in different renditions. As I said above, it’s basically just intense drums and that beautiful piano. Who woulda thought something so simple, something we’ve never heard before, could come from an instrument as simple and popular as a piano? And was it the score that broguht out the feelings that made you love Superman even more, or simply just the film?
I like Andrew Garfield. Have watched his career since seeing him first in ‘Daleks in Manhattan’. I also found the chemistry between him and the lovely Emma Stone palpable. The first movie does have some problems, yet they don???t overshadow me supporting it.
I’m sorry you feel TDK trilogy sucked just as many balls as The Lion King did. Honestly, his Batman theme is one of my all-time favorites. It’s amazing how iconic a 2-note theme can become. Even my own family asks me "is that Batman" whenever I listen to. And I’m the only one with the film score ears. Even my deaf father asks me "that Batman?" I do not feel TDKR was "a score so bad it didn’t even compliment the movie". If you ask me it did its job and made me feel what I was supposed to feel: happy, joyous, frightened, worried, adrenalized, infinite. I’m also very happy the trilogy as a whole had the same composer. Now do I miss JNH? Of course. I loved his elements of the score just as well as Zimmer’s, but Zimmer was the bigger of the two. Look at other franchises. Aside from Sar Wars, The Matrix, LotR and a couple others, not many have had the same composer. Star Trek, Spider-Man, Iron Man, Thor, Batman, Alien, the list goes on. TDK as a whole is one of my favorite scores of all time.
I find his Batman music problematic too. I like the first score, think the second to be serviceable… when it comes to the third I???m just ashamed to have bought it. For me, the greatest Batman composer has been Elliot Goldenthal. He???s completely mad. Love it.
Look at TRON: Legacy. A beautiful, perfect blend of electronic and orchestral elements.
True. For me, THE unexpected surprise in recent years (along with The Girl With The Dragon Tattoo).
In Horner’s defense, I can say the same for Avatar. Part of my wishes it won the Oscar instead of Up.
Really? If there is one score I have problems listening to, it???s Avatar. There???s a limit of what I can bear when it comes to material simply taken from others. And when I can hear ‘Titanic’, ‘Atlantis’, ‘Gladiator’ and whatnot… no, I feel that, if I have a ‘purpose’ as a score listener, it???s not ‘guess which score this came from’.
It was the film. It helped me understand the character’s appeal. It wasn’t the "Superman is a God we must all worship", which I was actually grateful for. It was more that I finally seemed to understand him and sympathize with him.
I find his Batman music problematic too. I like the first score, think the second to be serviceable… when it comes to the third I???m just ashamed to have bought it. For me, the greatest Batman composer has been Elliot Goldenthal. He???s completely mad. Love it.
I loathed "Batman & Robin" for being such a cheap and cheesy arrangement of his superior "Batman Forever". LOVE that score. It, along with the original ID4 album were my first-ever CD purchases in December 1996. Getting "Batmobile", the title theme on CD when LLL’s release came out was a holy grail cue.
Really? If there is one score I have problems listening to, it???s Avatar. There???s a limit of what I can bear when it comes to material simply taken from others. And when I can hear ‘Titanic’, ‘Atlantis’, ‘Gladiator’ and whatnot… no, I feel that, if I have a ‘purpose’ as a score listener, it???s not ‘guess which score this came from’.
It’s funny, I see so many people claiming to ‘hear’ certain scores appear in others and knowing Horner’s music inside and out, I hear nothing of "Titanic" or anything of the sort in "The Perfect Storm", I don’t hear much of anything in "Avatar" that sounds like Titanic aside from the obvious two (and that’s it, two) notes that were in the Titanic love theme that also are in the main Avatar theme.
Avatar (as a complete score) is so vast, that while some similarities are obvious ("Glory" being number one, "The Four Feathers" being second) the rest is just…nope. I know I’m not deaf, but I just don’t hear so many of these things so many claim to. "Avatar" is my favorite Horner score and with good reason.
True. For me, THE unexpected surprise in recent years.
Though, I’m not the biggest fan of it overall, there were a lot of tracks on the first ASM that I thought Horner did an excellent job with. I kinda wish his theme came back untouched here, but then again, I haven’t seen the movie, so I don’t know how these tracks will work in the film.
Overall, great score. MUCH better than The Winter Soldier. Come on Jackman, I expected better then a few good tracks.
Winter Soldier is absolute garbage. "The Winter Soldier" is the only track I listen to
@ The Hans Zimmer fraction: This is a MUSIC forum not a fanboy audition.
Your playground is here: Hans-Zimmer.com (http://www.hans-zimmer.com/)
@ TAK The Voyager: What’s the difference?
@ JHFan: You’re right, the Horner is much better.
@ Goback: THANKS FOR THE UPLOAD.
AND FINALLY, YES IT IS AWFUL.
I gotta say, that the first thought that came to mind while listening this was: "is Zimmer off his meds or something?" This has got to be the most chaotic mish-mash of a score I have ever listened…
Batman & Robin… awful. I still would buy an expanded edition though.
It’s funny, I see so many people claiming to ‘hear’ certain scores appear in others and knowing Horner’s music inside and out, I hear nothing of "Titanic" or anything of the sort in "The Perfect Storm", I don’t hear much of anything in "Avatar" that sounds like Titanic aside from the obvious two (and that’s it, two) notes that were in the Titanic love theme that also are in the main Avatar theme.
Avatar (as a complete score) is so vast, that while some similarities are obvious ("Glory" being number one, "The Four Feathers" being second) the rest is just…nope. I know I’m not deaf, but I just don’t hear so many of these things so many claim to. "Avatar" is my favorite Horner score and with good reason.
The Perfect Storm is one of his best scores. I cannot hear Titanic – or any other scores (which might mean that I don???t know them) – in there and I think I???ve said that before. But Avatar is completely different. When I first listened to the OST I had so many deja-vu… and I didn???t want to. I listened with the expectation to hear something new, fresh and exciting. Yet I didn???t. Instead I heard other scores from James Horner and other composers (more than usual). All encapsulated in glorious sound quality… Avatar must be one of the best sounding scores in recent years.
😀 When Avatar came out, a mate and I were joking that Horner in a moment of missing ‘inspiration’ has a bunch of collected score sheets in a shelf above his piano, titled ‘When out of ideas’. He then proceeds to copy note after note to the sheet he is working on. We thought this to be very funny 🙂
Like it’s not meant to listen to without the picture.
