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Theres quite a bit of good unreleased stuff from this score. Stuff like the cue that plays during Alita's first game of motorball with the other kids, the bar fight music, the unused string rendition of Alita's theme and the end titles arrangement of Motorball/Swan Song.Does anyone have the "Motorball" cue from end credits? It sounds like the beginning of the "Motorball" track but it's different than on the OST. It plays directly after the Swan Song track...<br><br>Why is it left off the CD?Huh... Do people at RCP ask H-Z.com to use the official, less accurate credits in some cases? I seem to recall some credit fiasco on POTC4.So what happened to the credits here? It used to be a mixture of solo Atli cues with Atli/Dave Fleming, and now all three guys are credited for every track even though Tillman is only listed as a musician? Is this like with Armageddon, where the "official" credits aren't as accurate as the older ones were? :pMost of the album is comprised of suites, with one consistent tempo per track. <br><br>The material that was scored to picture was scored using the risset rhythm technique, which gave a lot of those tracks their "infinitely getting faster" feeling in the film, so the tempo is always climbing in the film versions. The suites have a stable tempo (except for a couple normal tempo changes, which are different)
Not really any... "Nothing Out There" contains the sad piano theme from Begins and Dark Knight, but otherwise the themes that get reprised are pretty much Hans stuff. <br><br>Speaking of credits, any chance the complete score page could be updated with what's out there and official?Could somebody tell me in what cues JNH's themes appear on album?Thanks MIKE, Any ideas of how can I Google it?Yeah, that cue was either a last minute rewrite or one of the music editors did it.... As for where you can find it...Google is your friend. But it's not going to be available anywhere officially.I think it will be in between NOT ORDINARY CITIZEN / THE SLOW KNIFE and IMAGINE THE FIRE, Does anybody know where can I find it?<br>
I noticed that this score doesn't has the soundtrack of the part where Blake is taking the people to the bridge and he is discusing with the other police officer before he blows the bridgeThat's right, I forgot about that... And I totally agree about the score vs. the album. I had no use for this score on album at first, but now that I've watched the movie a few times, I can really hear the logic behind the score and I "get it." <br><br>I still don't get the music as heard on album, though. Are the longer pieces some early suites Hans wrote? Or did he specifically make these arrangements for the album? Do you know the answer to that one, Hybrid?I wanna say I heard the full Cat Suite somewhere... I can't remember if it was legit, but it was 15:39 and it was indeed quite repetitive. It was basically the Selina Kyle Suite from the Z+ app, along with demos of several of the Catwoman-related cues in the final score. If you've listened through the score, you've basically heard the unreleased stuff.@Mike<br>Zimmer has said in interviews that he “mapped out” the film with one long piece of music to establish the changing tempo of the story, and apparently the script was written to capture the rhythmic feel of the film. So from the very beginning the story was always split up between the three.<br><br>I think a big part of the initial disappointment with the score was the album presentation, which gives off the impression that the music is just some sound design that Zimmer threw together (this is how I personally felt when I first gave it a listen). In actuality it’s a technically impressive score, I really can’t think of any other film score that is so synchronized with a film’s tempo and flows as one long piece of music. Apparently it was a nightmare for Hans, especially when the smallest edits to the film would ruin the flow.<br><br>Doing the 59-minute album was a pretty big disservice to the whole purpose of the music. If you remove one piece the whole thing falls apart, which is part of the reason the album feels so disjointed.Anyone here listened "The Predator" FYC score? <br>Any chance to compare tracklist and running time with official release?
