Executive in Charge of Music for Sony Pictures: Lia Vollack Album Produced by Hans Zimmer Executive Album Producers: Ron Howard & Brian Grazer Score Wrangler: Bob Badami Additional Music by Steve Mazzaro, Andrew Kawczynski, Richard Harvey, Michael Tuller & Paul Mounsey Music Editor: Dan Pinder Music Production Services: Steve Kofsky Technical Score Engineers: Chuck Choi & Stephanie McNally Synth Programming: Hans Zimmer, Mel Wesson, Andy Page, Drew Jordan, Chas Smith & Satnam Singh Ramgotra Score & Album Mixed by Stephen Lipson Score Mix Assistant: John Witt Chapman Orchestrators: Oscar Senen & Joan Martorell Solo Violin: Aleksey Igudesman Solo Cello: Tristan Schulze
Recorded at Synchron Stage Vienna, Synchron Stage Orchestra Conductor: Johannes Vogel Concermaster: Dimitrie Leivici Score Recorded by Jörg Mayr ProTools Operator: Martin Weismayr Stage Manager, Synchron Stage: Roland Tscherne Digital Instrument Design: Mark Wherry Sampling Team: Taurees Habib, Raul Vega & Drew Jordan Studio Manager for Remote Control Productions: Shalini Singh Assistant to Hans Zimmer: Cynthia Park Technical Assistants: Jacqueline Friedberg, Julian Pastorelli & Lauren Bousfield Album Mastered by Pat Sullivan at Bernie Grundman Mastering, Los Angeles, CA
Hans Zimmer would like to thank: Ron Howard, Brian Grazer, Michael Rosenberg, Dan Brown, Lia Vollack, David Koepp, Doug Belgrad, Bill Connor, Anna Culp, Michael De Luca, Andrea Giannetti, Diloy Gülün, Matthew Hirsch, David B. Householter, Ute Leonhardt, Salvatore Totino, Tom Elkins, Dan Hanley, Simon Davis, Mark Cavell, Chris Jenkins, Daniel Pagan, Casey Genton, David Giammarco, Cheryl Howard, Louisa Velis, Raul Perez, Don Kennedy, Tim Ahlering, Dan Brescoll, Darrell Smith, Harbor Sound, Jennifer Hanley, Dustin Marler, Avi Laniado, Sophia Usow, Urs Heckmann, Candace Carlo, Jillian Abood, BeBe Lerner, Rae Murillo & the ID team, Seth Waldmann, Forest Christenson, Alfredo Pasquel, Ryan Ouchida, Chris Strong, Vicki Zimmer, Zoë, Jake, Max & Annabel
Release date : 10/14/2016
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In My Opinion,Hans Zimmer Make An Great Score With Additional Music By Richard Harvey,Andrew Kawczynski,Steve Mazzaro,Paul Mounsey & Michael Tuller But In The Track "Life Must Have It's Mysteries" Is The Same Theme Of The Previous Two Film But With Electronic Music.
I Am An Great Fan Of Hans Zimmer. I Can Wait For Seeing The Movie Inferno
Why Hans, you are genius, a genius guy don't need anyone, you can crate everything alone. Why you use this guys ''Steve Mazarro, Andrew, Junkie XL and more.... Hans please come back alone again or with Lorne. You are not good scoring a music. Where is old Hans..? Really i missed too guys... I hope so you composed alone Dunkirk (Like Interstellar).. i just wanted this. Hans when write alone A Masterpiece. 1: Interstellar 2: Batman v Superman Dawn of Justice - Track: Beautiful Lie 3: The Dark Knight - Batman and Joker Theme 4: The Lion King 5: The Thin Red Line
These guys are damage your score.. Steve, Andrew, Tom(Junkie XL), Benjamin, Pharrell, Rupert Gregson.
When I watched the movie, I noticed that some tracks aren't on the CD (like usually). For instance, when Langdon is looking on the Dante's map, there was a sound like Rose of Arimathea, but seems that the only track on CD which sounds like this is Venice.
Do you know if we will have the complete score ? Or, how to get it ?
I don't know why there is more negativity then there should be. The score is marvellous to the movie. Even without the movie, listening to the score is a joy. Songs for example Vayentha, Elizabeth and The Cistern (IMO) is better after every listen.
Well it sounds like old Media Ventures's scores so...
But really i missed GLADIATOR Lion King Thin red line Last samurai And even interstellar was great score But BVS and inferno big drop, big disspoitment. I'm huge fan of Hans but sorry last 2 years Joe Hisaishi is my deal.
Naji you are so right. This and all of the recent Zimmer scores totally suck. I thought Interstellar was bad, but this is worse. What the heck ever happened to songs like "Roll Tide" from Crimson Tide? Now THAT was Zimmer the way he should be.
