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As always with unused pieces of music. There are always be more interesting. Like with Dark Phoenix.I think what Lorne wrote for the last 30 min of the movie is way better than what ended in the movie... Lorne tried to elevate what was going on on screen, but it was probably too "bold" for the taste of production... They wanted to keep as "kow key" as possible but to me it made the ending of the film fall super flat...
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<br>In the end there isn't that much Lorne in the film (most of the "Moon" reel is Lorne though, that big 4 notes motif appearing during the moon landing and then takeoff). Ironically most of the droning you're all complaining about is not that much Lorne... lol
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<br>I really hope Lorne will put out as much music as possible, even all the unused parts, which are the more interesting ones !Taking in the movie now after having seen it. The cinematography is brilliant, and there are some interesting concepts that really will have you thinking long after walking out of the theater. Still, I couldnít help but feel like the film dragged throughout. Coupled with the voiceover the movie has a very ĎTerence Malick-yí, ďThin Red LineĒ feel throughout.<br><br>Iím definitely not familiar with Max Richter so I canít comment on what he might have written, but Balfeís broad-chord style is pretty recognizable throughout. There are also some interesting electronic pieces used throughout, possibly might be Balfe but hard to say as of now. The rest of the music is pretty contemplative, ranging from slow/emotional string pieces to more ambient droning.Well, I heard only Balfe's "Prayer" and Richter's "To the stars"... All I can say is we need to wait for the full release, hear both composers and only then talk about who better coped with this. (and watch the movie of course)<br>I don't think Balfe is a bad composer. He does pretty good as an additional composer but not as a leading (mostly). The only soundtrack that I consider the best to date in his solo career is "M:I-Fallout" and "Assassin's Creed III". (imo)<br>Who knows what will be this time. But for now I like Richter's track more.I'm just waiting for Gemini Man, that (i hope) would be fun
I love that cue.So I created a page for it, move away from Ghost In The Shell !! :PI wonder if this track is the one causing consternation: Nils Frahm: 'Says' https://www.youtube.com/watch?v=dIwwjy4slI8<br><br>It sounds a bit like what Richter and Balfe could produce, but it is much more artistic than Balfe and much more synth-based than Richter. Frahm is credited for additional music.Not writing negative comments about Balfe for the purpose of writing negative comments - ie. trolling - but for the fact that Balfe does not seem to take film composition seriously. Goldsmith had a similar pace in the 1990s that equates to contemporary Balfe, but he managed to produce fantastic scores like Air Force One in a few weeks (yes, with some help from McNeeely). Balfe simply does not seem to have those skills so he resorts to cliches and drony nonsense. I await to be proven wrong. That Balfe track is not half-bad so I do maintain a general sense of expectation for this.Not any more lame than the Balfe cue
Lorne says it will be released and insists itís not a GITS situation.That's been standard in certain cases, though considerably less nowadays with how complicated these situations have become.<br><br>Having heard both tracks posted, both give me little on their own. I'm sure they work better in the context of the film, and we might see better tracks unveiled eventually.He deserve better.Hans and Lorne like twins. Lorne has a very good personality. I still don't understand why some people are still writing bad comments to Lorne?Probably... lolSo is this how itís gonna be? Official release for Richter and leaks by Balfe :(
Lorne posted a track from Ad Astra on his YouTube channelThank you. And i suppose "Need You Busting My Balls - End Credits" title would correspond to ASCAP "Need You Busting My Balls" + "RUSH END CREDITS", while "Just Married" to "RUSH MAIN ON END"?Thatís literally the best part of the score though. But itís typical Richter (Miss Sloane, Black Mirror: Nosedive).Hunt Drunken Weirdness is barely a cue actually, it's just a patch up of sound designs by Mel...<br><br>Italian Party is a name I made up for a cue that's not used in the movie ! :)In ASCAP there is a cue "HUNT DRUNKEN WEIRDNESS" - is this by a chance an alias to "Italian Party", which is absent in ASCAP. Though there are different credits Zimmer/Wesson vs Zimmer/Klebe.
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Klaus BadeltAndrew RaiherChristopher CarmichaelIan Honeyman
ComposerComposerAdditional MusicArranger
Dylan Dog - Dead Of Night
Label: Labelzero.com
Length: 58'01
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (4130 votes)
  1. Meet Dylan (1:45)
  2. Gabriel (1:09)
  3. New Job (1:50)
  4. Final Fight Pt. 3 (3:02)
  5. Father's Book (1:26)
  6. Wolfgang Fight (1:56)
  7. Butcher (1:14)
  8. Marcus Comes Back (1:36)
  9. Zombie Attack (2:00)
  10. Funeral (2:19)
  11. Dylan Flashback Story (2:04)
  12. Screamer Client (1:12)
  13. The Story (2:50)
  14. Final Fight Pt. 2 (3:03)
  15. Final Fight Pt. 1 (2:16)
  16. Beetle Fight (2:19)
  17. Gabriel Dying (1:27)
  18. Buried Alive (3:16)
  19. Kiss (1:43)
  20. Taking The Case (2:27)
  21. Power Plant (4:07)
  22. Dangerous Daylight (2:07)
  23. Sleeper (2:50)
  24. Dad's Dinner (1:41)
  25. Dylan's Eulogy (3:06)
  26. Marcus Attacked Pt. 2 (2:08)
  27. Final Walk (1:07)
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Knight reply Replies: 0 || 2019-09-08 15:14:50
All cues by Badelt and Raiher except:

Badelt, Christopher Carmichael

ZOMBIE ATTACK
FINAL FIGHT PT.2
POWER PLANT
DANGEROUS DAYLIGHT
SLEEPER


Badelt, Ian Honeyman

DAD'S DINNER

Vishagh reply Replies: 1 || 2011-08-09 04:24:28
Didn't like it...not worth it.


Anonymous2011-08-09 14:17:30
Not worth it for free? UM?

Adrian reply Replies: 0 || 2011-05-24 22:16:04
Nice release, recommended :-)

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Dylan Dog - Dead Of Night soundtrack - Klaus Badelt - Andrew Raiher 2011