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He’s definitely not a bad reviewer, and his writing style is pretty sharp. The obvious problem is that he has a strong bias against Zimmer. Most of his recent Zimmer reviews are less spent talking about themes and more so the “issues” with his current style.'At World's End' is possibly one of his greatest 'missteps' for sure, but he is a mostly reasonable guy when reviewing, and simply has a taste that doesn't accomodate a lot of the more modern sounding scores, which I think is ok, since we all have our preferences. His 'Solo' review is a must read for any fan of the score though. :DIf you want to understand why he's persona non grata, just go and check out his review of Hans Zimmer's masterpiece At World's End, it sums up pretty nicely the guy's mental issues :p<br><br>But his other reviews are mostly OK and that Solo one is indeed very good, worth a read.Who is he and why is he a persona non grata? ô_OHow dare you mention his name ??<br><br>I should erase that post... :P
What site are his reviews on again? Not really sure where to look.As long as Steve knows to keep this score mostly melodic with little to no sound design, I'll probably be happy with it.I assume that's the official cover....<br><br>I dig it. Very Die Hard-y : )I know Clemmensen is kind of persona non grata around here (not without good reason), but he put up his review of Solo a few days ago and it's one of the best he's ever written, a fantastic in-depth analysis (and appropriately positive). Worth spending an hour or two reading and listening to help unpack this score's many complexities.Is it just me or does the “Catwoman” riff (not the main theme) in “Bar Shootout” and “Nothing Out There” sound very much like the main Scarface theme?<br><br>I’ve also noticed that Hans sometimes will write a main tune and a series of riffs for a character, but will mainly incorporate the smaller motifs in the film (Angelica’s music from OST, Megamind’s main tune, Catwoman, etc.) Definitely not a problem though, I like the variety.<br><br>Look at the evolution of Batman’s theme from Begins, where he had the 2-note motif and the actual theme, to here where it’s just the 2 notes and the chord theme. I wonder if that was Chris Nolan’s decision.
John Powell answered in Facebook there is still 45 minutes of music outside from the CD.Yep, he knows how to do BIG and small moments. He's so versatile. I'm praying rian johnson uses him for his new trilogyThank you! Glad you enjoyed it.If there is one who can replace John Williams on Star Wars than is it John Powell!!<br><br>Great Job!!It sounds great ! I think I will listen to the CD after the hamburg concert, to keep the surprise, because they will play some cues there ! <br><br>Are some french JP fans going to Hamburg next week ? It would be great to have a beer and talk about film music !
Dear Mr. Zimmer (or those interested), <br><br>  Over the years I have always enjoyed some of the higher-intensity compositions you have produced and made a point of putting my money where my mouth is and actually buying the soundtracks - money well spent. I've used specific songs of your's to get through moments of fatigue at work and also to prepare (silly as it may sound) for sporting events, even working out or running. I found them better than any rock or even electronic-type energetic music, until such a point, naturally, that I'd listened to them too many times and the magic wore off. Some of your songs rise to a crescendo that sometimes are powerful but perhaps lost on those who are unfamiliar with the corresponding movie scene ("Flight" from Man of Steel, it rises gradually but the concept you capture is magnificent, "Time" from Inception as well comes to mind). Some are obviously and undeniably potent like "A Dog Chasing Cars" or, going way back to when I learned of your work, "The Battle" from Gladiator which reminded me of "Mars, the Bringer of War", -- or even the latest "Sea Wall".<br><br>  Admittedly this is odd but I can't help but wonder if despite all the solicitations you must receive it seemed to me I might as well send the following two-fold feedback: in the same way I was pleased to learn that Daft Punk was handling the soundtrack for the modern remake of TRON (and what a fine job they did) I was also heartened to find that you were handling the soundtrack for Blade Runner 2049. It seemed a good sign to me at the time and I knew I would buy a ticket at that point. That was a movie (BR2049) I was worried they would BOTCH much in the same way they completely did whatever it was they did with remake of Total Recall (in which they completely stripped it of its cerebral essence and made it a very long chase-scene). <br><br>  All of this is to express some appreciation and also plug an obscure pianist from Montreal who has been on the CBC and all that, who, when I spoke