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Just listened to the whole thing, kind of a let down. Nothing interessting except for some action moments. Donít even recall hearing some sort of theme. Overall it was like listening to Cars 4: Spanish World Cup.I have already listened to The Jumanji Overture and I must say it sounds really great. Let's see how the rest of the score sounds.Tracklist with track duration:<br>01. The Jumanji Overture (03:20)<br>02. Digging Up The Past (01:43)<br>03. Brantfort High (01:09)<br>04. Into The Jungle (01:23)<br>05. Out of Character (02:31)<br>06. The Legend of the Jewel (02:23)<br>07. The Adventure Begins (01:40)<br>08. Special Abilities (01:16)<br>09. The Bikers (03:44)<br>10. Van Pelt (01:00)<br>11. A Test Of Friendship (01:22)<br>12. The Bazaar (01:16)<br>13. Snake Charmer (03:41)<br>14. The Power of Bravestone (01:04)<br>15. Seaplane McDonough (02:17)<br>16. The Missing Piece (01:46)<br>17. Lost In Time (01:18)<br>18. Flirting With Danger (01:36)<br>19. Albino Rhinos (03:44)<br>20. Retrieving the Emerald (01:54)<br>21. Out of Lives (01:49)<br>22. First Kiss (01:22)<br>23. The Jaguars (03:03)<br>24. Ring of Fire (02:07)<br>25. Begin The Climb (01:56)<br>26. Call Out Its Name (02:23)<br>27. leaving Jumanji (03:03)<br>28. An Older Friend (02:40)<br>29. Back To School (01:53)@ds the same for desplat's victory with Budapest Hotel.Maybe. I'd sure be happy for you lot ;) And I'd definitely rather see Powell attached to a project than, say, RGW, Junkie or Desplat. <br><br>That Solo movie is going to be a disaster, though.
One more thing: if indeed the reason for Powell's semi-hiatus was to be with his family as much as possible, we may well see his activity increase again in coming years now that his wife has passed away and his son is close to graduating high school (I couldn't find an exact date of birth for him but I think he's 16 or 17). Him taking on a project as big and ambitious as Star Wars isn't exactly the sign of someone who wants to take it easy. It's too early to say yet though.hans should win the oscar for best sound effects and not for the best music/score. just as a statement.And it's also unfair to use Balfe to criticize Powell. He started working on American projects in 2005 with Batman Begins, and only after 2010 did he receive individual projects. Is it accurate to compare someone who entered the party at the last minute with two others who are in it for 20 (Powell) and 30 (Zimmer)?<br><br>I'm in a hurry and I put everything into a translator. Forgive the many mistakes.<br> <br><br><br>Composers do not need to worry about the attention, acceptance of the public of the same or the same intensity as pop music artists do. There's no need to do that. Occasionally some name draws attention to the public and causes many people to be in the genre, Williams and Zimmer are the main examples that I can bring the table. However it is not because Williams or Zimmer are extremely popular and perhaps worry about the material they are offering to the public who adores them that all the composers of the world need to do equal. Most of these men and women even enxeega as "celebrity". They are more like artisans or the rest of the crew of a film that occupies with the lights, effects and costumes and that will never have the same response from the public as the main actor. And they don't even expect it. So I think it's foolish to wait for Powell to occupy himself in 2,3 movies a year to please a fanbase.<br><br>I'll agree with you when it says it's deplorable to see CPR composers who talk so much about building a single voice and giving emerging talent the opportunity to use so many additional composers (many of them with a possible promise that in the future they will work with Zimmer and thus have the opportunity to show his face in Hollywood.The sense is almost always these.You start with a secondary composer, he arrives at Zimmer and gains some kind of notoriety). But Powell is not the only one who does this. So he should not be the only one criticized.Well...it's a film score. It has no obligation to provide a pleasant or enjoyable listening experience, and for an award like this that doesn't really come into consideration. So if it works in the film, it did its job and that's all that matters.<br><br>For me personally, as someone who cares about music first and films second, a score like Dunkirk has little value. A few years ago I probably would have been pretty mad about this score winning awards and acclaim (you should have seen how salty I got when The Social Network beat out HTTYD), but these days... *shrug*. I know what I like, Dunkirk isn't it, and that's fine. It wasn't written for me. Do I wish Hans still wrote the kind of music I like? Of course. But he gets to make his own choices as an artist, just as I get to choose what to listen to as a fan.
