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About his studio at RCP, is it rental or he owns the stuff? What happens to the gear when he is not around?That is probably the fairest thing anyone on this website will say about Clemmensen. :P@Anonymous<br><br>Christian Clemmensen believes that Hans Zimmer found his definitive voice back in the 1990s with scores such as Driving Miss Daisy, Rain Man, Crimson Tide, and Lion King. However, he has in reviews of later scores compared Zimmer's overly obvious chord progressions and masculinity with what the "rock ballad" did to rock-n'roll music of the '70s. To him, it's overly powerful, unsubtle, and aggressive music that appeals to the gut more than the heart or the mind. Some of Zimmer's most popular scores such as Gladiator, Pirates, and The Dark Knight he has given middling reviews for because the general sound is derivative from his earlier works, not colorful, and not creative. He also accuses Zimmer of starting a trend with overly-recycled, bombastic, masculine action music that's big on density and power and low on subtlety and personality. <br><br>I can definitely see where he's coming from, one cannot deny the similarities between Crimson Tide, Lion King, Gladiator, Pirates, Dark Knight and so forth. One also cannot deny that scores such as Dunkirk and Blade Runner 2049 qualify more as sound design than actual symphonic music (mostly). However, if he had his way, every film score would be shamelessly optimistic and flighty, all major chords (and occasionally alternating off-key), with prominent woodwinds and metallic percussion. He definitely knows what he's talking about, but he has an ideal image for film music in mind, and that very much comes through in his Zimmer reviews, some of which I think deserve much more credit than he offered (Pirates 3, Da Vinci Code, and Gladiator come to mind).a more orchestral fury roadTom is gonna score Mortal Engines<br>What kind of sound do you expect?
He has a studio at RCP but mostly work from his own home studio. His business is "Sacred Tiger Music."<br>Does Henry actually work for HZ at RCP or does he have his own film score company now like HGW?Why filmtracks always behave very Aggressive about hans zimmer and always trys to make his scores worthless ??!! Its odd for meAw Hell...<br><br>I guess it never did freeze over.Sorry, I should've been more specific. This is a comment I had originally posted on the Filmtracks forum, NOT from a Christian Clemmensen review. My bad.
Referring to the previous comment (how did it not reply to the the previous message?)That's not the actual review. The length is a pretty big giveaway. Also, I'm fairly certain he's still given some RCP efforts some good scores.WOW....color me impressed at Filmtracks. I thought that site was anti-Zimmer in all aspects far, wide, near and dear.Copied from Filmtracks:<br><br>Excellent score - a little slow in the middle third*, but some really stirring fantasy-adventure elsewhere. "The Internet" is Cue of the Year material. Although it's odd how little synth there is here, particularly in the finale, where the orchestra seems to completely take over; this isn't too bad of a thing because Jackman's orchestral skills are downright breathtaking at times. The references to other Disney scores/musicals (yes, including Star Wars) left a big dumb grin on my face.<br><br>*I get the sense that this movie might be too long (1 hour and 52 minutes).No you're not. I think Jackman has made some great score over the last through years.<br>And I think this is one of them. Both tracks with or without electronics
So I guess I'm the only one who likes less-electronic-Henry?Henry has been removing electronics for 4 years now...Listen to<br><br>A Big Strong Man In Need Of Rescuing.<br><br>That whole track is a damn easter eggI haven't seen the movie yet but I like the score more with each listen. Not a classic Zimmer by any means but still an enjoyable listen at its short running time. Looking forward to the movie as well.This is me or Henry Jackman removed the electronics this year it could be affect to the predator score because I was thinking about the predator score affect him to remove electronics and turned serious & dramatic. That's weird when Henry Jackman used a lot electronics & fun since 2009 to 2017 with his scores.
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Justin BurnettHarry Gregson-WilliamsHarry Gregson-WilliamsAl Clay
ComposerComposerMusic ProducerMusic Scoring Mixer
Metal Gear Solid V (VG)
Label: Konami Digital Entertainment
Length: 157'26
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 (3703 votes)
    CD1

  1. The Man Who Sold The World (5:42)
    Midge Ure, David Bowie
  2. V Has Come To (3:08)
    Ludvig Forssell
  3. You Can Call Me Ishmael (2:03)
    Ludvig Forssell
  4. A Burning Escape (9:05)
    Justin Burnett, Ludvig Forssell
  5. Afghanistan's A Big Place (2:16)
    Ludvig Forssell
  6. Unforgiving Sands (2:47)
    Ludvig Forssell
  7. Kept You Waiting Huh? (3:25)
    Ludvig Forssell
  8. Parasites (3:20)
    Ludvig Forssell
  9. Allegiance Defined (2:56)
    Justin Burnett
  10. Exfiltrate The Hotzone (1:30)
    Ludvig Forssell
  11. I Am Skull Face (3:31)
    Ludvig Forssell
  12. Hals's Child Unchained (3:01)
    Justin Burnett
  13. Introduction To Africa (2:30)
    Ludvig Forssell
  14. Encounter On The Plains (1:57)
    Ludvig Forssell
  15. A Factory Of Death (1:57)
    Ludvig Forssell
  16. The Code Talker (4:07)
    Ludvig Forssell
  17. Metallic Archaea (2:08)
    Ludvig Forssell
  18. OKB Zero (2:10)
    Ludvig Forssell
  19. Angering Mantis (7:01)
    Justin Burnett
  20. Sahelanthropus Dominion (6:19)
    Justin Burnett
  21. Return (2:57)
    Ludvig Forssell
  22. Sins Of The Father (4:54)
    Donna Burke, Akihiro Honda, Ludvig Forssell
    CD2