The Spidey and Electro themes are nice. And the Goblin themes are a little scary with weird sounds…
Waste of space on the disc with those songs… (Like the deluxe Dark Knight)
I’m not a Zimmer fan, but liked the scores from Man of Steel and the Batman Trilogy.
Horner’s version for Spidey 1 was a real good feel, but the sequel is so action packed, that it needed a different aproach.
…or Sam Raimi.
My Enemy is by far the best track i love it!!!
😀 When Avatar came out, a mate and I were joking that Horner in a moment of missing ‘inspiration’ has a bunch of collected score sheets in a shelf above his piano, titled ‘When out of ideas’. He then proceeds to copy note after note to the sheet he is working on. We thought this to be very funny 🙂
As we discussed in the Perfect Storm deluxe thread, much of that was Jim Cameron’s idea, going with some of Horner’s back catalogue of music to expand on.
Avatar, as Cameron himself had to prove with no less than three lawsuits thrown at him from people coming out of the woodwork to claim they created it first, was a culmination of ideas going all through his career and back to his childhood. In that sense, the music is the same thing, but the difference is music is something people seemingly aren’t allowed to do this with. Literature, film, photography, painting, drawing, and other forms are perfectly acceptable. Some people (like myself) are okay with it, some (well, most) aren’t.
There’s a filmtracks review of The Perfect Storm about how the reviewer hears Titanic, Bicentennial Man, Deep Impact and Mighty Joe Young in that score.
Reading that one would assume note-for-note but it’s nothing of the sort – it’s stylistic approaches and orchestration. Every composer has a sound, but Horner isn’t allowed (in the reviewer’s eyes) to make use of it without getting looked down on. Of the four scores, the only real similarity in Perfect Storm is Mighty Joe Young, which has a brief brass triplet motif in one cue – "Attempted Capture".
The theme from Enemy At The Gates appears in the cue "Failure to Refuel" for a few seconds as well.
Back to Spider-Man:
Horner’s title theme is led by a trumpet.
Zimmer’s title theme is led by a trumpet.
Stylistic similarity, but note for note they are different.
Fine by me. I just wish Horner’s was in the sequel score not because I don’t like Zimmer’s theme (it has nothing to do with Zimmer) it’s just I loved it in the first film and wanted it to return.
Haven’t finished listening yet but it is indeed completely crazy, this score. Fun, weird, and crazy.
Avatar, as Cameron himself had to prove with no less than three lawsuits thrown at him from people coming out of the woodwork to claim they created it first, was a culmination of ideas going all through his career and back to his childhood. In that sense, the music is the same thing, but the difference is music is something people seemingly aren’t allowed to do this with. Literature, film, photography, painting, drawing, and other forms are perfectly acceptable. Some people (like myself) are okay with it, some (well, most) aren’t.
There’s a filmtracks review of The Perfect Storm about how the reviewer hears Titanic, Bicentennial Man, Deep Impact and Mighty Joe Young in that score.
Reading that one would assume note-for-note but it’s nothing of the sort – it’s stylistic approaches and orchestration. Every composer has a sound, but Horner isn’t allowed (in the reviewer’s eyes) to make use of it without getting looked down on. Of the four scores, the only real similarity in Perfect Storm is Mighty Joe Young, which has a brief brass triplet motif in one cue – "Attempted Capture".
The theme from Enemy At The Gates appears in the cue "Failure to Refuel" for a few seconds as well.
Back to Spider-Man:
Horner’s title theme is led by a trumpet.
Zimmer’s title theme is led by a trumpet.
Stylistic similarity, but note for note they are different.
Fine by me. I just wish Horner’s was in the sequel score not because I don’t like Zimmer’s theme (it has nothing to do with Zimmer) it’s just I loved it in the first film and wanted it to return.
Haven’t finished listening yet but it is indeed completely crazy, this score. Fun, weird, and crazy.
Zimmers Spider-Man theme is a copy of Aaron Copland – Fanfare For The Common Man …. it???s basically the same …… well the Zimmer fanboys will say inspired by 😉
https://www.youtube.com/watch?v=4NjssV8UuVA
As well as the Australian Channel 4 News theme, called "Best Endeavors" by Alan Hawkshaw:
Channel4 News – YouTube (http://www.youtube.com/watch?v=iyaXhplaSQ4)
Avatar, as Cameron himself had to prove with no less than three lawsuits thrown at him from people coming out of the woodwork to claim they created it first, was a culmination of ideas going all through his career and back to his childhood. In that sense, the music is the same thing, but the difference is music is something people seemingly aren’t allowed to do this with. Literature, film, photography, painting, drawing, and other forms are perfectly acceptable. Some people (like myself) are okay with it, some (well, most) aren’t.
I seem to have forgotten that we already talked ’bout this. Sorry. Curiously, my dislike for Avatar goes hand in hand with the dislike for the movie the music was written for. What you cannot do with others, you indeed can with Horner: accusing him of copying something note for note. As a rule, filmmusic composers always have been somewhat ecclectic. Just note how often they quote the medieval ‘Dies Irae’. I can find it in so many scores by Jerry Goldsmith, Danny Elfman’s ‘Making Christmas’ is close to a verbatim copy. As is the beginning of the theme for the Mandarin in Iron Man 3.
Goldsmiths’ quotes of the Dies Irae are an in-joke, sometimes it???s deliberately hidden within the composition. It took me years to hear the quote in ‘Poltergeist’. ‘Making Christmas’ or the Mandarin’s theme variate it so that it can???t be spotted easily at first glance. But that???s the point: variation. Not a copy. Even the ‘Star Wars’ theme adheres to that. Or the Imperial March (which is influenced (copied) by (out of) Prokofievs’ Romeo and Juliet). Even Hans Zimmer who has no musical training hid ‘Non je ne regrette rien’ by making it so slow that no one notices easily.
All of them use their talent to re-compose, variate, modulate in a way that it???s still recognizable, yet original enough. Horner doesn???t do that. He copies and pastes. Which is different from taking something and form something new out of it.
It???s a fact, that Horner is copying more than others. And that he does so unashamedly. Even other composers took note of that (well, of course they did).