Fuck off already, you don't have to copy and paste the same terrible reply in every single thread.
@Bro, This wasn't the "same terrible reply in every thread" you a-hole. I only mentioned it twice and if you could read, which obviously you can't a-hole, you would see that it wasn't the same reply. And, a-hole, why is it a "terrible reply" to speak the honest truth about how I, and many others here, feel about this OST? It's funny, I thought we were all here to voice our opinions and thoughts without being told by some A-HOLE like you to "F-Off".
You certainly sound triggered. Take a break from the internet.
Oh really? Who was the one that told me to "F - off? Sounds like your the one triggered dude.
Oh shut up, the both of you.
Hey Edmund, so who died and left you the king of this board? You can fuck off too.
Pretty sure Tom just posted under my alias - but at least he didn't disappoint. Edmund can fuck off back to reddit.
Just gotta say, this thread has been extremely entertaining. Many thanks to all who participated in amusing me.
@Yoyo Mama Agreed, that was the most excellent display of butthurt I've ever experienced.
Best electronic Music with a Orchestral Music Is Best Soundtrack By Hans Zimmer With Additional Music By Richard Harvey,Andrew Kawczynski, Steve Mazzaro,Paul Mounsey & Michael Tuller And Also An New Orchestra Conductor By Johannes Vogel In This Movie.
So I recently got my hand on this score and it is abysmal. I don't know what it is with Zimmer and electronics. This was a punishing listening experience as have all his scores this year. Its incomparable to the previous two scores and I cant even fathom telling people that the scores are related. The score has no depth and no memorable themes. Hardly any orchestra or choir use. (if there are choirs, they sound digitally inserted). It is sadly synth dominant and is no Crimson Tide by any means.
This really saddens me as I am a massive Zimmer fan, and own about 70 of his scores.
Only the cue "Life Must Have It's Own Mysteries" is worth listening to, but does no justice to the rest of this album
I think he is just lazy to write any music lately? Overly dependant on ghost writers ( I hate the idea of ghost writers I must add) to fill in blank spaces in scores.
I only look forward to Dunkirk as I know he will create a masterpiece but why cant he make a masterpiece everytime?
Apologies for the lamenting but I'm just annoyed. 0/5 from me.
"I don't know what it is with Zimmer and electronics"
Any person writing that demonstrates how much he does not have a clue about HZ, evne owning 70 of his scores ! :O
Please dont criticize HZ. It hurts me. If you dont like his work, the problem is with you, not with him.
"If you don't like his work, the problem is with you, not with him" - okay, so basically he's infallible? Because come on. There's liking a composer and then there's flat-out blind hero worship fanboying. If we can't criticize, then what the hell are we all even doing here?
Ds, what the hell? I wouldn't expect this line of thinking from you...
Oh there's no problem with criticizing. But writing such nonsense as "Boohoo Hans uses electronics" while speaking to a man who was a synth programmer before he could even read a partiture and complaining about "ghost writers" while he has been collaborating on everything he's done in music since the late 70s ? Seriously => LOL
"Why can't he make a masterpiece every time?" Really?
I won't give an opinion on that score before I've seen it in the film...
Okay, I just got back from the cinema – I’ve seen the film and heard the music in context. Allow me to break it down a little:
I would say that it works in the context of the film, it fits the style of directing and cinematography. However, that is the bare minimum for what a film score must do.
The film's subject matter of modern day biological weapons mashed with antique history has been responded to appropriately with a greater emphasis on electronics. For me, this makes listening to a lot of the album an unpleasant experience. First impressions were not good.
Much like the film, the first few tracks are very disorientating and a little off-putting, apart from ‘Cerca Trova’, which has an intriguing synth element. No more than intriguing though. Some of the tracks I would hesitate to call music, more just incessant manipulation of electronic effects. I understand that in the context of the film it helps to portray a bleak outlook, with disorientation being the main goal. If you look for disorientation, confusion and migraines in your music, you’ll get plenty of that here.
I was hoping that, considering this was a sequel to The Da Vinci Code and Angels and Demons, that the music would have a similar sense of gravitas as those films. Sadly, this is not the case, and in retrospect it makes me applaud the score for Angels and Demons more, for effectively balancing electronic effects with orchestral scoring.
In the latter half of the score there are more references to those previous scores – ‘The Cistern’ has a nice string action element and a callback to the climactic finale of Angels and Demons, but it’s not particularly profound or original.
