01 Dream Of Arrakis 3:08 02 Herald Of The Change 5:01 03 Bene Gesserit 3:54 04 Gom Jabbar 2:00 05 The One 2:30 06 Leaving Caladan 1:55 07 Arrakeen 2:16 08 Ripples In The Sand 5:14 09 Visions Of Chani 4:27 10 Night On Arrakis 5:03 11 Armada 5:09 12 Burning Palms 4:04 13 Stranded 0:58 14 Blood For Blood 2:29 15 The Fall 2:32 16 Holy War 4:20 17 Sanctuary 1:50 18 Premonition 3:30 19 Ornithopter 1:54 20 Sandstorm 2:35 21 Stillsuits 5:31 22 My Road Leads Into The Desert 3:52
I’m halfway through it and not loving it but I remember my scathing reaction to the BLADE RUNNER 2049 which I ended up really liking so I’ll give this a bit of time.
I just listened to it and was positively surprised.
After that awful sketchbook music release I was expecting the worse.
But is not that bad.
Musically is a big pile of nothing. It is basically just sound design with the ocasional "arabian-ethinic" riffs, crying woman vocals and horns of doom that are Zimmer's trademark.
Some cues sounds almost exactly as Graeme Revell's music for the DUNE miniseries which is shameful.
But in the end this is all positive in the Zimmer way of "creating" scores and maybe works in the context of the movie (or at least won't ruin it like he does most of the time when he tries to be epic and melodic).
Since DUNE is my favorite book I will give it the benefit of the doubt.
I’m halfway through it and not loving it but I remember my scathing reaction to the BLADE RUNNER 2049 which I ended up really liking so I’ll give this a bit of time.
Same here. But my first impression is: when will I finally stop falling for Zimmers PR-statements?
I just listened to it and was positively surprised.
After that awful sketchbook music release I was expecting the worse.
But is not that bad.
Musically is a big pile of nothing. It is basically just sound design with the ocasional "arabian-ethinic" riffs, crying woman vocals and horns of doom that are Zimmer's trademark.
Some cues sounds almost exactly as Graeme Revell's music for the DUNE miniseries which is shameful.
But in the end this is all positive in the Zimmer way of "creating" scores and maybe works in the context of the movie (or at least won't ruin it like he does most of the time when he tries to be epic and melodic).
Since DUNE is my favorite book I will give it the benefit of the doubt.
Totoro’s account was hacked. The response was too thoughtful.
I'm tempted to give this a try (curiosity always gets the better of me) but I actually think the third release (the artbook tie-in) will be the best of the bunch, so I'm waiting for that.
I just listened to it and was positively surprised.
After that awful sketchbook music release I was expecting the worse.
But is not that bad.
Musically is a big pile of nothing. It is basically just sound design with the ocasional "arabian-ethinic" riffs, crying woman vocals and horns of doom that are Zimmer's trademark.
Some cues sounds almost exactly as Graeme Revell's music for the DUNE miniseries which is shameful.
But in the end this is all positive in the Zimmer way of "creating" scores and maybe works in the context of the movie (or at least won't ruin it like he does most of the time when he tries to be epic and melodic).
Since DUNE is my favorite book I will give it the benefit of the doubt.
Totoro’s account was hacked. The response was too thoughtful.
Or maybe you just suffer from Extreme Prejudice...
I just listened to it and was positively surprised.
After that awful sketchbook music release I was expecting the worse.
But is not that bad.
Musically is a big pile of nothing. It is basically just sound design with the ocasional "arabian-ethinic" riffs, crying woman vocals and horns of doom that are Zimmer's trademark.
Some cues sounds almost exactly as Graeme Revell's music for the DUNE miniseries which is shameful.
But in the end this is all positive in the Zimmer way of "creating" scores and maybe works in the context of the movie (or at least won't ruin it like he does most of the time when he tries to be epic and melodic).
Since DUNE is my favorite book I will give it the benefit of the doubt.
Totoro’s account was hacked. The response was too thoughtful.
Or maybe you just suffer from Extreme Prejudice...
I was pleasantly surprised to read a post like that from you after some of your previous comments on Zimmer’s work. I guess Something’s Gotta Give.
One of my favorite knee-slappers about this board is all of the hypothetical mind games and mental gymnastics people play with themselves over scores: "If only this other composer would've done the score, *then* I would listen to it! Then it would be brilliant! Just because I imagined it to be so!" Please don't stop being so narrow-minded, FSM. Keep on keeping on.