However, I usually don???t mind this. As long as it isn???t like Avatar. That???s all. I still adore ‘Perfect Storm’ and love his ‘Spidey’. I don???t need to like all scores of his.
I could say all my complaints about this score. Or I could praise it. Or I could go on a rant about how zimmer is planning to invade Russia and start a nuclear war with North Korea and thus bringing us to the end as we know it.
Or I could just leave it be and not listen to it. Simple as that. 🙂
Thanks for the share. Electro’s theme has potential, if it were more developed and produced better. Electronics and orchestra can work very well, but this is just like a giant ‘what’? Harry’s suite is pretty nice though, IMO.
"FANBOY" 😀
Annnnd I’m off to the kitchen for a shot of Fireball Whiskey
Compare X-men first class to Cap 2 then Compare Man of steel to this and you’ll see that YEH YEH people hate MOS but it fit the film and was great on it’s own just like First class but 2014 so far has had some pretty bland and just boring scores.
Here’s hoping Days of future past will be the comic book movie score of the year
Annnnd I’m off to the kitchen for a shot of Fireball Whiskey
This is for you…
Man of Steel from a Baby’s Perspective – YouTube (http://www.youtube.com/watch?v=DXAva_gO8Qk#t=14)
Man of Steel from a Baby’s Perspective – YouTube (http://www.youtube.com/watch?v=DXAva_gO8Qk#t=14)
Omg this just put the biggest smile on my face
Lol…but still wouldn’t hurt if I give it a go. Thanks for this post!
And 90???s ….. 😉 some cracking scores from the 90???s
Thank you for uploading! 🙂
And Winter Soldier was a FAR better score than it had any right to be.
Something something
My pulse is racing mental torture, Self Destroyer.
He lie to me
He shot at me
He hates on me
He’s using me
He’s dead to me
That spider-man is my Enemy….
Something something
My pulse is racing mental torture, Self Destroyer.
He lie to me
He shot at me
He hates on me
He’s using me
He’s dead to me
That spider-man is my Enemy….
OMG! Ibsen is so overrated. BWWWWWWAAAAAAMMMMMMM!!!
… and that’s the point.
@ OrangeC: I like electronic elements but the good ones. But here? Simple club sounds, some loops, the good old RC samples and all that unbearable "TDKR, MOS" nonsense.
Where is the imagination, the wildness or intelligence? The main theme idea is not bad but then? No thematic conclusion, no variation, nothing.
What’s wrong with Hans Zimmer.
People who like it are happy.
People who don’t like it are complaining.
My opinion: Does it really matter? We have a score. If you like it fine. If you don’t like it, fine. No need for us all to go on and on about it.
That’s not the point. " … feels like a heroic version of NO RETURN" But this thread is about AS 2. Right? You know what i mean?
Good samples are never the problem.
————————————————————————————————————————————————————————————————————————-
WAIT. I found a really cool version of the main theme:Orchester der Hochschule M???nchen: Aaron Copland – Fanfare for the Common Man – YouTube (http://www.youtube.com/watch?v=feQGCsj7uBc) … ohh sorry, my fault. It’s the original one.
It must be competing with Noah
And yet your sig….
I’m Canadian. Therefore I find this funny.
What a perfectly fine score for what looks to be another boring, dull entry of Nu-Spiderman films. Nothing dramatically bad and I like the musical motif, and the electronic abuse in the album of the said motif. Kinda quirky, kinda cool. Not nearly as bad as some people are making out.
I’m disappointed that every recent Zimmer thread is filled with such pointless hatred. Why are all of the haters so bitter? You act like jilted lovers. I understand you might not like Zimmer’s music or the current trend in scoring, but does ranting and raving about it in this forum really do anything to change that? Impotent Rage, indeed.
As for the score itself, I was disheartened when I heard that Zimmer had replaced Horner. It was the first score since The New World that I liked of his, and I was very much disappointed to hear that he wouldn’t be able to expand on the themes he had created. I also didn’t much care for the fact that this is yet another score that Zimmer can’t complete on his own, and the shameless way they publicized the announcement of the "Magnificent Six." So much about this rebooted franchise just reeks of being a blatant and mindless cashgrab, and this was just fuel to the fire.
All that said, I liked what I heard of the theme when it leaked (even if it is just a lesser knock-off of Horner’s), and I liked the Electro song that played in the Enemies United trailer. I don’t expect this score to be anywhere near a favorite of mine of Zimmer’s, but it should be a fun little diversion. Nothing less, nothing more. It certainly doesn’t deserve the hyperbolic furor that litters this thread.
Now they praise him as a saint
anyway have to listen to this, even Man of Steel I found had a few saveable tracks in them
edit: getting such a 90s DBZ flashback now
Probably transcode …. no official release yet…. only on iTunes in certain countries and the CD in Germany I think
I….don’t think I’d care to listen as a stand alone album again. BUT I am sure it will serve the film fine. The new films are a sort of Ultimate Spidey feel after all. So this funkier, wilder chaos feel may just work well in the film. Actually it probably fits Spiderman very well. So in that context it’ll work. I hear bits I don’t mind so much. Some I really don’t. But we all know the only real way to listen would be a complete score leak, since we ALL know the meat grinder these OST’s go through.
Those critiquing…remember the main job of the score. I disliked MOS when I heard it. Then I heard it in film…and despised it. I (personally) feel it severely detracted from the images and ruined any emotion. But then again, when I first heard Pacific Rim I could take it or leave it. Now, after seeing the film it gets played daily. I adore Avengers (the film) and the score is fine in it. But I fall asleep listening to the stand alone album, so I guess it will just depend. I do not see this score as a good listen on it’s own. But, in film..I can see it. Only time will tell for now.
OH, and I feel "meh" about Horner’s Amazing. So there. :awsm:
———- Post added at 06:13 AM ———- Previous post was at 05:34 AM ———-
Ermmm. Some interesting bits. I wanna know, IF we dislike a certain composer’s score, WHY does that make one a hater of the composer? Or if we liker one, why a rabid fanboy? Why can’t discussion of scores leave out personal attacks on the composers themselves? I got half way through this thread but it is like walking in concrete, reading all the hysterics….:(
Thank you!
amazing~ harmony of trumpet with electronic sound
I can buy album (31 tracks) tomorrow bitrates 320, but in return I want the two albums to the film Plush (Thread 171490)(2013).