The score is already on itunes.This score... so many mixed emotions. Does it work for the film? Heck yeah. Does it improve the film? So much so. Did Hans do what he set out to do? Totally. Is it an award winning masterpiece? Um, not so fast.<br><br>Dunkirk, while super effective within the context of the film (I wouldnít change a thing about it), I must admit, it doesnít have nearly the same effect as a stand-alone listen. Itís literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it ďawardĒ worthy? Iím not sure. If based solely on the film, you betcha. If based purely on the music itself, I donít think so. Thatís where Interstellar succeeds so far and away over Dunkirk. As a pure listening experience, Interstellar is interesting, multi-layered and emotional. Whereas Dunkirk is just flat, void of any sort of feeling or ďactualĒ music (again, works IN the film). Itís glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... Iíve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did itís job... lol.<br><br>Excuse me while I go listen to No Time for Caution yet again.I think most of us agree that he should've won for Interstellar but I think Dunkirk deserves it too. The work Hans and the music department did on this movie is just incredible. Must've been a lot of hard work. <br>An award is an award, Hans' 2nd Oscar is long overdue so I'd be glad to see him win. But it would be weird to see him win for THAT score, after all the greatnesses of the past 20 years. Same thing with Morricone who won his only Oscar for his very light and insignificant work on Hateful Eight. Good for the man, good for the fans, but doesn't really make sense. But have Oscars ever made sense? :-phaha hybrid :D made my day
Hybrid, yes!wow man, hybrid. this isn't right from you. actually really embarrasing and an absolute no-go from a staff/member of this site to write such a comment. even if it's a joke, this is a shame and sad.I was a bit over the line, I admit. I should have made it clearer that all of that "hottest shit in town" bit was meant purely as a part of my personal opinion regarding his output. I never saw or read any interviews with him. <br><br>I also know about his wife, of course... but I guess I'm just too cynical to accept it as an all-encompasing excuse while seeing such massive fanbase clamoring for his new music. I don't know, I admittedly feel a bit bad about what I'm saying myself. I AM an asshole, sure, but only to an extent. <br><br>I think that saying "he is writing scores that he feels comfortable with" and "living his life however he wants", albeit understandable, is still ignoring the fact that he is an artist with a fanbase. We are living in a time when film composers are slowly getting a mainstream recognition as a type of musicians comparable to bands or singers. And that creates a certain responsibility towards that fanbase. An artist doesn't have to fulfill it, sure, but he should at the very least acknowledge and address it.<br><br>Which brings to mind an image of Hans going on a massive tour whilst giving zero fucks about the CD presentation of his scores, but I digress.<br><br>I wouldn't dare giving Powell advices about how to deal with a pain of the loved one's loss. But on the other hand, I strongly believe in artist's responsibility towards the fans. <br><br>For example, that's why I would kick everybody saying "GRRM is not your bitch" right in the goddamn nuts.Now I have ONE true reason to want this score to win !<br><br>PEACE ! lolI stand corrected. Though it's still possible that the score is a combination of live orchestra and samples, a lot of RCP music does that.
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Tom Holkenborg (Junkie XL)Aljoscha ChristenhuŖ
ComposerAdditional Music
The Dark Tower
Label: Sony Masterworks
Length: 66'52
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 (549 votes)
  1. The Dark Tower (1:42)
  2. The Face Of My Father (1:29)
  3. I Kill With My Heart (3:03)
  4. Skin People (2:34)
  5. Getting A Toothbrush (1:15)
  6. Dutch Hill (2:58)
  7. Guardian (0:47)
  8. Arrival In Mid-World (1:52)
  9. His Shine Is Pure (2:21)
  10. The Map (2:25)
  11. Thinny (2:36)
  12. Something Got Out (1:32)
  13. We Don't Have Chicken (3:01)
  14. Manny Village (1:06)
  15. See Across Worlds (2:18)
  16. There's Always Another Battle (2:12)
  17. A Chicken, A Goat And One Bullet (3:44)
  18. Keystone Earth (0:48)
  19. Portal Activity (1:31)
  20. Smiley Face (1:47)
  21. The Creed (3:14)
  22. Death Always Wins (2:53)
  23. Dixie Pig (2:20)
  24. Tall, Dark And Handsome (1:54)
  25. Full Package As Advertised (2:05)
  26. It Will Fall (4:51)
  27. Collateral Damage (4:44)
  28. Hot Dogs (1:15)
  29. Roland Of Eld (Main Titles) (2:35)
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Macejko reply Replies: 0 || 2017-08-01 13:06:11
The main theme (Roland of Eld) is awesome, yet the rest is painfully unremarkable.

