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It's really cool. Very beautiful scoresScore out today. Already available on Amazon. Hopefully soon on iTunes, can't find it. <br><br>Tracklist: - 99 min. <br><br>1. Main Title Theme Ė Westworld (1:41)<br>2. Journey Into Night (5:29)<br>3. Runaway (2:48)<br>4. Myself (4:02)<br>5. The Entertainer (1:06)<br>6. Is This Now? (4:23)<br>7. Seven Nation Army (2:12)<br>8. The Raj (2:47)<br>9. Les …corchťs (4:12)<br>10. Heart-Shaped Box&#8239; (Orchestral) (3:24)<br>11. Akane no Mai (3:33)<br>12. Paint It, Black (5:42)<br>13. C.R.E.A.M. (1:46)<br>14. Virt&#249; e Fortuna (2:18)<br>15. A New Voice (3:30)<br>16. Kiksuya (3:23)<br>17. I Remember You (5:22)<br>18. Heart-Shaped Box (Piano) (1:57)<br>19. Take My Heart When You Go (4:10)<br>20. Virus (2:52)<br>21. My Favorite (3:35)<br>22. Vanishing Point (3:01)<br>23. My Speech (1:17)<br>24. A Passage to Another World (4:14)<br>25. I Promise (4:34)<br>26. Core Drive (3:53)<br>27. Westworld (5:21)<br>28. Codex (3:34)<br>29. Weíll Meet Again (3:10)Thank you. Do you know which segment of the track?Something tells me they're not going to.Wait, that describes many film score leitmotifs doesn't it? Is it just used to describe Zimmer-type of music simply because he uses them more often, or are his main themes almost always power anthems?
Maybe I am wrong about this, but a power anthem is a cue that revolves around a soaring, powerful melody that repeats itself throughout composition to represent a character, a team, or a specific sequence in the movie. Power anthems usually have minimal focus on developing complex B-sections, transition elements, and deep narratives.<br><br>I think the best example is Jablonsky's "Arrival to Earth" in Transformers. My personal favorite is "Show Me Your Firetruck" in Zimmer's Backdraft.Politics. Zimmer was supposed to be doing Last Samurai, So he recommended Badelt when Bruckheimer asked him to do it. But in the end he ended up writing the main theme and the bulk of the score and KB has not worked with HZ since.I like this one too. xDThis is somewhat random, but can someone define for me what exactly qualifies as a power theme/anthem in reference to film scores? That term is used all the time to define Hans' music and I have a vague idea of what it means, but I'd like to know exactly what it refers to.Hybrid, thereís a cool organ variation of Davy Joneís theme in the film that comes right before Liarís Dice, although I donít see it listed here. Is it mixed in with another unreleased cue or is it not on the list at all?
YesHi , why in the end credits of the movie , hans was not mentioned as composer and we had only klaus badelt credit ?<br>It would have to be suites because the better parts of each are only like 20 seconds or 50 seconds long...if he can put it all into a suite that's fine.meh<br>I dont want a soundtrack of just suites<br>The Batman Suite (9:50) - is this part of Men Are Good on the OST album?
I expect the following tracks:<br><br>A Delos suite<br>A new MIB suite incorporating all of the music from Episode 9<br>A Dolores Suite that showcases all of the uses of her theme (battlewise, anyway)<br>A Ackecheta Suite<br>The Samurai World suite<br>The obvious cover songs already released<br>Anything from Season 1 that was left out. <br>- Somehow I dont think this soundtack will be 2 volumes, like the last one...but this will do <br>  <br>Iím using the ASCAP titles in conjunction with the film. Certain cues on the OST are stitched together with several shorter cues (Lipstick and Terrible Darkness for example) and are out of order. I think Hybrid posted the film order.Are you using the OST to break this down or all cuesThis was such a nightmare to try and break down. Much like IT, there are dozens of short cues that bleed into each other. Not 100% Complete (missing 5 or 6 cues) but for the most part in correct order...<br><br>Logos - Buildings<br>Dead Morris<br>Elevator - Boardroom<br>Pembrokeís Letter<br>Someone More Senior<br>Train<br>Laptop Battery<br>Motherís Music Box<br>Drive To Castle - Arrival <br>Vent Pulse<br>Water Glass<br>Drive<br>Mother Flashback Pulse<br>Mother Crematorium<br>Deer Crash<br>Exploring The Spa<br>Steam Room<br>Hannah Hums<br>Waiting<br>Nosebleed Bend<br>Volmers Diagnosis<br>Urine Sample<br>Isolation Tank<br>Bridge Flashback<br>Thereís Something In The Water<br>Caretaker Gurney<br>Terrible Darkness<br>Church Remains<br>Hannah Pond<br>Ballerina Sting<br>Bike To Town<br>Crayon Picture<br>Tampon<br>Cow Fetus<br>Bar Fight<br>Lipstick<br>Hannah Bedroom Nightmare<br>Tooth Pull<br>Lower Corridors<br>Embryonic Chamber<br>Constabulary<br>Toilet Eels<br>Lockhartís Letter<br>Underground<br>Volmerís Lab<br>Grotto Fight<br>Zombies<br>OS Orchestra<br>Blue Dress - Volmerís Vitamins<br>Monk Chant<br>Ballroom<br>The Rite<br>Pulse<br>Photo Sting<br>Unmasked<br>Fire Waltz<br>Actually Iím Feeling Much Better<br>Main On Ends<br>End Roller Pts. 1 & 2I'm really curious about this one.<br><br>But for August, i expected most The Meg
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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 (4104 votes)
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  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