The moments when the score allows melody to come through are the best parts. The new thematic material is sparse to say the least, but there is a simple melody for Sienna, apparently innocent, but with a hint of crazy. ‘Beauty Moves the Soul to Act’ best encapsulates her theme and story, with another nice callback to Angels and Demons. There is also a theme for Elizabeth, which links to the lost relationship between Langdon and Elizabeth, and is best explored in the track ‘Elizabeth’. Piano based with some Inception-y synths, it actually ends up being quite cathartic and moving, especially when Langdon’s well established theme is played in counterpart at the end of the track.
Of course, Langdon’s theme is given a substantial recap in ‘Life Must Have its Mysteries’ alongside Elizabeth’s theme, what Langdon film wouldn’t have that? ‘Our Own Hell on Earth’ gives us a recap of the main ideas presented in the score, almost metaphorically asking the question presented in the book, that the film dodged – what if Zobrist was actually doing the right thing?
Don’t watch Inferno expecting it to be a blockbuster classic, and don’t expect this score to be a timeless masterpiece. It isn't. It doesn’t even hold up to the previous film’s scores. The over-emphasis on electronics killed any chance of that happening – possibly made it just too generic. There are moments of beauty, but they’re mostly lost in the noise. I can’t help but think that this score could have been so much more than what it is.
Macejko, just imagine he was saying the same kind of horrible bullshit about Ramin. Now you understand :-p
HZ : "If The Da Vinci Code was me at my most classical, Angels & Demons trying to reconcile the idea of science and religion, then Inferno is about disorientation. Ron Howard once said to us: 'Make sure you don't shut the laboratory doors too soon...' I took him by his word and we ended up with reckless experimentation. This one's more personal. This one's darker. Even for me. This one might not be for the faint of heart."
Zimmer did say in an interview that the first half of the album should come with a warning label! lol
Edmund, you spotted one of the reasons why I'm a Zimmer fanboy. In the past I have doubted him several times, feeling "disappointed" or "expecting more" from a score. But weeks, months or sometimes years later I always ended up realizing how wrong I was. Believe me, I wasn't really blown away the first time I heard Inception, I felt let down the first time I heard TDKR, and the same goes for Kung Fu Panda or Angels & Demons. Yet over time all those great scores grew on me and I ended up loving them. That's why I'd rather trust Hans' talent and incredible imagination over my immediate response to his new scores. I know he is a visionary, and I know I'm not. That doesnt mean he can do no wrong; it means I will give any new release a fair chance and time to grow on me, before starting complaining or yelling how disappointed I am or how badly Hans let down his fans. I hope this explains my "excessive" reaction :-)
Looks like the score was meant to be like this. Here Hans himself says "The hell part of the score is impossible to get through".
I do understand that Zimmer started as a synth programmer but that still is no excuse for dominantly electronic scores.
A little electronics is fine, like that in "Rush", "Angels and Demons" but not like how he deafened movie goers and score listeners with that utterly awful "Chappie", this film and the Man of Steel/BvS scores. Can you even compare those latter scores to the work of John Williams?
Look at the great James Horner for example, for his scores such as "Avatar" and "The Amazing Spiderman" his electronic sound use was intelligent and blended in superbly with the orchestra. Even Desplat uses electronics to aid an orchestra but in stating that, an orchestra is the heart of a score and that is what is missing from Zimmer's latest works.
We do know that Zimmer can create magical scores with electronics, look at Interstellar for example. I absolutely love that score but at least he made an attempt of conducting recording sessions.
I do understand that Zimmer said that the first part of "Inferno"s score is to represent hell and indeed he succeeded. But why 100% electronics? An orchestra and choir would have worked much better. Actually just a choir would have worked. I just keep thinking to myself, if you want to represent hell, choirs are perfect. Look at Jerry Goldsmith's "The Omen". Track 1. "Ave Satani". Need i say more. But enough of me complaining about that.
We need more "The last Samurai", "Hannibal", "Kung Fu Panda" scores from Zimmer.
PS: I must correct myslef in saying that all scores he put out this year are awful. One was not, that being Kung Fu Panda 3. It is very good.
Ds: Honestly, I wouldn't really care, I get to hear/read that a lot. Comes with the territory, and you shouldn't let something like that get to you, even when it concerns Hans.
The thing that annoys the most is when fans want and ask from artists to repeat themselves and do exactly what they've done before. "Why isn't this score orchestral like DVC?" "Why isn't it a hybrid like A&D?" why this, why that.
Hans talks a lot about being bored of doing the same thing over and over again and he always tries to do something new. I wouldn't say this score is groundbreaking or new but it's different, at least from the two previous movies. Honestly, if you want a dvc like score go listen to dvc score!
I personally loved what he has done on BvS. It had everything you could ask for: An orchestra, epic drums, synthesizers, a choir, etc... but apparently some people didn't like it.
