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Yeah, 30-ish seconds into Do You Bleed?"Reminiscent Therapy" is amazing in the way it incorporates a lot of Williams' classic stuff making it feel very natural and organic, like it's part Powell's themes, like he does with "The Adentures of Han".<br><br>This is a really great scoreHe is the chosen one, the one who will bring balance to the film music world...Thats just 'do you bleed?' with a small insert?Haha, It's as the prophecy foretold.
John Powell, the great uniter of film music fans@MrZimmerFan<br><br>I actually like Rogue One, and I do understand why it leans so heavily on the original themes. Here the themes are incorporated more as fan service, but Powell is able to do wonders with interpolating them with his material. <br><br>And something I forgot to mention, this score reminds me so much of Pan in the action sequences. The percussion and brass writing is great lolim surprised how Powell uses his ANTZ percussion in this!<br><br>The track Train Heist, Into The Maw is good example of it.<br><br>This is the only score that will please the gang at JW and HZ alike.When JWFan and HZ.com are discussing the same score....'but not as heavily as Rogue One'<br><br>Because Rogue One have conections with certain aspects or characters from the OT?<br><br>An here you have a track with three themes (or cues) with no conections with the OT, Rogue One have more sense... but the score is fricking awesome :)
So first impressions:<br><br>JP knocked this one out of the park! The whole score has this excellent swashbuckling vibe, which is surprisingly aggressive during the action sequences (entirely due to his trademark percussion).<br><br>The writing style is really interesting, it’s basically John Powell doing his usual style but with some Williams flourishes, especially during the softer cues. The Star Wars themes do return, but not as heavily as Rogue One. And of course the JW cue is great, although surprisingly structured more as an action cue as opposed to a concert suite.<br><br>And for some reason the Han theme sounds vaguely similar to Poe’s theme from Force Awakens.Let’s just say “Reminiscience Therapy”.... hold onto your seats! ;-)This score is awesome!! Powell did a great job at making a score that's differet than all the other SW scores, but still you know it's a SW score. He reprised Williams' theme brilliantly and I can't stop to listen to it!!!what about the music when batman makes it back to the cave and lex opens the case of kryptonite. cant find it in theseYeah I can't agree that Inception or Interstellar are superior pieces of scoring. Certainly not in structure, thematic development, etc. <br><br>What defined those scores is the vision behind them more so than the execution. In so many ways, that is opposite of The World's End. Interstellar is a brilliant score that managed to provide each scene with a simplistic tone, but one that captured the atmosphere behind the scenes perfectly, such as the unique use of the organ. Same with Inception with the guitars. <br><br>With a World's End, the vision is nothing special. It is a rock and roll twist to classic music. But the execution brings enormous power and gravitas to the movie.<br><br>I would sum it up by saying that in Interstellar and Inception, the creation of the music drives the movie's ideas while in At World's End, the movie drives the creation of the music.
Nazg&#251;l for Azog I will never forgive. It's not a Servant of Sauron theme, it's a Ringwraith theme, and Azog's not a Ringwraith, he's a goddam Orc, and that theme doesn't belong there, full stop. It was just put there because it sounds "epic" and would "pump up the action scene". Gondor Restored at the end is just as stupid. And the Dreaming of Bag End theme for Bilbo is indeed lovely, and would have been lovelier still if it actually appeared in the movie. Instead it just gets replaced by copy/pasted Hobbit music from LOTR instead because Peter Jackson desperately wants his audience to remember how good those movies were in lieu of the Hobbit ones being any good on their own. Needless to say it goes missing entirely from the second and third score...along with the Misty Mountains melody (the strongest theme of the first one). I still really like those scores overall but they got absolutely butchered in terms of their thematic usage in the films. Then again those movies were an absolute clusterfuck so I shouldn't be surprised.<br><br>WRT Harry Potter, the 3 note theme does work okay for Voldemort, except that there's already a longer, separate Voldemort theme in Philosopher's, one that I like even more, and which only gets used once in Chamber (when Riddle rearranges the letters). I can understand liking Chamber better than Philosopher when you compare the albums, but in terms of the complete scores there's no contest at all, Philosopher wins by a country mile because of Chamber's rehash issues (and there are some good cues missing from the album, such as the Troll and Forbidden Forest scenes).@Edmund<br>The thing with the Nolan scores (at least Interstellar/Inception) is that they are repetitive, in as much as being built heavily around the suites that I’m guessing they use to edit and temp the film. <br>And while the themes are simple I do think they are structured in a unique enough way which builds emotional resonance through the gradual increase in chords/volume/speed/etc. Even Dunkirk is a relatively simple score theme wise, but is so technically complex.<br><br>And personally I’ve never been in love with Inception. I admire it on a technical level, but outside of “Time” I find it to be a fairly cold score. Obviously what it was meant to do so not a complaint, more of a personal preference thing.You know, I actually like Chamber of Secrets much more than Philosopher's Stone. It has the best moments from that score with improved themes. (I actually like the 3 note motif for Voldemort better than it being used for the stone, it already sounded like the Sith theme from Star Wars so might as well go all the way with it.) It felt more tight, better paced, and had an overall more energetic feel to it.