  1. Quiet's Theme (2:53)
    Stefanie Joosten, Akihiro Honda, Ludvig Forssell
  2. Here's To You (3:09)
    Ennio Morricone, Joan Baez
  3. Not Your Kind Of People (4:59)
    Garbage
  4. Nuclear (4:59)
    Mike Oldfield
  5. Ground Zeroes (1:50)
    Ludvig Forssell
  6. Camp Omega (1:28)
    Ludvig Forssell
  7. Withered Peace (2:22)
    Ludvig Forssell
  8. The Girl's Gone (2:44)
    Ludvig Forssell
  9. Bloodstained Anthem (1:23)
    Ludvig Forssell
  10. She's Rigged (3:01)
    Harry Gregson-Williams
  11. The Fall Of Mother Base (3:32)
    Harry Gregson-Williams
  12. Drop Off (1:19)
    Ludvig Forssell
  13. Beautiful Mirage - An Unexpected Visitor (4:18)
    Ludvig Forssell
  14. On The Trail (2:02)
    Ludvig Forssell
  15. Steel Embers (2:03)
    Daniel James
  16. Infected (4:03)
    Ludvig Forssell
  17. Battling Armor (5:26)
    Justin Burnett
  18. Shining Lights, Even In Death (4:03)
    Ludvig Forssell
  19. Fortress (2:05)
    Ludvig Forssell
  20. Disarmament (1:37)
    Ludvig Forssell
  21. Swift Judgement (1:53)
    Ludvig Forssell
  22. Darkness Roars (3:31)
    Ludvig Forssell
  23. Beautiful Mirage - The Vision Fades (1:52)
    Ludvig Forssell
  24. Objective Complete (1:52)
    Ludvig Forssell
  25. African Battlecry (2:07)
    Ludvig Forssell
  26. Metal Gear Online (3:26)
    Daniel James
  27. A Phantom Pain (3:59)
    Ludvig Forssell
  28. Various Jingles (0:53)
    Ludvig Forssell
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Evan reply Replies: 3 || 2015-10-16 14:46:20
I recently bought this album, and I quite enjoy it.. But there's one big problem I have with it, along with most video game scores, it's the lack of thematic development. The biggest thing that frustrates me is that a composer will write a fantastic theme, only to have it pop up two or three times, or less. A lot of the assassin's creed scores suffer from this (aside from III and Unity). Ludvig composed an amazing main theme for Snake, first heard in "V Has Come To" and I was very excited on the first listen because I had been playing the game religiously in recognized the theme from the gameplay. As expected, the theme only appears a few times after the mentioned track. Its only appearances after track 2 are a brief moment in "You Can Call Me Ishmael", "Return", a very patriotic rendition in. "Shining Lights, Even In Death" and a final statement in the refrain during "Metal Gear Online. " regardless, I'd recommend for fans of Harry Gregson Williams's prior MSG scores. If anyone knows where I can locate some of the missing tracks, please share!


Anon2016-01-22 15:30:00
Even, you might want to check out the expanded soundtrack that was just put out digitally a couple of weeks ago.

I'll admit, I originally struggled a bit with this score, but with the recent release of that album, (which added over five hours of music), I decided to more thoroughly give it a go.

Its sound is fairly different compared to the past Metal Gear games, but after taking a while to adjust, I found it to be pretty brilliant. Thematically, I think it's actually very solid. The theme for Venom Snake is subtlety interwoven throughout most of the score. It just requires a bit of listening in some instances. It's definitely quoted a lot more than the tracks you pointed to.

Beyond the main theme though, there are some secondary themes that that really tighten things together, with the most illuminating being the numerous quotes of the Peacewalker theme from the past games that the first album mostly left out. It adds a ton of continuity that some people may find the first two disc set lacking.

I would definitely recommend though to anyone who might have found this to be a lukewarm listen to combine it with the second release, and take some time to digest the material. There's also supposed to be a third album coming out in March with the last few remaining tracks, so that should hopefully be pretty interesting too.


Edmund Meinerts2016-01-22 17:40:16
By great Annutseba, devourer of stars, ADDED FIVE HOURS OF MUSIC and they still want to put out a third release?

Jesus. Howard Shore would blush!


Anon2016-01-23 08:44:48
I was surprised by the release as well, given the length of the original album already put out, but some of the material on the extended set is absolutely essential if you're at all interested in the music here.

"We are Diamond Dogs"
"Regret and Acceptance"
"Paz is Dead"

Some of these tracks, after listening to them, left me absolutely flabbergasted that the first album didn't include them.

Anonymous reply Replies: 2 || 2015-09-23 06:32:29
The cover dude looks like a cross-over between Ron Perlman and Tom Cruise lol


Felix2015-09-23 15:52:25
haha yes anonymous


Anonymous2015-10-16 15:28:29
Looked at the credits above. They specially thanked "Korean Food" on this one?

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Metal Gear Solid V (VG) soundtrack - Justin Burnett - Harry Gregson-Williams 2015