Again you need to remember that this wasn't made for you specifically. It was made to serve the movie. The director likes it and believes it fits the movie so well and that's the most important thing.
would you also prefer, if john williams would take a new direction for Star Wars 8? just because he got maybe bored after 7 movies with more or less the same style? i really dont know why for hans it is more important to experiment with music or shock the audience instead of composing the perfect fit for the movie? of course Inferno has some really nice parts, but alot of it is just noise. If noise is his musical imagination of hell, that is unimaginative, also because he can do it better. for me, this musical direction sounds not like a creative decision, but more like how can we do something extreme for this third movie, to be completely different in comparison to the other movies.
Yes I would actually admire John Williams and the SW8 team if they at least tried to do something different, even if that would upset some SW fans. That would actually be a bold love. Also, how do you know Inferno's score is not the right fit to the movie? How do you know an orchestral score like DVC would have been a better fit ? Apparently the actual filmmakers disagree with you. Otherwise they would have asked for an orchestral score.
Bold love --> bold move
@Rockhound Absolutely! As much as I liked what John Williams has done on TFA, I kind of wished the score sounded a bit more like the music used in the trailer. Everyone liked it because it was a variation of the original material. A fresh take on the loved themes.
That's exactly what Hans has done on this score. He took some of the old themes and he deconstructed them and reworked them in different ways with synthesizers and electronics. A lot of the abstract material is based on the old material. Also, I think using an orchestra the way he did before is unimaginative.
I haven't seen the movie yet but everyone who has seen it said the music fits the tone of the movie very well.
I for one enjoy the sound design elements of Hans Zimmer's scores, I appreciate the time and skill it takes to craft some of these sounds from nothing. This score is actually very good in my opinion, and moreso if you consider the cues left out of the soundtrack.
There's too many incompetent crybaby wannabe film-score critics brigading this thread, with their poorly articulated bitching. Just fuck off already.
@ds i havent seen the movie yet, but just because the filmmakers disagree, it doesnt mean they are right. if the electronics start to annoy during the movie, then the movie has a problem. and yes, i already heard from others, that the electronic doesnt fit that good. even in A&D the electronic didnt fit in some scenes, especially the action scenes. boring action with overpowering electronic doesnt match that good. 160 bpm is a nice track to listen on cd, in the movie it felt just wrong.
@ahmad hopefully we will never hear this generic faceless trailer music in a Star Wars movie.
I don't think anyone expected this score to just rehash DVC or A&D. Hell, when A&D came out I was really surprised how different it sounded in tone to DVC, how much more action-packed and aggressive it was, but I also really liked it because it was a SUCCESSFUL and INTERESTING new spin on the material. And there's still not really anything else like it in Zimmer's career. This is a new spin on the material, true, but is it successful or interesting? Not really, if you ask me.
The irony is that at this point in his career, it would actually be much more "recklessly experimental" of Zimmer to write a melodic theme-based score than spend yet another hour messing around with his sound patches.
"Absolutely! As much as I liked what John Williams has done on TFA, I kind of wished the score sounded a bit more like the music used in the trailer. Everyone liked it because it was a variation of the original material. A fresh take on the loved themes. "
I know this isn't really the place, but what exactly is "fresh" about taking a piece of music, stripping out all the color and forcing it to the sound exactly the same as every other trailer. Why does Star wars now need to have jungle drums and synths?
TFA was a breath of fresh air. Proof that big epic films can still have proper orchestral scores. But if all you want is jungle and ostinatos, then I guess you're not alone in that. But even Hans has moved on from that trying new things, while his shit clones and trailer houses stuffed with talentless producers continue cranking out that garbage because it's all they know how to do.
Just heard on Classic FM that Lorne is doing Ron's new TV show ? Didn't catch what it's called . Anyone know ?great interview with Ron discussing Inferno and work with Zimmer and Horner ..and Balfe
@b I see it in a different way. Taking a more intimate approach does not mean generic. If you think /piano/orchestra/drums/choir is a generic mix, I kindly disagree with you on that. I'm not saying John Williams should've added drums, what you call "jungle", even though he did use percussive elements in the score anyway. I don't see a problem of he decided to add a choir or other elements that he didn't use before. At the end I don't really like to tell the artist what to do or not to do but it's I do think it's not a bad idea to things differently and think out of the box.
Also, as much as I love orchestras I don't think it's the only "proper" way to score a film. Every project is different. Every film requires a set of tools and a color palette. Sometimes a full on orchestra fits sometimes an electronic score fits best and sometimes the mix of both works brilliantly like on of my favorite scores that have been released lately: Suicide Squad by Steven Price. A score that is full of colors.
If Hans Zimmer would have split this album into 2 30-minutes-long pieces with the first part being 'hell', 'Inferno' might have been considered being a masterpiece :-)
Guys...Seriously. His score shares some pretty similar beats with Dark Knight Rises, Inception, and yes Chappie. And to be honest, I find all of those scores awesome! So Inferno fits in nicely.