These versions suites haven't been officially released, but maybe you can find them somewhere around the Internet unofficially.<br><br>As for the Cat Suite, the most important parts of it can be found in "Selina Kyle" (it's a shortened version of it actually) and "Mind if I cut in?" from the OST. I remember that Hybrid once said that the 15mins Cat Suite was too repetitive, that's why a 5min only version was released, so maybe you are just fine with those two.<br>Where can I listen to the Cat Suite? Or is it literally: Selina Kyle Theme? <br>The Mole P1 (0-1:57)<br>Regimental Brothers P1 (0-1:19)<br>The Mole P2 (1:57-3:44)<br>Regimental Brothers P3 (2:44 onward)<br>We Need Our Army Back<br>Shivering Soldier<br>Supermarine P1 (0-2:47)<br>The Mole P3 (3:45 onward)<br>We Need Our Army Back (again) <br>Supermarine P2 (*5:33)<br>Impulse<br>The Tide<br>Home <br>The Oil <br>Variation 15<br>End Credits <br><br>As everyone said already, the album is made up of suites that combine several cues and several "sounds" used in various places. For example, the is a sound in The Mole (At 2:05) that sounds like a fuse being ignited. This sound is actually right after The Tide in the film.<br>The only tracks that are almost identical to the film are: The Tide, Variation 15 and End Credits, the rest is different. <br><br>So if you were to order the tracks as first heard in the film it would be: <br>The Mole <br>Regimental Brothers <br>We Need Our Army Back<br>Shivering Soldier <br>Supermarine <br>Impluse <br>The Tide <br>Home <br>The Oil<br>Variation 15<br>End credits<br><br>As much as I enjoyed listening to this release, I wish they didn't butcher the score the way they did. I like the suites but there are so many great cues in this film that weren't released. If only they released an isolated score track on Blu-ray. Listening to film extracts is just not enough.I noticed that as well — the ticking goes all through the movie, except for the boat scenes, and only stops when they get on the train. <br><br>I wonder...could the film have originally been shot so that the beach, sea, and air sequences were there own arcs, and the longer album tracks were written for that? And then Nolan went in and turned the movie into the frenetic, constantly cutting-back-and-forth final product? <br><br>While the album is fine, I personally don't understand why we couldn't have just gotten the film cues. They might have had to stitch several together for each track, but it could have worked.Does anyone know where you can get a digital version of the Japanese versions 2 bonus tracks?
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Ramin DjawadiBrandon CampbellStephen ColemanWilliam Marriott
ComposerAdditional MusicOrchestratorTechnical Score Engineer
Game Of Thrones (TV Series - Season 5)
Label: WaterTower Music
Length: 58'40
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 (4377 votes)
  1. Main Titles (1:45)
  2. Blood Of The Dragon (1:33)
  3. House Of Black And White (5:08)
  4. Jaws Of The Viper (2:31)
  5. Hardhome, Pt. 1 (5:06)
  6. Hardhome, Pt. 2 (4:31)
  7. Mother's Mercy (2:14)
  8. Kill The Boy (2:07)
  9. Dance Of Dragons (3:08)
  10. Kneel For No Man (4:45)
  11. High Sparrow (3:23)
  12. Before The Old Gods (2:37)
  13. Atonement (2:54)
  14. I Dreamt I Was Old (2:16)
  15. The Wars To Come (4:48)
  16. Forgive Me (3:17)
  17. Son Of The Harpy (5:17)
  18. Throne For The Game (1:20)
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kingfannypack is the MILFcommander reply Replies: 0 || 2018-04-20 08:25:19
The Stark theme always left a big impression on me, but the way it plays when Jon Snow dies gives me the chills


