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Maybe this is just the sceptic in me speaking, but the process is a bit different this time around to when he did the original. This time, he has an existing score to pull from. Those themes are set in stone. And this is, from what I understand, essentially a shot-for-shot remake, so all this really will be is an 'adaptation' rather than a completely fresh score. Beyonce is working with Tim Rice and Elton John for the songs as well, so the responsibilities seem to be as split as they were the first time round.<br><br>If nothing, I guess this will all result in an interesting look at how Zimmer would reinterpret an older score of his. Not many composers get that opportunity.Yeah, I think he has to do The Lion King first because they have to incorporate the songs with the score. There was even an article saying that Beyonce was working with Zimmer.DT-2017<br>It depends, because it's a musical, and some tracks have to be prepped prior to filming, so he might do a little bit of each throughout this year I'm guessingDark Phoenix is out later this year, The Lion King won't be out until next year. It's a pretty safe bet he'll score Dark Phoenix first.hank you
Are the war-cry vocals in Red Warrior part of the music or are they added in for the OST?@Hybrid Really? I guess it’s not a total surprise considering how much of a mess the film turned out to be. Divergent was a similar situation where the score in-film was butchered...The funny thing with Dark Tower, is that the production was so lost they made him write the score 3 times... Who knows what were the other versions like...It’s interesting with Junkie. As a composer on a purely scene basis, he’s not that good (this is coming from someone who loves his music). My primary issue with him is that he tends to score scenes with ambience, or stretched out sound design. That was a huge problem I had with Dark Tower.<br><br>But like I said elsewhere, he’s still growing as a composer. Watch something like Black Mass where the music in film complements the scenes amazingly.Hans does not have the credit as a producer on this.<br><br>XL is limited, I agree, but I hope he does something fun (the film is not even taken seriously).
Funnily enough, I'm far more critical of Hans than Junkie, given how much the former relies on ghostwriters, but the fact of the matter is that Hans fundamentally understands how to write a film score, and Junkie, from what I've heard, simply doesn't. Mad Max, although a success, is more a function of the film suiting an extremely rhythmic, percussive sound, rather than Junkie being competent, IMHO. So - somewhat joking here, as I know it won't happen - I'd be down for Hans writing a suite for this and Junkie basically copy/pasting it into the film.Hybrid, do you have credits for this version by any chance?welp, looks like we're back to the whole "tom holkenborg aka junkie XL" thing againPoint Break is fantastic!!!!I like Dark Tower, not a terrific score, but i liked it.<br><br>But Point Break... oh, god
What about the Dark Phoenix score? Did he finish it already or doing it in between the Lion King?Wow, I never realized that the oscorp theme is basically Watergate from Frost/NixonI wish so much more! The movie promises to be as good as the last Jumanji! I'm not a big fan of Point Break or Dark Tower, but I think XL has a lot of stuff to explore this time, like in Mad Max.It does not have to be anything extraordinary, just something that gives life to the film.Yes he has, for a few months now actually...Hybrid, do you know if Hans has started on the new Lion King yet?
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Hans ZimmerBenjamin WallfischSteven KofskyAlan Meyerson
ComposerComposerMusic Production ServicesMusic Scoring Mixer
Blade Runner 2049
Label: Epic Records
Length: 93'22 (Score: 75'21)
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 (1155 votes)
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  1. 2049 (3:37)
  2. Sapper’s Tree (1:36)
  3. Flight To LAPD (1:47)
  4. Summer Wind - Frank Sinatra (2:54)
  5. Rain (2:26)
  6. Wallace (5:23)
  7. Memory (2:32)
  8. Mesa (3:10)
  9. Orphanage (1:13)
  10. Furnace (3:41)
  11. Someone Lived This (3:13)
  12. Joi (3:51)
  13. Pilot (2:17)
  14. Suspicious Minds - Elvis Presley (4:22)
  15. Can't Help Falling In Love - Elvis Presley (3:02)
  16. One For My Baby (And One More For The Road) - Frank Sinatra (4:24)
  17. Hijack (5:32)
  18. That's Why We Believe (3:36)
  19. Her Eyes Were Green (6:17)
  20. Sea Wall (9:52)
  21. All The Best Memories Are Hers (3:22)
  22. Tears In The Rain (2:10)
  23. Blade Runner (10:05)
  24. Almost Human - Lauren Daigle (3:22)
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mpolonest123 reply Replies: 4 || 2018-02-10 19:09:54
Apparently Jóhann Jóhannsson has passed away.

RIP


meandme2018-02-10 19:32:12
RIP

Love his Work on Sicario


Olive2018-02-10 21:55:19
Rip, that God console the family.


JBSO992018-02-10 22:24:07
This is so unexpected and sad. I hope that one day we may be able to listen to what he did for Blade Runner.

RIP


Fares2018-02-11 21:35:33
I'm very sad for johann I have all his discography and every month waiting news for his new projects I really feel like I lost Hans Zimmer. Rest in peace Johann the peace that you gave us in all this years thank you and I'll never forget you.