Oooorrrr…we wait a day or two, STILL get the 320 or flac and tell you to stuff plush. 🙂 Since this is NOT a trading site, but a sharing site. Open trade requestsd and behavior are actually forbidden.
Ermmm. Some interesting bits. I wanna know, IF we dislike a certain composer’s score, WHY does that make one a hater of the composer? Or if we liker one, why a rabid fanboy? Why can’t discussion of scores leave out personal attacks on the composers themselves? I got half way through this thread but it is like walking in concrete, reading all the hysterics….:(
Are you familiar with the tale "The Emperor’s New Clothes"?
Now imagine also a phalanx of haughty courtiers marching in the procession behind the King shrieking "haters" with raised fist at the incredulous crowd.
Nobody likes a critic, most especially a credulous fanboy.
What music? Heh.
***
So one side of the aisle take Zimmer’s pap with utmost seriousness and conviction and the others side doesn’t.
So what? Big deal.
It’s an age old dynamic: commercial vs. non-commercial; professional vs. amateur; intellectual vs. anti-intellectual; cultured vs. vulgarian; old vs. young.
***
Ergo: Hans Zimmer is the Milli Vanilli of film music. BWWWWWWAAAAAAMMMMMM!!!
I can’t fly this path with you though. Because we ARE being made to listen to every time one of these makes it onto the screen. It is generational yes. It stems from children growing up on video game music. It stems from a society replacing LOUD for good. From using the word epic every time someone walks across a street. From cheap, easy, corner cutting noise. Bigger isn’t better. Just because a thing can be envisioned on-screen does not mean a movie can be hung on it. 2/3 of the crap out there would never have passed muster STORY wise 20 years ago. "Modern" sounding means what? Nothing. Good is good, bad is bad. THIS score? I dunno. Can’t tell with MODERN label releases from this composer. Not one of the OST’s from him are worth shit, yea? We depend on leaks to hear the real score. But all you fans of the synth, you are just as aggressive in dismissing orchestral score as we are of synth. Without orchestral, y’all may as well be sitting around banging sticlks on rocks.
And now, I am done with this.
And now, I am done with this.
I love Orchestral (hell, I’m listening to "Durin’s Folk" when I type this), but I’m reognising that the scoring landscape is changing. For the better? Well too early to say just yet. Orchestral will stick around (thank god). I have never dismissed Orchestral. Heck, 80% of my Itunes Library is Orchestral, with the other 20% being Synth, Beyonce, Ed Sheeran and Glee. I’m just of the idea that when a composer tries something new, we shouldn’t be so aggressive to dismiss it like most people are. Change is necessary.
I never said it was bad, I said it was one of the scores starting this new wave of scoring.
There we go, I agree with this 100%. I cannot stand The Doors (for the most part) and so because of this, I don’t listen to them. If you don’t like something, don’t associate yourself with it.
I FINALLY downloaded this last night, and I’m skimming it right now (I’ll give it a full track-by-track listen later) and so far it’s 50/50. My expectations are not high, I’m really not liking the stupid chanting in all of Electro’s pieces.
How did Tron: Legacy get lumped into this? Hardly the score I’d place in this discussion. It was pretty awesome.
Because it’s a mix of orchestra and the now more common modern film score sound. It was indeed pretty awesome. The score is a near-perfect blend of elements, and it is honestly one of my favorite film scores of all time. The film is only 3 & 1/2 years old, but still.
Hans Zimmer gets work continuously because he does his job. He gives directors what they want. IF they did not want this sound it would not be here. The "blame" lay not with the composer. He is just earning a living. NOT doing what he is asked is a bad way to do that. He seems easy enough. No muss, no fuss. Sorta like the 7-11 of composing. :awsm: (I mostly kid). Blame the new breed of directors and editors. The "MTV" style of filming. The POV angles. The hard to see I’m getting motion sick style.
BTW, I have one last thing. Nobody in the general public is watching any movie ever because Hans Zimmer composed it. No one cares. At 17 dollars a ticket, that is the very last thing crossing their minds. I could knock on every door in my complex, and not ONE person would know his name. Now, they DO know his music when they hear it, they just don’t know his name or what movie it is from. Really, they don’t know it as film score. More like commercial music, sports events music etc. So this argument that Zimmer boosts sales? No. Simply no.
Synth/orchestra mix isn’t new, not by a LONG shot.
Synth/orchestra mix isn’t new, not by a LONG shot.
But that is not the discussion. Electronic elements have been around forever. This is about the modern uses of it in relatively recent big screen "blockbusters". And that sound is not NEW new, but newer. It is the quick cut, 800 drummers and a masturbating cricket sound, that is over-mixed, amped up and "epic". THEN the theater cranks it til the ears bleed. And, the OST is released with a waveform of an angry, angry solid blue block. But, given the images and fx mixing the score these days accompanies, what would you expect? Because if the movie sucks, crank it. No story for 40 minutes? Film one guy in a green screen 3d vacuum, add a shit ton of fake stuff and throw in some "epic" sound fx. You can **hear** his individual eyelashes blinking! THEN, throw in a really, really loud score and presto. Instant "epic" and box office gold. No Oscars. No remembrance. Never lasting. No top 10 of all time. But with enough eye popping fx it will succeed. Into that is born the newer scores. But again, that is an editorial choice. I wonder, if the synth scvores are easier to edit into the film than a more flowing interconnected orchestral one?
Which score of a Michael Bay film are you talking about here? 😉
Nah. I like Transformers, Battleship, Pirates, Pacific Rim (the scores). I only have Rim though. But I do feel the scores of our time are reflections of the movies. And those are driven by what is perceived to be popular. Big fx, no story, tons of cgi. So in the end it is on us. If we continue to patronize these films, they keep making them that way. Probably every generation EVER has felt the same way about the next.
And we have the same discussion every time. Every time this gets talked about (read: every time a RCP score gets posted….) we all come out and same the same things. So…dunno.
I do see a good deal of fallacious reasoning, however: strawman arguments like "others apparently had very strong … emotional reactions … We as the old guard … we cannot tell others that they are wrong" when no one has directed comments of the kind in the thread, or arguments from authority like, and to paraphrase: "he’s always gets hired, he/it must therefore be good". But worst of all the argument that goes: "we can’t address objectively bad music here because it might hurt the feeling’s of those who actually like the stuff".