... reply Replies: 0 || 2016-05-16 23:12:14
OMG the music was great in episode 4! The ending piece has to be on the OST!

... reply Replies: 1 || 2015-09-06 23:36:27
Wow. Ramin has done it again. I think that the new themes work brilliantly and that the development of old themes blends perfectly. Son of the harpy is such a great track. Too bad we don't have the version that plays in episode 9. It's a bit different.


Alan2015-09-07 14:21:59
the season 3 score is better

Felix reply Replies: 0 || 2015-06-19 23:15:48
Hello Hybrid, do you have a cue from Ramin's The Srain: Season 1 Score?

Phil reply Replies: 2 || 2015-06-16 18:28:04
soo many Cello-Solo parts :) very nice


Edmund Meinerts2015-06-16 20:58:41
That's not such a surprise considering Djawadi plays the cello and thus eliminates the expense and effort of hiring a soloist. :p


Hybrid Soldier2015-06-16 21:07:12
The POTC 1 cello !

Ramin influence everywhere !! :P ;)

Macejko reply Replies: 13 || 2015-06-14 13:51:32
Awesome as always. "High Sparrow", "Son Of The Harpy", "Dance of Dragons" and "Hardhome" are simply astounding. Too bad there's some music missing, like the cue from Brienne's chase sequence, the Stone Men theme and more from Dorne - I expected more than just a little bit of guitar in "Jaws Of The Viper".
P.S.: I really hope that once the series is over we'll get some giant expanded edition of music from all the seasons.
P.P.S.: I've never been more ready for you, Warcraft!


Ds2015-06-14 14:37:00
I'll never understand why you're so crazy about this music, Macejko. Probably you like so much Djawadi that everything he puts out HAS to be great. The whole thing about the Game of Thrones music is that it is ambient music that doesn't take a big place, that remains in the background, providing dark and tense atmosphere, but that's it. I find these albums to be a rather boring listening experience, except for a few great cues of course, and a magnificent main theme. If only the actual score for this series sounded more like its main theme...


Macejko2015-06-14 15:08:35
Not all music needs to be a spectacular one like the main theme. In fact, it mustn't be, for obvious reasons. What can I say, I enjoy both types, be it the spectacle in "Dance of Dragons" or the eerie, mysterious quality of "House Of Black And White".
Of course, everything Ramin comes up with DOESN'T have to be great and there is stuff I consider only serviceable. But he doesn't compose to please ME personally, so who am I to complain if there are few tracks that don't blow me away? I find his albums to be amazing as an OVERALL work of art, with MAJORITY of the cues being great. I never said that I worship every single cue he's ever done. That would be impossible, and not just for me, but for everybody who has a favourite composer of their own, be it Hans, Goldsmith, Mansell or literally whoever else.


Hybrid Soldier2015-06-14 15:10:18
Wow Belgian / Slovakian showdown ! Let me grab my popcorn !!


Macejko2015-06-14 15:17:51
Oh, come on :D
Ds and I actually see eye to eye on most of the topics :)


Ds2015-06-14 20:17:56
Yeah we agree on almost all topics, except when it comes to Ramin. I dont hate his music but I just dont understand why Macejko worships him :-D

I get your point and I agree. I also like ambient scores, but Game of Thrones' music is too simplistic, too sober for my own taste. Scores like Broken City or Pain and Gain I find really pleasant on album, because they are much more layered. GoT, not so much...


Adam2015-06-14 23:28:47
There's a lot more than just ambience in Game of Thrones, Ds! There are actual themes! Like Daenerys' theme (Mhysa) and Jaqen H'ghar's theme (Valar Morghulis)! They're great stuff. So good!


Edmund Meinerts2015-06-15 11:01:17
The thing about Djawadi's themes for Game of Thrones is that (with some exceptions) they're so basic, so unmelodic, that hearing references to them in ambient/underscore cues doesn't do a whole lot to raise the interest level of that cue. Yeah, it's nice that there's recurring motifs and such, but when the motifs themselves are so dull that doesn't do much for me. People say the same about Howard Shore's Hobbit scores but Shore's themes are much more interesting and cleverly manipulated than Djawadi's.


Hybrid Soldier2015-06-15 12:56:05
Unmelodic ? How so ?


Macejko2015-06-15 15:15:27
Not even Shore developed his themes like Ramin did. Rearranged? Sure. Developed? Listen to "King's Arrival" from Season 1, then to "The Throne Is Mine" from Season 2 and finally to "First Of His Name" from Season 4, just to name a few. THAT'S development. A true emotional shift, a brand new context.


Edmund Meinerts2015-06-15 15:44:43
Unmelodic in the sense that a lot of the motifs (eg Stannis' or the White Walkers) are just very short ascending or descending patterns or textures, rather than full melodies with distinct phrases. Yes, it's a recurring theme, which is nice, but the theme itself is so short that it doesn't carry any emotional weight. It doesn't make the music more interesting beyond "oh, there's that theme".