<br><br>The Hobbit, I'm not entirely sure where you're getting heartbreaking from. If you mean the state of its release I absolutely agree, if you're talking about its reprisals the only one I had any issue with was the Return of the King/Gondor Restored theme which had nothing to do with Thorin and Bilbo's relationship. <br><br>The Nazghul theme being used for Azog I thought was fine as he was a servant of Sauron in the movies, History of the Ring and Gollum's themes were used effectively, and the new thematic material for the first film, I thought was wonderful. The themes A Baggins of Bag-End and The Lonely Mountain song being used as a Fellowship type of theme are the greatest highlights for me.See, I don't find Inception or Interstellar (or Thin Red Line) all that "complex". Especially not compared to At World's End (how many themes are in that score, like 15? 20? Pretty much all of which show up in rapid succession during the Maelstrom battle?). The Nolan scores are more about building up around very simple conceptual ideas.<br><br>Unless you're talking about emotional complexity, which is a very different thing and not really possible to objectively judge...You know, I don't think I've ever really gotten the full story surrounding that score. I've heard conflicting reports. My personal belief is that Ross did little to no substantial composition and that all the new stuff (themes, suites, new cues and also significantly fresh arrangements of old material) is pure Williams, but that film is full of reused music from the first film (it's actually quite frustrating, not as bad as On Stranger Tides or as heartbreaking as The Hobbit, but a bit of a rehashy mess and it makes the key error of using the Philosopher's Stone motif as a Voldemort theme). That's where I think Ross comes in and was responsible for taking those cues verbatim from the first film and tweaking/rearranging them just enough to match the timings of the scenes without actually adding any of his "own" notes. His role is likely somewhere between additional music, arrangement and music editing (but as Hybrid likes to point out, oftentimes those sorts of roles are really blurred and overlapping anyways).<br><br>A guy at jwfan did an analysis that helps understand the nature of that score, but be warned, it goes *really* deep:<br><br>www.jwfan.com/forums/index.php?/topic/27619-finished-chamber -of-secrets-thematic-and-originality-analysis/
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Additional MusicAdditional MusicAdditional Music
Ramin DjawadiGeoff ZanelliBobby TahouriNoah Sorota
ComposerAdditional MusicAdditional MusicAdditional Music
Clash Of The Titans (Complete Score)
Label: Unofficial Release
Length: 121'57
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 (2045 votes)
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  1. Opening Stars (3:02)
    Ramin Djawadi
  2. Father & Son (1:14)
    Ramin Djawadi
  3. Someone Has To Make A Stand (2:33)
    Ramin Djawadi
  4. Harpies Attack Into Hades (1:10)
    Ramin Djawadi, Noah Sorota
  5. Tragedy (1:19)
    Ramin Djawadi
  6. Gods (2:02)
    Ramin Djawadi, Neil Davidge, Noah Sorota
  7. To Argos (1:58)
    Ramin Djawadi
  8. Hades Arrival (3:31)
    Ramin Djawadi, Noah Sorota
  9. I Knew Your Mother (4:41)
    Ramin Djawadi
  10. Do You Know What The Kraken Is? (1:00)
    Ramin Djawadi
  11. Leaving Argos (1:36)
    Ramin Djawadi, Dominic Lewis
  12. The Journey Starts (0:40)
    Ramin Djawadi
  13. Catacombs (2:15)
    Ramin Djawadi, Noah Sorota
  14. Bring Your Weapon (1:14)
    Ramin Djawadi
  15. Arrival Of The Sword & Pegasus (2:56)
    Ramin Djawadi
  16. Calibos Forest Fight (2:42)
    Ramin Djawadi, Neil Davidge, Bobby Tahouri
  17. Scorpiox Fight (3:55)
    Ramin Djawadi, Noah Sorota
  18. Djinn Arrival (0:42)
    Ramin Djawadi, Bobby Tahouri
  19. Hades Venom (0:43)
    Ramin Djawadi, Noah Sorota
  20. Redemption Through Blood (1:20)
    Ramin Djawadi, Noah Sorota
  21. Djinn Together (1:49)
    Ramin Djawadi, Bobby Tahouri
  22. I Do It As A Man (1:18)
    Ramin Djawadi
  23. Scorpiox Journey (2:05)
    Ramin Djawadi
  24. Stygian Mountain (0:50)
    Ramin Djawadi, Bobby Tahouri
  25. The Witches (3:24)
    Ramin Djawadi, Geoff Zanelli
  26. It's Expensive Where You're Going (1:43)
    Ramin Djawadi, Dominic Lewis
  27. I Need Your Help (1:21)
    Ramin Djawadi, Dominic Lewis
  28. Ferry Ride (3:01)
    Ramin Djawadi
  29. Below Deck (1:46)
    Ramin Djawadi, Dominic Lewis
  30. Journey To Medusa (2:20)
    Ramin Djawadi, Dominic Lewis
  31. Medusa's Lair (5:42)
    Ramin Djawadi, Dominic Lewis
  32. Io Stabbed & Calibos (1:46)
    Ramin Djawadi, Neil Davidge, Bobby Tahouri
  33. Io Dies (1:30)
    Ramin Djawadi
  34. Perseus Makes His Decision (0:47)
    Ramin Djawadi
  35. Release The Kraken (Part 1) (1:27)
    Ramin Djawadi, Geoff Zanelli
  36. Release The Kraken (Part 2) (1:12)
    Ramin Djawadi, Geoff Zanelli
  37. Chase For The Head (3:57)
    Ramin Djawadi, Geoff Zanelli
  38. Kraken Destruction (2:58)
    Ramin Djawadi, Geoff Zanelli
  39. Final Chapter (Part 1) (2:16)
    Ramin Djawadi
  40. Final Chapter (Part 2) (1:10)
    Ramin Djawadi
  41. Hero Suite (1:48)
    Ramin Djawadi
  42. Perseus Suite (6:34)
    Ramin Djawadi
  43. Medusa Suite (3:02)
    Ramin Djawadi
  44. Io's Theme (2:10)
    Craig Armstrong
  45. Calibos Suite (10:09)
    Neil Davidge, Bobby Tahouri
  46. The Storm That Brought Me To You (4:50)
    Tina Dico, Ramin Djawadi, Neil Davidge
  47. Harpies Attack Into Hades (Alternate) (0:57)
    Ramin Djawadi
  48. Tragedy (Alternate) (1:43)
    Ramin Djawadi
  49. Hades Arrival (Alternate) (3:31)
    Ramin Djawadi, Noah Sorota
  50. Perseus Makes His Decision (Alternate) (0:53)
    Ramin Djawadi
  51. Hades Plots (Unused) (0:48)
    Ramin Djawadi, Noah Sorota
  52. Arrival Of The Sword & Pegasus (Alternate) (2:56)
    Ramin Djawadi
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mpolonest123 reply Replies: 12 || 2015-09-26 18:40:00
Thanks Hybrid! :D


