Main Theme by Hans Zimmer Original Music by Jacob Shea & Jasha Klebe for The Bleeding Fingers Custom Music Shop
Score Produced by Hans Zimmer & Russell Emanuel Orchestra: Chamber Orchestra of London Musicians Contractor: Gareth Griffiths Conducted by Geoff Alexander Score Consultant: Monica Sonand Music Editor: Joe Rubel Music Production Services: Steven Kofsky Orchestrator: Karen Tanaka Additional Orchestrations: Sean Barrett Copyist: Simon Whiteside Score Preparations: Hannah Parrot & Wayne Ingram Score Recorded by Geoff Foster Score Recorded at Air Lyndhurst & Angel Studios, London UK
Score Technical Engineers: Hannah Parrot, Jake Schaefer, Emmanuel El-Helou, Jared Fry & Wayne Ingram Additional Instrument Design: Jake Schaefer Score Mixed by Alan Meyerson & Forest Walker Additional Overub Recording: John Chapman Score Coordinator: Stephanie Hall Recording Assistant: Alfredo Pasquel Score Mixed at Remote Control Productions, Santa Monica CA
Soundtrack Album Produced by Jasha Klebe, Jacob Shea & John Chapman
Executive Producers for Silva Screen Records Ltd. : Reynold D'Silva & David Stoner Album Mastering: Rick Clark Release Co-ordination: Pete Compton A BBC Studios Natural History Unit Production, Co-Produced with BBC America, ZDF, Tencent & France Télevisions
Series Producer: Tom Hugh-Jones Executive Producer: Michael Gunton
Thanks to: Tom Hugh-Jones, Michael Gunton, Justin Anderson, Ed Charles, Fredi Davis, Chadden Hunter, Emma Napper, Elizabeth White & Graham Wild, Chuck Choi, Ryan Ouchida, Shalini Singh, Lara Simon, Jacke Schaefer, Hannah Parrot, Emmanuel El-Helou, Jared Fry, Wayne Ingram & Steven Pagano, Satnam Ramgotra, George Doering, Chris Bleth, Claudio Olachea, Peter Gregson, Abby Khalek, Ann Marie Calhoun & String Mob, Lindsey, Eli & Isaac Shea, Marc & Maxine Shea, Kelly Johnson, Terry, Kolya, Liza & Jan Klebe, Hayley Moore, Dominic Walker & Suzi Scott, BBC Worldwide
Special thanks: Razor Snakes, Spider Monkeys, Sloth, Wilson's Bird-of-Paradise, Serval Cat, Golden Mole, Geckos, Mischievous Macaques, Dancing Bears, Bat & Scorpion, Wild Horses, Catfish, Flamingos & all the animals on planet Earth
Release date : 11/11/2016
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Is that suite all Zimmer wrote here, or was he involved in other tracks, too? "We are the Designers" sounds like him, and his Facebook page posted it as music "he" wrote along with Jasha Klebe and Jacob Shea.
Hi all, stunning music out here, I am so fancy in Hans music. Anyone has a clue what is the Menu music from Blu-ray edition of PE II? I am pretty sure I have heard it before, Shazam can't find it, I am guessing ... By the time I was looking deep in my memory I remembered :) It is "Arrival of the Birds"
I've listened to the score now several times, and i have to say that it really blows me away. It is SO beautiful, has its themes, its complexity, the fun-factor, the drama, everything in it. It's like a phenomenal journey when you've listend to the whole score. It's so good that I'm actually shocked that it's not hyped by the fans or recognized that much and that SUCH a quality is being used for a documentary. It sounds like a superb blockbuster with a HUGE score. To Jacob Shea and Jasha Klebe: thank you VERY much for this amazing and beautiful work. You guys are so talented and i'm so excited to hear more and more from you in the future. And to everyone else here: Give it a listen, it is an amazing work and score!
Am I the only one, or do I sense a bit of "Gravity" in Chinstrap Penguins" and a bit of "Avatar" in Singing Indri? The end of Chinstrap Penguins even has that "airlock sudden ending" sound that was prevalent in Gravity.
There's a couple chords rattling around in there that sound very Trevor Rabin-ish. I love what I'm hearing so far.
Totally agree. From what I've read Zimmer and Rabin worked closely together in the past, and I get the vibe that Zimmer has just ripped a lot off from him.