I do see a good deal of fallacious reasoning, however: strawman arguments like "others apparently had very strong … emotional reactions … We as the old guard … we cannot tell others that they are wrong" when no one has directed comments of the kind in the thread, or arguments from authority like, and to paraphrase: "he’s always gets hired, he/it must therefore be good". But worst of all the argument that goes: "we can’t address objectively bad music here because it might hurt the feeling’s of those who actually like the stuff".
I could care less about hurting feelings. I say you have nothing new whatsoever to add to the conversation. None of us do. Not even a little. BUT, objectively let’s see. Many, Dakota in particular are stating they had strong emotional connections to the MOS score. That they still tear up when they hear it. So is the score "bad"? Is it bad music. To me yes. But for him it accomplished **exactly** what is was supposed to. That’s all I am saying. A whole lot of folks are saying it and Spidey are "garbage" or crap etc. And a whole lot of them are saying Williams, Horner etc are bland and boring. So yea, things are personal. How do you think it makes a member feel, when music that touches their heart is decried as crap, on either side?
I dunno, objectively, how to classify "good" music. I don’t really care what scholars or such will say. Personally, it just matters if I enjoy it. They do. We don’t. I do not feel the current trend is going to change anytime soon though.
Also, I am not calling out any one member. I am just tossing my 1/3 cents in, and I am allowed. Nya. :b
———- Post added at 02:32 PM ———- Previous post was at 02:28 PM ———-
On the other hand, I just watched O Fortuna used to sell Hershey’s Spreadables, so society is indeed doomed. 🙁
You claim to be an intellectual? (not to mention a friend)?
of course there is an official release and in Flac too.
SHHHHH
:awsm:
You claim to be an intellectual? (not to mention a friend)?
which sound sample library will the violin effect come from?
Good God, really? That’s where you’re gonna go? **really**
You claim to be an intellectual? (not to mention a friend)?
Why be intelligent when being insulting is just so much easier for people?
For the record I do agree with several viewpoints in this thread.
I haven’t finished listening to this yet, but that’s only because I’m busy with editing something else.
<.<
I’m glad you asked… for a limited time only Discount DJ can be purchased for $9.99 + tax exclusively from the bottom of my cold, black, soul-crushing heart???™. And for for the first 100 lucky download buyers, Discount DJ is autographed by yours truly. 🙂
<.<
You’re right.
In reading that, I imagined that in hindsight, Amanda’s response could look a little like this:
🙂
With the knowledge that with every post…..
😉
See the movie for the characters, effects, comedy, the will-they-or-won’t-they-finally-answer-the-what-really-happened-to-Peter Parker’s-parents-mystery.
In other words, see it like any average moviegoer who doesn’t give a damn about who the composer or cinematographer or producer is.
It gets better when you don’t make a mountain out of a mole hill.
In other words, see it like any average moviegoer who doesn’t give a damn about who the composer or cinematographer or producer is.
THAT part of the revamp is the one part I hope to never have to actually contend with…:D
Thanks
I thought it was from UJAM.
The horror, the horrorrrrrrrrrrrrrrrrrrr.
In other words, see it like any average moviegoer who doesn’t give a damn about who the composer or cinematographer or producer is.
John Powell recently said that when he writes film music, it’s only to serve the directors and producers and the films needs.
There are some people who believe film music should be able to stand on its own merits, like Bernard Herrmann.
Maybe there was a time when film music wasn’t just a product, but an artform.
A film score can mean a variety of things to different people…And, apart from the film itself, yes it can be personal. You’re talking about music without lyrics, mostly…Who provides the lyrics to it? We do.
So whether Zimmer is good or bad isn’t really the point, I think. The point is it’s art and arguing about it is never going to create a winning outcome for anybody, really. At the end of the day the music speaks to you because you choose to listen.
Oh by the way this score isn’t so bad at all! I kind of expected some kind of dubstep sound for Electro anyway…I mean, weren’t you? The lyrics though are odd….Cant wait to see how it’s placed in the film. Thanks again!
Hans Zimmer gets work continuously because he does his job. He gives directors what they want. IF they did not want this sound it would not be here. The "blame" lay not with the composer. He is just earning a living. NOT doing what he is asked is a bad way to do that. He seems easy enough. No muss, no fuss. Sorta like the 7-11 of composing. :awsm: (I mostly kid). Blame the new breed of directors and editors. The "MTV" style of filming. The POV angles. The hard to see I’m getting motion sick style.
BTW, I have one last thing. Nobody in the general public is watching any movie ever because Hans Zimmer composed it. No one cares. At 17 dollars a ticket, that is the very last thing crossing their minds. I could knock on every door in my complex, and not ONE person would know his name. Now, they DO know his music when they hear it, they just don’t know his name or what movie it is from. Really, they don’t know it as film score. More like commercial music, sports events music etc. So this argument that Zimmer boosts sales? No. Simply no.
One of my friends loved the Zimmer Batman sound and asked me who did the music. Obviously he isn’t into film scores. I told him the composer’s name. Then when he saw the name Hans Zimmer with Sherlock Holmes, he saw the film solely for it’s music. So there is an exception to your comment.
BRAAAAAHHH– Nope… not going there.
Well yea. There is always going to be the exception. But those exceptions will never give actual weight to a composer making a film profitable…..
Using the above quote as a potshot against Zimmer is like using the Two Towers "Requiem For A Dream" trailer score as a mark against Howard Shore. Hans Zimmer didn’t write the Inception trailer song (a.k.a. "Mind Heist"). That’s Zack Hemsey, folks. If you want to protest the prevalence of the "BWWWAAAM!" aesthetic in movie advertizing, take it up with him. Using "Mind Heist" as as a middle finger towards Zimmer on a film scoring forum is a little embarrassing, since, y’know, we really should be aware of these things.
Just FYI.
Using the above quote as a potshot against Zimmer is like using the Two Towers "Requiem For A Dream" trailer score as a mark against Howard Shore. Hans Zimmer didn’t write the Inception trailer song (a.k.a. "Mind Heist"). That’s Zack Hemsey, folks. If you want to protest the prevalence of the "BWWWAAAM!" aesthetic in movie advertizing, take it up with him. Using "Mind Heist" as as a middle finger towards Zimmer on a film scoring forum is a little embarrassing, since, y’know, we really should know these things.