But just a tip for everybody complaining about the disorientation, sound design etc.:
Just do what I do - edit the tracks down yourself and only keep the parts you find listenable. That's how Daddy did it. That's how America does it. And it seems to work out pretty well so far.
All kidding aside - seriously, it does help. And by shortening the track it saves space on your phone!
"If you think /piano/orchestra/drums/choir is a generic mix, I kindly disagree with you on that."
I think that particular variation on the palette is over-exposed and yes, generic. It's not the instruments: it's the same drum riffs, the same dull ostinatos, the same cut offs (a lame triplet followed by silence), the same simplistic piano patterns, the same type of choir (male chanting or wailing woman), the same synths, the same drops... they all sound the same. You could literally build a program to generate this stuff.
Any scalar melody can be forced into that orchestration - into that "sound" - by simply laying it on top of the same base and being in the right key. But that doesn't make it "fresh" nor interesting. Where is the style, where is the color that any of those beautiful instruments bring when they're all forced into the same toneless, shapeless, banging jungle and ostinato festival.
At least Hans does interesting things with his electronics, and he works very hard to find interesting textures and colors - even if you don't enjoy the results, you can appreciate the endeavour. The trailer-style music to which you refer to has no such creative impetus: neither the orchestral eloquence and flourish, nor interesting textures and creative sound design. It's just a template, with whatever tune plugged into it. It's the very *opposite* of "thinking outside the box".
If you want examples of intimate writing by JW, there are countless. The soft delicate woodwinds of Across the stars which give way to an enormous sweeping epic theme. If you want choir, contrast the dark grumbling of the Emperor's theme to the chanting of duel of the fates (which btw uses ostinati in FAR more creative ways than any of these trailer composers).
If you want an example of how the "epic" idiom can be done properly, listen to the third Pirates of the Caribbean... listen to a huge orchestra playing catchy, rocky tunes, but still with flourish, with style, with purpose, with weight, with well-written percussion, with occasional counterpoint and with interesting choral use.
I agree with Edmund that right now, to write a proper orchestral melodic score would be the fresh approach.
Hmm. They should have edited the OST cover to be ''original themes by Hans Zimmer'', and additional music/co-composed by Mazzaro & Kawczynsk like that one for CHAPPiE. It makes sense.
@b I think you misunderstood my point. I'm not saying I prefer trailer music over scores in general. I do agree that there are a lot of generic tracks being used by trailer houses. My point was that I'm okay with composers changing things from one project to another, specially sequels/prequels/film series. I like what Hans did on the two previous movies and I like what he did on this one, and I wouldn't mind if John Williams had decided to change things up for the new trilogy but he didn't and that's also okay. Also, I meant by fresh that it was new to the Star Wars universe compared to the old scores.
What the heck has happened to Hans Zimmer the past few years? I mean seriously, his last few soundtracks really suck and are mostly a bunch of electronic atmospheric boring non-thematic crap. Whatever happened to OST's like Gladiator and Crimson Tide, etc.? Sad.
So I had some free time and managed to put all the tracks in order and find which scenes they belong to. Some of them include parts from other moments in the movie, such as Cerca Trova, which can be heard when Langdon and Sienna escape her apartment but the last fifty seconds are from the beginning of the movie, when Langdon looks out the window and realizes he's in Florence. I marked those with an asterisk.
01 Maybe Pain Can Save Us (Main Titles / Zobrist Jumps)
04 Seek and Find (Vayentha Shows Up at the Hospital / Langdon and Sienna Escape / Visions of Hell)
07 Via Dolorosa #12 Apartment 3C (Langdon Finds the Tube / Faraday Pointer / Botticelli’s Map of Hell)
11 A Minute to Midnight (Zobrist's YouTube Conference)
02 Cerca Trova (Escape from Sienna’s Apartment / Langdon Realizes He's in Florence*)
09 Remove Langdon (Chase through Boboli Gardens / Ponte Vecchio)
05 Professor (Palazzo Vecchio Security Footage / Langdon and Sienna on the Run Again)
03 I’m Feeling a Tad Vulnerable (Escape from Palazzo Vecchio / To the Attic)
08 Vayentha (Crossing Through The Attic / Vayentha Shows Up / Vayentha Dies)
10 Doing Nothing Terrifies Me (Provost Sees Zobrist's Video / Sienna's Panic Attack / Entering The Baptistry)
07 Venice (Arrival in Venice / The Horses / Escape Through The Grate)
13 Beauty Awakens the Soul to Act (Sienna Shows Her True Colors / Flashback Scene: Sienna and Zobrist / Bouchard Takes Langdon)
14 Elizabeth (Flight to Istanbul / Langdon Gets His Memories Back)
17 Our Own Hell on Earth (Arriving at the Cistern* / Istanbul / Sienna's Plans / Detonation Plans)
12 The Cistern (Entering the Cistern / Finding The Virus / Final Confrontation)
15 The Logic of Tyrants ( [Not used in the movie] / Crisis Averted / Langdon and Elizabeth Say Goodbye)
16 Life Must Have its Mysteries (End Credits)
Great, thank you :) But the whole rearrange-process could be a bit difficult with all the missing fades.