to him after a show and compared some of his energetic imaginative work (Nostos comes to mind, and damn he hit 99% of those complex piano notes) to your's he admitted it was a dream of his to work with you under any capacity. Of course I suspect nothing will come of this but either way I think it harmless to tip my hat your way as a long-time fan who has utilized your music for motivation many, many, many times and also note that on my esoteric playlists five or six came from you and one or two came from him (Nostos, Il, Hypoctite)<br><br> Lastly, it should be noted for the historians that one time Jean-Michel Blais saved us Canadians (if you do the collective math based on viewership) a great deal of time and intellectual agony. Chevy was running commercials during the NHL playoffs (last year, not the the latest Washington Capitals win) in which an irritating scenario of "real people" were supposed to judge cars/trucks that popped out from behind sliding doors or lifted from basements (aircraft-carrier-style), and the poor fools/actors/allegedly "real people" had to say something nice about it all. It was such garbage. How splendid, how refreshing, then, that they ran a good commercial with someone just winding corners and enjoying driving the damn car to the music, which I recognized as JMB's "Hypocrite". He saved the society a good 10k hours of perniciousness.<br><br>Whew! That's all from me. Love the music, keep it up. Please give JMB a shot I think you'll find his attitude/ethic/skills refreshing. Regardless of that at least it was worthwhile of me to express my appreciation for ten years of masterful original music on your part anyway.Separate question:<br><br>Is Toby Chu part of RCP? I think he had some connections at least right?Why wouldn't Hans go all-out for something that's going to be viewed on this scale? I mean, how hard is it to compose 45 seconds of compelling, original music when you've worked on innumerable 2+ hour films?Woah, Hans actually did good work on this; it's admittedly a bit anonymous-sounding, but the combination of percussion, strings, and choir works in a way that's reminiscent of Angels & Demons (oh, those were the days...).John just precised this point, i was just too impatient ;)
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Additional Music
Steve JablonskyJay FloodMel WessonPenka Kouneva
ComposerAdditional MusicAmbient Music DesignOrchestrator
The Texas Chainsaw Massacre - The Beginning (Complete Score)
Label: Unofficial Release
Length: 76'31
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 (1659 votes)
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  1. Intro - Logos (1:25)
    Steve Jablonsky, Mel Wesson
  2. Birth (3:32)
    Steve Jablonsky
  3. Main Title (3:05)
    Steve Jablonsky
  4. Firing Leatherface (1:37)
    Steve Jablonsky
  5. Cracker Jack Ring (1:16)
    Steve Jablonsky
  6. Chainsaw (2:01)
    Steve Jablonsky
  7. Roadside Leatherface Sting (0:24)
    Steve Jablonsky, Mel Wesson
  8. Birth Of Sheriff Hoyt (3:07)
    Steve Jablonsky
  9. Biker Window Scare (0:21)
    Steve Jablonsky, Mel Wesson
  10. Biker Chick Chase (1:46)
    Steve Jablonsky
  11. Sheriff Hoyt Discovers Car Wreck (5:13)
    Steve Jablonsky
  12. Chrissie Alone (1:38)
    Steve Jablonsky
  13. Chrissie Hides From Monty (0:56)
    Steve Jablonsky, Mel Wesson
  14. Big House Sting (0:14)
    Steve Jablonsky, Mel Wesson
  15. Parked Outside Mama's House (2:21)
    Steve Jablonsky
  16. Monty Pees - Basement Reveal (1:57)
    Steve Jablonsky
  17. Clean Goat, Happy Goat (1:43)
    Steve Jablonsky, Mel Wesson
  18. Cellophane (1:51)
    Steve Jablonsky, Jay Flood
  19. Ten Push Ups (4:01)
    Steve Jablonsky
  20. Attempted Escape (5:00)
    Steve Jablonsky
  21. Preparing The Victims (3:20)
    Steve Jablonsky
  22. Biker Shoots Monty - Arm Skin Trim (3:00)
    Steve Jablonsky, Jay Flood
  23. Biker Death - Chrissie Finds Eric (4:10)
    Steve Jablonsky
  24. Eric's Death (3:20)
    Steve Jablonsky
  25. Chrissie Can't Leave (2:22)
    Steve Jablonsky, Mel Wesson
  26. Monty's Surgery (2:52)
    Steve Jablonsky, Jay Flood
  27. Chrissie At Dinner (6:15)
    Steve Jablonsky
  28. Dean Escapes (4:09)
    Steve Jablonsky
  29. Chrissie At Meat Factory (1:33)
    Steve Jablonsky, Jay Flood
  30. Leatherface Hitches A Ride (0:51)
    Steve Jablonsky
  31. Epilogue (1:29)
    Steve Jablonsky
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Max reply Replies: 1 || 2018-03-25 20:46:01
I would like to download or buy this soundtrack, where to get it?


Bayhem2018-03-25 23:17:58
If you like physical media you can buy it on CD from Amazon. I think there are still copies left. However, I don't think it's the complete score (the one listed here).

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The Texas Chainsaw Massacre - The Beginning (Complete Score) soundtrack - Steve Jablonsky 2006