Just FYI.
Touchy, touchy. And a complete misreading of intent.
But here, have a little bit of BWWWAAAMMM!!! on me.
Touchy, touchy. And a complete misreading of intent.
But here, have a little bit of BWWWAAAMMM!!! on me.
Oh, you have more than a little bit of Bwwwaaammmm!!! on ya. You intended to criticize Zimmer for a piece of music you didn’t know he’s not responsible for. Pretty straightforward.
Using the above quote as a potshot against Zimmer is like using the Two Towers "Requiem For A Dream" trailer score as a mark against Howard Shore. Hans Zimmer didn’t write the Inception trailer song (a.k.a. "Mind Heist"). That’s Zack Hemsey, folks. If you want to protest the prevalence of the "BWWWAAAM!" aesthetic in movie advertizing, take it up with him. Using "Mind Heist" as as a middle finger towards Zimmer on a film scoring forum is a little embarrassing, since, y’know, we really should be aware of these things.
Just FYI.
It was neither Zimmer or Hemsey, just so you know.
Though it’s famous for Zimmer employing it in his soundscape for Inception anyway.
Though it’s famous for Zimmer employing it in his soundscape for Inception anyway.
Hemsey is the one selling the track, though Mike Zarin’s contributions should be noted as well. Both are definitely not Hans Zimmer. It’s fair to say Zimmer was inspired by the piece, but when people say "Bwwaaammm!", they mean "Mind Heist", because that’s the music every trailer was ripping off for a while.
Are you implying Zimmer composed Tron Legacy? He’s mentioned in the CD booklet with a special thanks and parts seem to have his undercurrents in the mix, but I think Daft Punk were responsible for all the great things in that score. Legacy was one of the only scores of recent years that I’ve felt is a great package and rounded out very well. It also sounds organic.
Question: Why does Zimmer replace real instruments with synthetic counterparts, or even bother to record real instruments if he just mixes them to sound synthetic? Legacy had those rhythmic strings, but they sounded organic, not synthetic…
———- Post added at 08:49 PM ———- Previous post was at 08:45 PM ———-
Hemsey is the one selling the track, though Mike Zarin’s contributions should be noted as well. Both are definitely not Hans Zimmer. It’s fair to say Zimmer was inspired by the piece, but when people say "Bwwaaammm!", they mean "Mind Heist", because that’s the music every trailer was ripping off for a while.
Either way the end product of the score has the BWAAAAAAM! sound. I think the sound was first used in the Transformers trailer back in 07.
Isn’t Zimmer’s ghostwriting on Tron an open secret? I wouldn’t say he composed it, not at all, but his contributions have been widely noted.
I still stand by that. Zimmer doesn’t ghost write, he has those for himself.
———- Post added at 09:31 PM ———- Previous post was at 09:30 PM ———-
Who cares who gets credited for the BWAAAAAAAMM! sound, by now it’s bloody annoying.
From what I understand, Daft Punk really only came up with the themes and the electronic sounds, but it was Joseph Trapanese who arrange their themes to fit with the film. So it was really a collaboration, but Daft Punk got all the credit. I could be wrong about thats but that what I heard from a friend who works for Walt Disney Records. I’d look up the credits in my CD booklet to see if Joseph really did the arranging, but I can’t find it!
That sound is in the Pacific Rim???s main theme I think…. Ramin Djawadi uses it very effectively …. kick ass score mind you 😉
———- Post added at 03:14 PM ———- Previous post was at 03:13 PM ———-
Oh shit, I forgot about Trapanese, but how much did Zimmer play a role?
Zimmer was not on board for any of the writing…. after the score was written and recorded it was sent to Remote Control for touch ups which were overseen by Zimmer ….
Also regarding the synthetic and real instrumentation in Zimmer’s case, I saw the Inception music featurette. In it he said that he wanted the orchestra to imitate the synthetic sounds. Inception is one of my favourite recent scores, but I didn’t understand the idea behind this.
Also regarding the synthetic and real instrumentation in Zimmer’s case, I saw the Inception music featurette. In it he said that he wanted the orchestra to imitate the synthetic sounds. Inception is one of my favourite recent scores, but I didn’t understand the idea behind this.
Errr….Lockdowbn posted it in Flac…if that helps. If you don’t want lossless, just dl and convert. Tis really easy peasy to do.
Yeah. I ‘ll do that. Net’s currently slow as hell. Hence the 320 query.
Why is Electro represented musically by dubba-dub-dub anyway? Is it because he’s an electrical engineer, and electrical engineers in freaky accidents who suddenly acquire superpowers afterward are inherently predisposed to rhyming jive talk?
Please help.
So, my CD finally arrived today… and I can find nothing wrong with the score (except the sound, but that has nothing to do with the music… not directly anyway). I think, people would consider me to be a member of the ‘old guard’… but what???s there NOT to like? For Hans Zimmer, it???s fairly inventive and right now I???m falling for the idea that this collaborative effort might have been a very good idea. When was the last time for an action/superhero movie with ‘Hans Zimmer’ tagged onto it where one could hear a main theme in major mode?? Combining baroque with dub-step? Sounds good!
I find the electro-effects for tracks that (probably) feature the character Elektro a bit cheap and in-your-face… but hey, it???s not an arthouse movie (which I don???t like anyway).
Regarding Zimmer being a copycat: the main theme is definitely more than influenced by Copland’s ‘Fanfare for the Common Man’. Or it might evoke that feeling purposefully. When I try to hum the theme, I automatically switch to ‘Back to the Future’ by Alan Silvestri. Whatever it was influencing it, it???s also like a faint shadow of Horner’s theme (progression is similar). Maybe they all share Copland’s ‘Fanfare’ as a common ancestor. Anyway, I love this theme! And I???ve never expected it from Herr Hans.
Haven???t heard all the music yet… but the things I did listen to, felt more than OK to me.
EDIT: Oh, and who said something about filmscores formerly being an artform? That???s not true, filmmusic has always been (by definition) functional music in the first place. The concept of scores being an artform follows closely behind. It???s simple because it???s written to accomodate a movie. Without the movie it wouldn???t exist. The soundtrack CD is ‘only’ an afterthought. Why do you think composers like John Williams or Hans Zimmer are producing suites for their CDs? They know perfectly well, that a CD needs a certain push to be able to stand on its own feet.