Edmund Meinerts2015-09-27 21:38:44
How do you guys always notice when Hybrid puts up a new complete score page? It's not like they're announced on the homepage or anything...

Anyways, to this score (which is a decent one that I enjoy): I haven't heard the complete, but it's interesting to note that Davidge worked on more cues other than "Calibos Suite" (or "Be My Weapon"). I always thought that was by far the worst part of the score.


mpolonest1232015-09-28 03:08:14
It was completely by accident... Lol

As for the Davidge cues, I think they were the ones that contained the Calibos theme, it's possible Ramin adapted it and Neil received theme credit.



Anonymous2015-10-01 05:09:04
I'd heard there were plans to leak this one. Thanks for the composer credits Hybrid!


ModelT2015-10-08 01:25:36
Leaking this Friday!


Edmund Meinerts2015-10-08 10:14:36
Since when do complete score leaks get official release dates?


Fabian2015-10-08 11:47:27
...and what kind of "plans" does someone need to to leak a score ?


Edmund Meinerts2015-10-08 11:59:29
It's like a heist movie. The Great Complete Score Robbery. A crack team of specialized individuals breaking into Remote Control Studios by the dead of night. Only Lorne Balfe up working at 4 A.M. to finish his nineteenth score of the year can stop them now!

Lorne Balfe played by Nicolas Cage
Score by...Lorne Balfe


Bioscope2015-10-08 21:34:16
Lol. Who's going to play the antagonist?


Edmund Meinerts2015-10-08 23:54:39
The team of bad guys is led by two RC composers gone rogue: Atli Orvarsson (Jeremy Renner) and Geoff Zanelli (Robert Downey Jr.).


david2015-10-09 05:44:44
well ModelT you lose cause it already leaked lol


Djawadi2015-10-09 17:49:57
Or we all win because the music's out there! Though technically, it's just a film edit that's leaked.


Djawadi2015-10-09 17:50:41
We can always get the suites from the OST though.

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Clash Of The Titans (Complete Score) soundtrack - Ramin Djawadi 2010