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Posted: |
Oct 16, 2016 - 9:33 PM
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By: |
MikeP
(Member)
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I don't mind it being mainly electronic, although of course the preference would have been a big orchestral sound following the previous scores. My guess is the harsh electronics are for the disoriented mind set of Langdon through the story, the unease / amnesia, and maybe also since the threats are advanced electronics ( bombs, drones) , the music speaks to that.
But yeah, there's not a lot to hold onto to begin with ( at least from my first two listens ), but man, for me it comes to life beginning with The Cistern and going to the album finale. There's some great action thematic stuff, and as mentioned above the CD wraps with a great version of Chevaliers de Sangreal .
A mixed bag, but I'm waiting to see the movie and hope it helps me appreciate the score more. But for now, the second half of the disc is great - after a really harsh start. 
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I really dig the piano motif in "Elizabeth" -- really delicate, tinkling performance running throughout the track and gently ushers in a subdued, muted version of "Chevaliers de Sangrial" ... it's really quite something. One of my favorite tracks on the album. The piano motif is a major highlight of the score for me (where I honestly struggle to find highlights).
It also opens the track "Venice" but I'm uncertain if it appears anywhere else on the album in any other guise or instrumentation. I think it's a new motif/theme for the new movie, yes? I'm trying hard to determine if it's a variation on a previous theme from a previous film in the series but I'm not sure...
Also, approximately 1:35-4:35 of "Beauty Awakens the Soul to Act" feels like a direct lift from "Science and Religion" (or what other cue) from Angels & Demons. I don't know "Science and Religion" like the back of my hand (it does boast quite the length) but that section of "Beauty Awakens..." felt like a copy 'n paste. I like the other arrangements and reworkings of previous themes, but that part...
it is mentioned on the CD album booklet that there are themes used from both DaVinci Code and Angels and Demons. almost hate to say this but I kinda like the music from Inferno. played it yesterday and followed up with A and D which I love.
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Posted: |
Oct 19, 2016 - 10:22 PM
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By: |
DeputyRiley
(Member)
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the amount of hatred its get confuzzles me a bit.
Personally, I don't hate it, but I'm quite disappointed, mainly for two reasons.
1. As a film score, if you divorce yourself from the knowledge that it's a Hans Zimmer score, having awareness that it's just a standard modern film score by another composer, it's quite good (well, at least the second half). However, I am a huge fan of Zimmer's and have heard so many of his scores and feel he is capable of so much better than this -- or at least, it may work for the movie but not for me.
2. Having established #1 above, if you divorce yourself from the knowledge that there are two fantastic previous scores written by Zimmer for this series, you could say it's a decent effort by Zimmer, but knowing that he had written such spellbinding, gorgeous, and thrilling music previously makes it harder to get on board this time around.
Having said that, as is often the case, I applaud Zimmer's guts to try something abrasive and against the grain and go dark and ironic with this one. It's not to my taste, but it does fit with his approach to moving forward and keeping things fresh.
I think this series is unusual because most of the time in film score series (or trilogies), the first film is the most electronic/lowest budget and they become more expansive and orchestral/less synth-driven as the series continues (Scream, Bourne, Die Hard, Hunger Games, Pirates of the Caribbean, (with exceptions of course) -- so this felt a little jarring.
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Posted: |
Oct 24, 2016 - 6:05 AM
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By: |
DeputyRiley
(Member)
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Wow, I totally did a 180 with this score. Been listening to it a lot lately, and I've changed my mine -- I really like it a lot! I'm very surprised that I didn't like it at first and it's grown on me very quickly.
I think I inadvertently went into it with expectations, and moreover Zimmer challenged me. It's a challenging listen. Most of all, though -- what really turned me around -- I listened to the score with headphones. Anyone who doesn't care for the score or who was disappointed in it like I was, I suggest listening to it with headphones/earphones if you haven't already. I discovered an entirely new sonic world of detail that I did not appreciate otherwise through ordinary speakers. Granted, I do not have very good speakers that I connect to my computer, but the technical mastery and wizardry in programming, along with the growing appreciation for his reworking of thematic material, has really made this score achieve high marks in my book.
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