mpolonest123 reply Replies: 5 || 2017-07-28 14:30:24
Just took a listen to this and am so impressed. There are many JXL mannerisms in the string writing and electronics, but outside of those I don't think I've heard him write in this huge fantasy style before. "The Dark Tower" and "Roland of Eld" make me wish he was still on board for Justice League.
And huge praise to whoever did the mixing on this one!

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JBSO992017-07-28 19:38:16
I have listened to those two tracks and they sounded amazing.
I wish Junkie stayed in Justice League for hearing more of him in this style.
I still have to listen to this full score but for now I like it a lot.


mpolonest123 2017-07-28 21:39:36
The album definitely could use some trimming, there are some filler tracks which kill the flow. Outside of that it's a pretty strong release...


JBSO992017-07-28 23:17:37
It looks like there are many short tracks that usually stop the flow of an album but it looks pretty cool.


mpolonest123 2017-07-29 15:58:11
The big problem with most of his album releases is that he tends to include some of the more atmospheric underscore which just doesn't make for a great listening experience. If you condense any JXL album down you can definitely get a better representation of his music.


Ahmad2017-07-29 17:05:24
Well, let me give you a very simple solution to that: make your own playlist or mixtape or whatever based on what you want to hear. I'd rather have as much music as possible and edit myself than have an incomplete release.

Jordan reply Replies: 0 || 2017-07-28 11:56:22
Here's the tracklist with track time:

1. The Dark Tower (01:42)
2. The Face of My Father (01:29)
3. I Kill With My Heart (03:03)
4. Skin People (02:33)
5. Getting a Toothbrush (01:14)
6. Dutch Hill (02:57)
7. Guardian (00:47)
8. Arrival in Mid-World (01:52)
9. His Shine Is Pure (02:21)
10. The Map (02:25)
11. Thinny (02:36)
12. Something Got Out (01:31)
13. We Don't Have Chicken (03:01)
14. Manny Village (01:06)
15. See Across Worlds (02:18)
16. There's Always Another Battle (02:12)
17. A Chicken, a Goat and One Bullet (03:44)
18. Keystone Earth (00:47)
19. Portal Activity (01:31)
20. Smiley Face (01:46)
21. The Creed (03:14)
22. Death Always Wins (02:53)
23. Dixie Pig (02:20)
24. Tall, Dark and Handsome (01:54)
25. Full Package as Advertised (02:05)
26. It Will Fall (04:50)
27. Collateral Damage (04:44)
28. Hot Dogs (01:14)
29. Roland of Eld (Main Titles) (02:34)

Total time: 66:43

MrZimmerFan reply Replies: 0 || 2017-07-28 10:16:39
On Itunes:

htt ps: //itunes.apple.com/us/album/the-dark-tower-original-motion-p icture -soundtrack/id1260934127

isildur reply Replies: 1 || 2017-07-19 19:58:55
29 tracks!! Even if on an average each track is 2 min long it's almost an hour 20 mins. Well, I'm not the one to complain about more music. Bring it on. Hopefully something good.


Waymann2017-07-20 11:54:31
Amazon says 1:06:43 long.

Darrell reply Replies: 0 || 2017-07-19 19:47:09
There's the cover of the soundtrack is at Amazon already! Music by Tom Holkenborg.

mpolonest123 reply Replies: 1 || 2017-07-11 03:10:53
So excited to hear this! I think Tom mentioned in an interview that it will definitely be different than his current style. Not sure what to expect but I'm hopeful that we will get a good cross between western and fantasy.


Waymann2017-07-11 08:30:22
As long as it doesn't sound like Mad Max, Deadpool or BvS, then i'm excited.

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The Dark Tower soundtrack - Tom Holkenborg (Junkie XL) 2017