I love this score since it was released :)
Thanks LangdonFan! It wasn't too hard to take this list and make the closest thing to a chronological film edit with proper fade-ins and outs ;)
LangdonFan, you should do Batman vs Superman next!
So I just saw the movie... and of course the soundtrack album is quite out of order! But a significant detail is that all tracks seemed to be entire cues. I was afraid Elizabeth would be a suite, but it's not!
From what I remember, the order was similar to this:
Maybe Pain Can Save Us Seek And Find Via Dolorosa #12 Apartment 3C A Minute To Midnight Cerca Trova Professor Remove Langdon Vayentha I'm Feeling A Tad Vulnerable Venice Beauty Awakens The Soul To Act Our Own Hell On Earth Elizabeth The Cistern The Logic Of Tyrants Life Must Have Its Mysteries
I don't know where to place Doing Nothing Terrifies Me.
There's some unreleased material with a motif similar to All Out War from TDKR. And I'm pretty sure the first 1'30" of The Logic Of Tyrants is replaced by some really awful insert temptracked from Angels & Demons, I really don't know what they were thinking in the edit suite! :-D
Does the score fit the film? Is it annoying or complement the film well?
As usual with HZ it complements the movie perfectly. It gives a continuous pulse, a modern edge, and it's in sync with the quick and sharp editing. Actually I think the score plays a very important role in maintaining a sense of urgency; a classical score like TDVC probably wouldn't have fitted; this is a completely different kind of filmmaking, with shaky-cam, quick cuts, weird camera angles, etc. The most hardcore sound design plays very well with the disturbing hallucination scenes. And the few bombastic cues are even more impressive, I was litterally wowed by The Cistern. And Elizabeth made for a really beautiful, haunting scene. Another very nice job by Hans!
They removed the beginning of Logic of Tyrants? but that was one of the better parts of the OST lunacy
So having just seen the film recently and comparing the album to what's used, this is actually one of the best presentations of a Zimmer score.
Now having relistened to the album a few times since release, I honestly have to say that, for me, this is one of the Z-mans worst scores. Even more so than On Stranger Tides, in my opinion.
The biggest issue with this score is the lack of any strong new material. There is one strong theme introduced, with two small motifs compensating for the lack of original material. It just comes across as lazy, and definitely reeks of temp-tracking. Props to Zimmer and co. for giving a new spin on the old material though. The electronic sound works more often than not.
True, there's even less worthwhile new material here than in On Stranger Tides. But on the other hand, this one isn't intellectually bankrupt the way that one is, using the wrong themes in the wrong places etc. But then again, in terms of an album, rehash is easier on the ears than "Vayentha" and "Seek and Find". :b
It's a quandary for sure. Certainly what both scores have in common is the trashing of a series' previously strong musical track record. :/
Okay, so a lot of you are defending the score by saying it's "different" and that Hans is "experimenting". But is he really? Let's examine that claim for a little bit. Sure, it doesn't sound much of anything like the previous two scores in the series...but it sure does sound like a lot of Zimmer's recent scores. The rhythmic retro synth pulsing is straight out of Chappie. The soft wavery synth pad is the same one from early in his career that he's been resurrecting since Inception. The really dissonant, unlistenable stuff in "Seek and Find" is similar to "Must There Be a Superman" and its ilk from BvS. The more abrasive action moments like "Cerca Trova" and the beginning of "The Logic of Tyrants" sound like "Mombasa" from Inception. And so on and so on.
So yeah, maybe if the score really was as "experimental" and "different" as Hans likes to claim everything he does is, then I'd be able to forgive such vast swathes of it being so unlistenable. But the thing is, it's *not*. Interstellar was something different from Hans. TASM2's Electro material was different. Chappie was different. Hell, even the aggressive choral writing from Angels & Demons is more unique than anything in Inferno. This is just a collection of the worst of Hans' habits of the past 6 years. And if it's not listenable, and it's not doing anything really new...then what, exactly, does this score have left going for it? :/
I think the whole score is listenable, but I agree that it didn't break new ground. I honestly think Chappie had better electronics, and there are actually better thematic material from Chappie. I think the weakness of this score is that the best material are basically the same stuff you heard in Angels and Demons and TDC. He didn't even write anything new for this movie.