Are filmscores commercial? You bet they are. They are a combination of commerce and art. But classical music from Beethoven or Mozart is the same: Mozart took a lot of money for his compositions, Beethoven had a patron of the arts.
I???m not saying that scores shouldn???t exist because of that. Of course they are an artform. An artform created with a clearly defined purpose: to support a movie.
So, my CD finally arrived today… and I can find nothing wrong with the score (except the sound, but that has nothing to do with the music… not directly anyway). I think, people would consider me to be a member of the ‘old guard’… but what???s there NOT to like? For Hans Zimmer, it???s fairly inventive and right now I???m falling for the idea that this collaborative effort might have been a very good idea. When was the last time for an action/superhero movie with ‘Hans Zimmer’ tagged onto it where one could hear a main theme in major mode?? Combining baroque with dub-step? Sounds good!
I find the electro-effects for tracks that (probably) feature the character Elektro a bit cheap and in-your-face… but hey, it???s not an arthouse movie (which I don???t like anyway).
Regarding Zimmer being a copycat: the main theme is definitely more than influenced by Copland’s ‘Fanfare for the Common Man’. Or it might evoke that feeling purposefully. When I try to hum the theme, I automatically switch to ‘Back to the Future’ by Alan Silvestri. Whatever it was influencing it, it???s also like a faint shadow of Horner’s theme (progression is similar). Maybe they all share Copland’s ‘Fanfare’ as a common ancestor. Anyway, I love this theme! And I???ve never expected it from Herr Hans.
Haven???t heard all the music yet… but the things I did listen to, felt more than OK to me.
EDIT: Oh, and who said something about filmscores formerly being an artform? That???s not true, filmmusic has always been (by definition) functional music in the first place. The concept of scores being an artform follows closely behind. It???s simple because it???s written to accomodate a movie. Without the movie it wouldn???t exist. The soundtrack CD is ‘only’ an afterthought. Why do you think composers like John Williams or Hans Zimmer are producing suites for their CDs? They know perfectly well, that a CD needs a certain push to be able to stand on its own feet.
Are filmscores commercial? You bet they are. They are a combination of commerce and art. But classical music from Beethoven or Mozart is the same: Mozart took a lot of money for his compositions, Beethoven had a patron of the arts.
I???m not saying that scores shouldn???t exist because of that. Of course they are an artform. An artform created with a clearly defined purpose: to support a movie.
It was I who said something a few pages ago about scores being an artform, and to some extent I happily agree with your post. They are primarily a product to serve the visuals, but as I had mentioned composers like Herrmann believed that the music should be more than a product, it should stand outside of the film.
I actually prefer a complete/sessions presentation of Williams’ scores and anyone elses for that matter because we get the whole picture, the whole narrative. People find me untoward for liking the most incidental "crash-bang" noises, or "the boring parts". I guess I just love every part of orchestral film music!
And as I keep saying, remember the composers do not have any kind of say over the final sound of their work or how it will be used in the film. (see Aliens…) They may intend "stand alone art" but directors and editors most certainly could care less about how the public will judge a score outside of it’s function in their film. Actually, a good one cares about how the film functions without the score. Not every scene, moment, emotion or eye blink needs a"BWAAAAaaaaaaaammmmmm……:awsm:
oh, and just because, the foghorn sound so elegantly portrayed in this and other posts…
it’s in nolan’s script.
Still think Christopher Young had the best crack at a Spider-man score thus far. His style fit Raimi’s so well and the score sounded like it was right out of a comic book. But this is, at the very least, an interesting listen.
Nothing will top Danny Elfman’s Spider-Man theme, but Young’s Black Suited-Spidey theme is boss
Still think Christopher Young had the best crack at a Spider-man score thus far. His style fit Raimi’s so well and the score sounded like it was right out of a comic book. But this is, at the very least, an interesting listen.
Cheese, for me this has that Ultimate Spidey wacky groove. I think it will work well.
Seems to me most of the haters just immediately rant about Zimmer in general, yet bypass the other people involved in this particular score. If they didn’t like the score, where’s the shared hate for Pharrell Williams, Johnny Marr, or the dubious "Magnificent Six?"
Cheese, for me this has that Ultimate Spidey wacky groove. I think it will work well.
I agree, one thing you have to hand to Zimmer/RCP is that they sure do know how to deliver exactly the right sound.
I’ve heard parts of Carter Burwell’s Twilight in it, briefly
Listening to it now, the stuff for Electro’s really giving off a (don’t kill me) "Duel of the Fates" vibe… wonder if the vocals are going to stay in the film.
Good Lord, I hope not. The chanting is awful and ruins the rest of his theme. I wish we could get those tracks w/o the chants
It’s interesting, because even though there is a clear theme in there, for years the common consensus was "what theme?" when it came to Elfman’s Spider-Man.
Then, when Amazing came out, that all seemed to change!
At least one thing is certain (to me at least), whatever the preference is, all the different Spider-Man themes work, just as all the Batman themes work. 🙂
Really? I’ve always been able to recognize it, it’s right there. I can even point out the times it plays throughout the trilogy.
all the different Spider-Man themes work, just as all the Batman themes work. 🙂
Elfman’s will always be the fan favorite, but I’m gonna have to choose Zimmer’s (do your worst, haters!!). Although, Elfman’s does hit home with me because I’d always watch the 90’s cartoon Batman when I was young(er) and his theme in the opening credits was something I always looked forward to
Love Elfman’s Batman theme, love Goldenthal’s Batman theme (Forever, not Batman and Robin), love Zimmer / Howard’s as well. Walker’s was awesome for The Animated Series as well.
I love Harry’s Suite, in some way it’s progressions are similar to the Ode To Harrison suite by Michael Giacchino which I also love!
Good Lord, I hope not. The chanting is awful and ruins the rest of his theme. I wish we could get those tracks w/o the chants
I’ve seen the movie and ALL the chanting is definitely there, and believe me it’s not under-mixed like the TDKR chant was. Almost every time you see Electro on screen, you get these little voices on the music. And you know what? It works INSANELY well in the movie. It’s a big part of Electro’s character, it matches exactly the weirdness of the man and the mad, crazy fury of the monster he becomes. This chanting is one of Hans’ most brilliant ideas in a long time. And I say that as a fanboy!