And are you seriously going to suggest, Macejko, that Shore's thematic development in LotR/The Hobbit is in any way inferior to Djawadi's in Game of Thrones? Seriously? Don't make me laugh. What you cited with "The King's Arrival" is smart, admittedly, but there are literally hundreds of similar developments running all through the LotR scores. Look at what he does with the Fellowship theme. It starts out heroic but still subdued when it's just the Hobbits and Aragorn, then gets huge and fanfare-ish once the entire company is assembled in Rivendell, falls apart towards the end of FotR after Gandalf dies and then picks up steam again in TTT and RotK. You never hear that theme played the same way twice. In comparison, all Djawadi ever does with his main theme is play that same damn ostinato over and over again...different speeds, maybe, but always the same feeling (the only exception, and it's a great one, being "Three Blasts" from season 2). The way Shore's different themes have shared melodic fragments that connect the concepts to one another (e.g. the half-step opening of the Ring theme, Sauron's theme and the Ring's seduction theme) is another compositional nuance that's entirely lost on Djawadi.


Hybrid Soldier2015-06-15 16:16:03
In The Hobbit ? Let me think... YES... lol


Macejko2015-06-15 16:38:48
IMHO, all those nuances mean pretty much nothing when they are so buried in the soundscape that you have to be extra attentive to even notice them, or listen to the soundtrack a thousand times to discover them. From my point of view, the basic layout is this: in LoTR, the melody encapsulates the change, however in GoT, it's the change that encapsulates the melody. What this means is that while in LoTR you seek for a emotional differences in theme-variations that sound really similar to one another, in GoT you search for a theme in cues that couldn't be more emotionaly distinct from one another. I consider this to be a huge difference, and also one of those that separates the "old school" (Shore, Williams...) from "new school" (Hans, Ramin...), if you will. I think you rely a little too much on musical theory and missing a bigger picture. The way the things are done nowadays is not bad simply because it differs from the past methods, and you shouldn't say that something "is entirely lost" on Ramin. He and many others from RCP studied music and they are certainly well aware of the "old school" methods the critics are blaming them for not using. They might have simply CHOSEN to not use them.


Ds2015-06-15 19:17:39
Macejko I agree with your last post, about those old and new views on film music. However, while I fully appreciate Hans' method (actually I'm in love with it), I often find Djawadi to be too simplistic. I'm not looking for musical complexity (for instance I didn't enjoy the Hobbit scores at all, and I'm a huge fan of the heavy, brutal sections of Man of Steel), but I want the music to float in my ear, to move me somehow, I want a "full" sound with many layers, some crazy rythms. In my opinion Hans has got an amazing sense of entertaining, crowd-pleasing music (and I mean that as a compliment). Djawadi's music often lacks depth, it's like he's trying so hard to become Hans but stops at the "demo" stage. And the result is often kind of cheap-sounding and hollow.

Macejko reply Replies: 5 || 2015-05-12 11:38:53
It's only half of the season and we've already been introduced to three new themes. I can only imagine what awaits us down the road, and I can't wait for the score to come out :)


Zimson2015-05-12 12:03:21
I can't wait for his Warcraft score to come out. They keep delaying the release, but I'm pretty sure they're going to show the trailer at gamescom and hopefully include some of his music.


Anonymous2015-05-12 14:57:26
Well, I can't wait for POI season 3 & 4 soundtrack. What's going on with these?


Mark2015-05-12 15:02:54
Wow, great news. I think 'July 17' will be for the CD release. So the digital version will come out earlier on June, like the year past.


Medigo2015-06-04 15:11:20
woo samples
woo Kill the Boy


Radik2015-06-09 19:19:22
Son of the Harpy, what a excellent track! that moment when it's start plays in the show freaks me out. Pretty creepy and scary moment of entire season :)

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Game Of Thrones (TV Series - Season 5) soundtrack - Ramin Djawadi 2015