Like I said on another board, if "Life Must Have Its Mysteries" is an original cue, then maybe I can say this is one of those scores like Inception where the album is anchor by an awesome original theme. But with this, I can't even say that.
Do you think Hans deliberately writes this kind of synthy, ambient music if the filmmakers don't want him to? If they ask for a 'thematic orchestral score with beautiful melodies' would he say ""Go to hell. I will only fiddle with my synth setup and give you whatever sound that comes out of it"? Isn't making a score collaborative process?
Let's say when some director comes with a project and after listening to it let's say Hans gives him a sample of his collection of or new bad habits. After listening to it director said "No. I don't like the score to be this way". Do you think Hans would say "Bugger off. This is what I'm gonna write. Take it or leave it"?
When compared to HZ previous output, it's true that this isn't really breaking new grounds. He expanded what he started a few years ago, even though that was already damn well expanded with Chappie.
Yes, Chappie is an awesome scores, and I'm glad Inferno is at least helping more people realizing how crazy and inventive this little, under-the-radar score was.
Two problems with that theory, Friday:
First of all, Hans Zimmer has more clout and is in higher demand than any other composer working in Hollywood right now. Directors kowtow to him, not the other way around. If it was Jablonsky, then sure, maybe I could blame the director. But while I can't exactly see Zimmer saying "Go to hell. I will only fiddle with my synth setup and give you whatever sound that comes out of it" in those exact words, I can definitely see some form of that sentiment coming from him moreso than I can from any other composer.
And secondly, Ron Howard has a great track record with film scores, with fantastic music from James Horner, John Williams, Thomas Newman and Zimmer himself littering his filmography. In fact, up until Inferno, I would go so far as to say there isn't a Howard film with a bad score; even last year's In the Heart of the Sea from Roque Banos, though more generic than I would have liked, had plenty of stirring moments. I just can't see him after 30+ years of strong melodic scores in his films doing a complete 180 and telling Hans to go down the total sound design route. He's not Peter Berg or Zack Snyder.
i also think, this musical direction was zimmers idea. maybe howard asked for something more different, but this 180° turn was zimmers idea and howard did let him do. and lets be honest, this sound design part is everything but not new. tyler bates did this already in his Halloween scores and The Darkest Hour. funny is, he didnt get praise for it, but when hans zimmer is doing this kind of music, then it is great, fresh and whatever. very strange....
"it sure does sound like a lot of Zimmer's recent scores.... the soft wavery synth pad is the same one from early in his career"
makes perfect sense :P
like it or not, one cannot deny that this combination of elements and musical devices has never been used TOGETHER before in zimmer's career. there is no one score anyone can point to to say that it's just an imitation of said earlier score. this is a new work with a new overall feeling. you can hate that feeling or adore it but you can't say it's not new unless you are blurring the lines of similarities together even more ridiculously than people do when they accuse Williams or Goldsmith of self-plagiariation. oh noes! its those same synths i heard in the last beautifully-themed Goldsmith score! terrible lazy effort!, speaking of which, here you are getting several themes, both new and newly developed out of the old themes, in a genre that frequently makes for completely athematic scores. and i happen to find both the eletronic re-imagining of the Chevaliers theme and the new romantic/mystery theme that takes supremacy in the latter half of the album, to be extremely riveting and enjoyable. i'd honestly mark it down as my favorite Zimmer score since Interstellar.
""Cerca Trova" and the beginning of "The Logic of Tyrants" sound like "Mombasa" from Inception."
Is this thread satire? You must be retarded.
What shocked me in Cerca Trova is a part is very close to Nuns with Guns from The Town, even using HGW samples ! lol Probably temp.
Yes, and a bit of Deadpool in ''I'm Feeling A Tad Vulnerable''. lol
Maybe I was stretching a little with the "Mombasa" comparison, but I do think the general philosophy of abrasive percussion-and-synth-driven action is pretty similar, enough so that I don't deserve to get ableist slurs hurled at me.
I'm not arguing that the score is derivative, or even that it would be a problem for me if it was; I'm just saying that if a score is going to be this out-and-out unpleasant to listen to, the least it could do is have the decency to actually be as experimental as its composer and those defending it claim. And I must have missed those several themes, because all I can hear is a muddled piano motif for Elizabeth that can barely be called a melody, and a pretty standard rising scale used for "ascension" or some such, presumably (the one used in "The Cistern", that one). And neither of those is used more than maybe two or three times in the last third of the album.
Let's examine your claims. You say directors bow to him. Nolan, who is so stubborn that he refuses to discard film, which is much much more than the issue of a composer, compromises on how he wants his movie to sound? Even Ron Howard is not an upcoming director and is very much influential in the movie business, if he really doesn't like how Hans works why would he come back for more?