I did enjoy the movie, though, and recommend watching it instead!
particularly noticed these during ‘My Enemy’ and the final battle with Goblin
Does anybody know how to re-order the soundtrack to match film? It’s very obvious let her go and rest of my life are one cue and flow perfectly into each other yet they are split up on the soundtrack @_@
Does anybody know how to re-order the soundtrack to match film? It’s very obvious let her go and rest of my life are one cue and flow perfectly into each other yet they are split up on the soundtrack @_@
From H-Z.com:
There He Is
I???m Spider-Man
Cold War
No Place Like Home
Ground Rules
Look At Me
You Need Me
So Much Anger
My Enemy
I’m Moving to England
You???re My Boy
I Need To Know
Special Project
Sum Total
We???re Best Friends
Still Crazy
I Chose You
I???m Goblin
Let Her Go
The Rest of My Life
You???re That Spider Guy
Hans Zimmer wrote nothing…. the spidey theme is a note for note rip off of aaron copland fanfare for the common man ….. Don???t believe me … here ya go have a listen
https://www.youtube.com/watch?v=7S8SAYtIVnc
https://www.youtube.com/watch?v=4NjssV8UuVA
to me hans’ theme is pretty much james horners minus 1or 2 notes and a difference in transposition. Also if you was to adjust the pitch to match horners theme it starts and end with the same notes. i dunno if this really matters but I’m just saying.
anyway apart from that i have managed to make an edit of the soundtrack in more or less film order. a couple of tracks i have left them crossfaded because they are in the right order plus it doesn’t ruin the pace as they are short
and I’ve done a film-ish version of I’m Spider-Man and Cold War in one track that crossfades into No Place Like Home
here is the link of I’m spider-man and cold war edited together if someone wants it. its end to crossfade into No Place Like Home as on the deluxe album
aac 277 vbr
http://www.sendspace.com/file/fllho1
Tell that to everyone who harps on Horner.
https://www.youtube.com/watch?v=4NjssV8UuVA
Really? This is not a "note for note rip off". Is it similar? Yes…
don’t be in denial…. it’s practically note for note :0)
I’m not in denial. I even mentioned that it sounded similar. But if it was note for note, it would sound exactly the same, which it does not.
Channel4 News – YouTube (http://www.youtube.com/watch?v=iyaXhplaSQ4)
Thanks for the share. I love Zimmer.
I don’t love Garfield though. :notgood:
Thanks for the share. I love Zimmer.
I don’t love Garfield though. :notgood:
Likewise. This is why I didn’t see #1 (I have now, since I saw 2 on Sunday). I didn’t like the look of it, wasn’t fond of the Spidey suit and the CGI looked like shit. And it was. Lizard was an abomination. But #2 was great. I will give Mr. Garfield props for a "not bad" American accent, though. I think the moment I decided I wanted to see this was when I found out Jamie Foxx (an A-list Oscar winning actor) joined. I was psyched when I saw the leaked set pics of him in Electro garb and makeup. And then it was announced Zimmer would be composing and I shit a gold brick
I think Garfield is a PERFECT Spider-Man! Peter Parker on the other hand… not great, but not bad either…
He’s a little too cocky, I was sitting there like "alright, enough already. We get it"
Again, tell that to the people who harp on Horner. 😉
"You wanted to be the hero. And now you gotta pay the price!"
I don’t know who harps on Horner, I don’t even do that. All I’ll say is that almost everything sounds like Titanic. While that may not be the right way to state it about scores that predate it, you know what I mean. Jumanji, Aliens, Casper, TASM, Avatar, The Pagemaster, Willow…I’m sure I’m missing some. I can even recall watching some of these films without having known Horner was the composer and then saying to myself "this is James Horner, it sounds exactly like Titanic and a lot of his other scores". That’s not a bad thing. I’m just saying that not every single composer has an entirely new and different sound that no one has ever heard before
*I think I use Titanic as a reference because that’s the Horner score I associate with most
the final Electro fight only has the starting theme
I agree. I’ve missed those "haunting choral textures" as well. Those 33 seconds of "let her go" (track 12) are not enough.
The Amazing Spider-Man 2
Hans Zimmer and The Magnificent Six; Pharrell Williams; Johnny Marr
Released: 2014
Format: MP3 160kbps
Size: 142 MB
Tracklista
"01. I’m Electro [00:47]
02. There He Is [02:54]
03. I’m Spider-Man [01:04]
04. My Enemy [08:18]
05. Ground Rules [01:12]
06. Look at Me [03:10]
07. Special Project [03:14]
08. You Need Me [03:17]
09. So Much Anger [02:12]
10. I’m Moving to England [01:03]
11. I’m Goblin [03:42]
12. Let Her Go [00:34]
13. You’re My Boy [02:57]
14. I Need to Know [05:00]
15. Sum Total [02:51]
16. I Chose You [01:34]
17. We’re Best Friends [02:17]
18. Still Crazy [02:42]
19. The Rest of My Life [02:28]
20. You’re That Spider Guy [05:30]
21. The Electro Suite [12:36]
22. Harry’s Suite [10:07]
23. Cold War [03:28]
24. No Place Like Home [01:53]
25. It’s On Again (Alicia Keys feat. Kendrick Lamar) [03:50]
26. Song for Zula (Phosphorescent) [06:10]
27. That’s My Man (LIZ) [03:47]
28. Here (Pharrell Williams) [04:38]
29. Honest (The Neighbourhood) [03:57]
30. Within the Web (First Day Jam) (Czarina Russell; Hans Zimmer and The Magnificent Six) [04:31]
31. Ohne zur???ck zu sehen (Tim Bendzko) [03:39]
32. Electro Remix (Alvin Risk and Hans Zimmer) [03:28]"
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http://uploaded.net/file/xkuvkgny/TASM2-HZ.rar
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http://rg.to/file/d54daf5b37dd67c561272fdb15307e8b/TASM2.HZ.rar.html
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http://freakshare.com/files/k7s15kx5/TASM2.HZ.rar.html
rapidu.net
http://rapidu.net/3843303439/TASM2-HZ.rar
Enjoy and Please Say Thanks 🙂
I don’t trust any of these sites.
So then go download Lockdown’s FLAC version.
I wish you had one long post for me to quote, as you quoted collection’s entire post. Never understood that. It’s obnoxious.
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