Soundscape: What do you get when you combine the harmonics, techniques and instrumentation of - Angels & Demons - The DaVinci Code - Inception - Interstellar - King Arthur AND
The entire body of work by composer Bear McCreary on the Ronald D. Moore' Battlestar Galactica Television Series?
Leaving Caladan is much better in the actual score, and there's something about it that really does capture the feel of reading about the Galactic Padishah Empire.
Leaving Caladan is much better in the actual score, and there's something about it that really does capture the feel of reading about the Galactic Padishah Empire.
Did you watch the movie? How much music is missing? I read the complete score has 60 cues and this has 22 cues.
As it is, this album is frankly pretty boring. I end up loving the sketchbook a lot more than this. Like 90% of the trailer themes and 70% of the stuff in the sketchbook aren't even on the album. Like where are the House Atreides cues? The bagpipes only appeared for like 5 seconds in "Armada." Where are the Lisa Gerrard vocals? Even the female war cry just appeared for like 10 seconds. I am still extremely excited to see the movie and hear the score in the movie but this album doesn't do much more me.
I actually like much of the sketchbook. All the themes and ideas are not always coherent but there is a clear, ethereal quality to them. "Moon Over Caladan" is much better than anything on the actual album.
Saw it yesterday in cinema and it was ok. I havent read the book or watched the other adaptions of it so storywise I was openminded. But not musically. I listened to the two singles "Ripples in the Sand" and "Paul's Dream". I like the guitar stuff in pauls dream and the other ~10 mins are dissapointments.
The Negative To say that the music was way to epic is an understatement and I usally like scores that are too much like Gold's Doctor Who. But here every scene feels like the universe will explode next scene. The Film tells you with its dialog heavy scenes that this is the setup for part 2. The music tells you that every spoken word and every tiny piece of sand is the greatest thing ever. Imagine Harry Potter & the Deathly Hallows part 1, a film where not much happens (like this Dune here) and 80% of the scenes are scored with the battle cues from part 2 (https://www.youtube.com/watch?v=kAI9R60zjrw). Not that fitting if you ask me... Did it destroy the expirience? no. But it was damn close.
The Positive Paul's Theme is great. For the music itself, I really like "Herald of the Change" & "Leaving Caladan". I smiled a bit, when Hans' Batman and X Men Dark Phoenix theme showed up in "Armada".
Where are the Lisa Gerrard vocals? Even the female war cry just appeared for like 10 seconds.
Considering she didn't work on the score at all, why would her vocals be on the soundtrack album. Not every wailing woman is Lisa Gerrard Having just seen the film, that female war cry isn't featured much in the film either.
Had my first listen now, and absolutely LOVING it. I'm so relieved that most of the "loudness war" tracks have been weeded out by Zimmer himself, so that it's now a wonderful, exotic, moody, otherworldly concept piece. Just as I had hoped for. Not sure I need that much whittling, after all.
Where are the Lisa Gerrard vocals? Even the female war cry just appeared for like 10 seconds.
Considering she didn't work on the score at all, why would her vocals be on the soundtrack album. Not every wailing woman is Lisa Gerrard Having just seen the film, that female war cry isn't featured much in the film either.
She did work on the score. The sketchbook booklet listed her as a vocalist. The voice you heard in the trailer right at the beginning is her voice. There were 3-4 female vocalist that contributed to the score and Loire Cotler and Lisa Gerrard were two of them.
Where are the Lisa Gerrard vocals? Even the female war cry just appeared for like 10 seconds.
Considering she didn't work on the score at all, why would her vocals be on the soundtrack album. Not every wailing woman is Lisa Gerrard Having just seen the film, that female war cry isn't featured much in the film either.
She did work on the score. The sketchbook booklet listed her as a vocalist. The voice you heard in the trailer right at the beginning is her voice. There were 3-4 female vocalist that contributed to the score and Loire Cotler and Lisa Gerrard were two of them.
Ah okay, I stand corrected then. She wasn't one of the credited vocalists in the end credits of the film though so I guess she only worked on the Sketchbook and not the final score.
Had my first listen now, and absolutely LOVING it. I'm so relieved that most of the "loudness war" tracks have been weeded out by Zimmer himself, so that it's now a wonderful, exotic, moody, otherworldly concept piece. Just as I had hoped for. Not sure I need that much whittling, after all.
I prefer the Sketchbook. I haven't finished it yet but so far I can't really find much melody in the actual film score. Will return to it after seeing the movie, maybe that will change my first impression.
Having just seen the film, that female war cry isn't featured much in the film either.