Let's say the big studios force some of the directors to work with Hans as he is in more demand. Why would Blomkamp come to him for a small movie Chappie? Why did Ron Howard want Hans for Rush where there was practically no budget for music prod?
I'm not saying this is a good score. I didn't like it. I also didn't like BvS score. But what I'm saying is if the directors and producers don't like Hans' music they wouldn't come back for more. Didn't Hans' team has to rework everything during Rango when the director didn't like what they have scored?
Just listened to this, agree with you Edmund. The sound design stuff (noise) might work on film, and that's Hans' job after all, however, it isn't very enjoyable to listen to on the album. Half of it could be cut out.
I think the best parts of Inferno were the softer cues and reprisals of A&D themes. Basically the last few tracks. Elizabeth is pleasant enough. I actually really like the part towards the end (3:50) where the main theme is dissonant and uneasy and yet it's strangely beautiful.
I think what A&D did much better are the cues/tracks meant to signify action or urgency or drama like 160 bpm, Black Smoke, parts of Air and Fire. The blend of contemporary and classical/religious elements stood out as pretty cool and unique to me. A lot of catchy hooks and melodies and ostinti on those tracks too.
This has a much more limited sound to it both in instrumentation and emotional range. Either that was a creative decision or production was more limited.
A mix of ideas from Da Vinci code, Angels and Demons with some synthesized sounds from Chappie, Man of steel and more... The result is a little bit messy and disappointed (because we are always waiting for new themes which is of course more refreshing ;)) but the score seems to be more adapted to an action movie and in that sense is very pleasant :). Let's see it!
ooohhh! I had no expectations, but this song '2016 Inferno Suite' I really like. I do not know the other tracks and I have not seen the movie, but this is very intense ... expressive. good job. tnk Zimmer and staff.
After listening to the full album for 4 times, i must say that the album is far too long. 40-50 minutes would be just perfect, also there's not to much new material just the Elizabeth theme(being just a few notes) and the synth motif heard in Cerca Trova. Not a complete letdown as I feared but could have been much better.
Guys i found this one but i can't see anywhere this music look Starting-0:38 Ending-1:20.. Best music.. (Spoiler)->This music not using on movie or soundtrack album. Just here.. Hybrid what is this track? Can you explain? This music for Inferno or maybe Bonus Track?
I listened to this and... I'm so so sorry Edmund... lol
I put a suite up there, as well...
Wow, your suite sounds amazing! Great teaser for the movie and score! Well done, Hybrid Soldier!
Absolutely amazing! It's like: DVC + A&D + MOS + BVS + Inception = Inferno! It has everything I love. Brass, strings, ostinatos (strings & synths), and crazy synthesizers!
I wish I could go and see the movie specially in IMAX! I'd see it in IMAX just to hear Zimmer's score nice and loud!
I'm all in on this one, good stuff.
It actually doesn't sound too bad to me. Sure, I'd have preferred a balance a bit more heavy on the choir and a little less on the synths, and it seems to lack the mystique and intrigue of the prior two scores, but sounds like there will be some decent stuff in here. It has more of the colorful sense of Chappie than the joyless mush of the DC scores. I quite like the synth take on the Chevaliers ostinato at about 8:35, for example. So it won't be a complete loss.
Still, it's a disappointment that Zimmer would take the scores in this direction. A&D proves you can throw a ton of synth at the DVC foundation and make it work, this feels like a much less elegant evolution. But I guess that's what you get when you trade a Zanelli/Balfe/Orvarsson ghostwriting team for Mazzaro/Kawczynski. :p
It's a hodgepodge of Man of Steel, BvS, Inception and with thematic continuity.
But in a good way. I think it will be good, a step down from the other two, but nonetheless gratifying.
The suite is great, and I adore the theme at the end, beautiful rendition, with sonic mannerisms.
complete score please........................
Just wow!. Hybrid, who does the solo violin in the end of this suite ''Chevaliers De Sangreal''?
I'd guess Ann Marie Simpson or Aleksey Igudesman as they performed it on the concert tour
After listening the suite, it's nothing similar to the samples. This sounds like a mix of Angels & Demons with the theme of Chevaliers de Sangreal mixed in the man of steel score. It looks amazing. Cannot wait to see the movie and hear the score.
It does sound a lot like MoS and BvS indeed. Suprised to see Junkie wasn't involved^^.
No Joshua Bell anymore?
<<No Joshua Bell anymore?>>
Yeah, I thought first the solo violin in the end of the suite ''Chevaliers De Sangreal'' theme is by Joshua. It's still good though.
rusanda panfili was probably involved in recording that, actually.