More like the other way around, I'd think...I mean yeah, Rabin does have a recognizable enough style, but he pulls a LOT of tricks from Zimmer.
zimmer and rabin didnt work closely in the past. the only time rabin worked on a zimmer score was Days of Thunder and zimmer worked only on Armageddon, but with gregson-williams and jablonsky were 2 zimmer guys involved. i think rabin got more influenced by mark mancina. the choir in Deep Blue Sea for example has the same sound as the choir in Twister and also the orchestrations in alot of scores have the same style. i guess don harper is one reason for that. if u listen to rabins solo song album Can't Look Away or the Yes album Talk, you can hear the trevor sound and style of theme/melody writing, which you also hear in his scores. its all over the place.
I actually very much hear Jablonsky in the first track. The percussion sounds like it's ripped straight from the first Transformers film.
Watched the first episode. Must say Jasha and Jacob have done a really good job. Really liked the "Albtross Dance" and "The March of the Red Crabs". And the main theme is used in all the right places effectively with different variations and moods.
i have to agree. very beautiful effective music. hans' main theme is very strong and the suite at the beginning fits perfectly. at the end, right before the diaries, the suite is a bit different, because the end has just the choir without the drums/percussions. sounds beautiful. some action and suspense music sounds like typical rcp music, but the rest is very lovely, especially the emotional parts. these moments have nice melodies and fantastic orchestration.
It could be a great opportunity to compare two BBC natural documentaries soundtracks maked by top level film music composers. Which one is better, Hans Zimmer & team "Planet Earth II", or Steven Price "The Hunt". For me it's something very interesing.
I hardly think Steven Price deserves to be considered anywhere near the same level as Zimmer yet. Or probably ever.
Maybe not, but from what we've heard, The Hunt is a far more satisfying soundtrack.
These dull tunes sound like library music from a company that mass produces generic cookie cutter TV soundtracks, rather than a crafted score.
I wouldn't say Price is lower level composer. His style and approach is completely different from Hans'. Price and Zimmer are incomparable. But there's one thing to say about Price - he hasn't done anything original since Gravity and hasn't stepped away from the same sound patterns. I mean, yes it's been only three years, but seriously, at least little changes could have been made. Fury, The Hunt and Suicide Squad all sound the same. Melodically they don't, but if we talk musical structure - Price's works are identical. Yet, score for The Hunt corresponds to the visuals very nicely. I'm pretty sure the same is with Planet Earth II.
Paul - I compare only scores and working in series, not style of composers.
I can honestly say I love all three of them! Zimmer's suite reminds me in style of "The Egg Travels" from Dinosaur by James Newton Howard.
@Mike except that The Egg Travels is far more better, more original, more inspring, and more original than this Zimmer's two note, unoriginal, trailer music piece that i must say, to be honest, will fit the picture just nicely.
You know what else is unoriginal? Using the word original three time in one sentence.
part of the suite is the music from the extended trailer and yes, the music fits perfectly to the images. zimmers main theme is simple, but very lovely. also the other 2 tracks are nice.
Been a while since the man wrote something uplifting and positively spirited like this. The later half of the suite is full of win.
Doesn't sound anything like Zimmer ??? Did he actually have anything to do with it apart from his name ?
Are you just deaf ?
very bland music tbh.
Is it a digital only release, or both digital and physical? Because I can't find the CD to pre-order on Amazon...
@anonymous: it should physical, I've preordered it here in Switzerland :)
Hybrid...or anybody: is there a particular reason that, whenever Hans lands projects like these, he typically ends up just doing the main theme? I guess that makes it less pressing on his time, obviously, but is it monetary? Is it that he wants to give a gig to some of his fellow composers? Pretty much any time you hear Hans is working on TV or a video game, "main theme by" is a given, while the score is usually someone else (except Through the Wormhole, maybe).
I would guess it's a combo of all those things...This way, they have a big overarching musical piece for the show and have Zimmer's name on the credits, while not requiring him to devote months to the series.
And as an aside, I prefer his work on TV and video games sometimes to what he does in movies. I like all of it, usually, but with TV and games he seems more willing to go into straight power-theme territory (IMO, what the man does best), and technicalities about doing things "differently" and being experimental don't get in the way as much.
Eagerly waiting to see what Jasha has done with this. Really loved his score for Winter On Fire.
Yeah, Winter on Fire is excellent. That is the score that got me excited about Shea and Klebe.
Shea didn't work on Winter On Fire. Why does whenever someone talks about Winter On Fire they say Shea and Jasha did a great job on that? I've seen the same thing being said on other forums too. Am I missing something?