Jor-El reply Replies: 3 || 2018-01-23 05:53:45
Some cue titles on ASCAP

2049
ALL THE BEST MEMORIES ARE HERS
BIBI ADVERT MUSIC
BIBI BAR BASS
BIBI'S
BIG BAND STING
BLADE RUNNER
BLADE RUNNER 2049 THEME (alternate title is apparently BLADE RUNNER 2049 CREDITS)
BOMB
CRUSHING JOI
DNA
FLIGHT TO LAPD
FURNACE
HER EYES WERE GREEN
K RESCUED
LIKE A REAL GIRL
LUV IN APARTMENT
MEMORY
MESA HIJACK
MUST PROTECT THE CHILD
NEW MODEL
ORPHANAGE
OSSUARY
PILOTFISH
RAIN
RETURN TO SAPPER'S
SAPPER'S TREE
SEA WALL
SHESOME
SOMEONE LIVED THIS
TRASH MESA
WALLACE
YOU IMAGINED IT WAS YOU
YOU'RE FREE TO MEET YOUR DAUGHTER


K2018-01-23 06:18:32
Looks like some of the OST titles are actual cue names. "Shesome" is most likely "Joi","You're Free To Mee Your Daughter" is probably "Tera's In the Rain", which is really Vangelis, "Crushing Joi" when Luv steps on the vile that Joi is stored in. You could figure out several. Any composers beyond HZ/BW attached?


badbu 2018-02-04 18:16:27
https://youtu.be/opDlMeqRACI

is this cue call Bibis Bar?
i love it!!!


badbu2018-02-05 08:45:15
BIBI ADVERT MUSIC
BIBI BAR BASS
BIBI'S

and badbu is my name ;-)

mpolonest123 reply Replies: 0 || 2018-01-26 00:27:24
Man, this score has really grown on me in the last few months, especially after seeing the film. While there is a lot of ambient sound design, there are themes and motifs which do propel the story and elevate the visuals. And just like Dunkirk, I almost have to praise it just for the experimental nature it takes. And I honestly still am not crazy about Dunkirk, but in context I can’t think of a more effective score.

Personally, I am glad to see Zimmer and other composers taking more risks with music nowadays. We have so many traditional scores to enjoy, it’s nice to hear something that can be rebellious and maybe unpleasant but different. That’s part of the reason why I love Trent Reznor’s collabs with Fincher. On its own, his music is pretty unique, and in context adds an interesting layer to the films it’s used in.

Also, I’m curious if the little snippets of “Peter and the Wolf” used in the Joi scenes were re-recordings done by Wallfisch or simply just inserts....

Meta reply Replies: 2 || 2018-01-02 02:26:19
Fyi...In case nobody else caught it (I didn't at first)

There's a longer, albeit cooler version of the track "Mesa" in the end credits....I don't know why they decided on the OST track, but whatever...


Mephariel2018-01-23 08:01:01
Correct me if I am wrong, but isn't that track just "Blade Runner" on the Album. There is lower pitch version of "Mesa" within that cue.


Ahmad2018-01-23 14:24:17
Mesa is a cue in the film and it has to match with what's happening in the scene.

Blade Runner is an end credits suite which allows the themes to breathe a little. I think the two versions are identical when it comes to pitch.

Ahmad reply Replies: 4 || 2017-12-28 15:30:29
Since the movie came out digitally, I'd like to take the chance and express how much I love the score. I've been listening to it since October 6, especially Sea Wall. That 4 note theme is incredible.
So many textures and sounds. Benjamin and Hans did a wonderful job. I gotta say, this release is one of the most satisfying releases. No big cues missing (thank goodness).


Monroe2017-12-28 16:39:51
I agree but it sounded very like Ghost in The Shell.


Olive2017-12-28 21:40:31
Both sounded very like the original Blade Runner.


Andy2017-12-28 22:25:46
They are similar but I feel ghost was more unique .The film did have issues but the score was very good and under appreciated


Olive2017-12-29 17:02:56
Clearly Ghost is slightly different.It needs to be since film's universe is as well.

DK reply Replies: 9 || 2017-12-06 11:56:30
Some cues in Sea wall sounds like “A Dark Knight(16:15)” from The Dark Knight


Olive2017-12-07 11:46:17
Temp track or Zimmer hands in the cue? Who know?


Olive2017-12-07 11:50:09
I think that as this project was clearly executed by Wallfisch, it would not be bad to know which cues had the contribution of Zimmer.


Olive2017-12-07 12:15:24
I saw the comment on the cell phone now and I'm going to rephrase it. I do not say credits here on the site, but in the booklet of the album.


AGreasMusic 2017-12-07 12:37:06
Ghost in The Shell was far superior musically


mpolonest123 2017-12-07 12:52:06
Wallfisch said in some of the interviews that Hans “helped” on Sea Wall cue. How much is beyond me but the opening action rhythms remind me of the Terraformer sound from “Arcade”.


Olive2017-12-07 14:07:52
Zimmer also said in an interview for the "Variety" that he composed "Mesa"


Olive2017-12-07 14:13:27
Vanity Fair: “We (he and Ben) got to the end, and I was sitting at my keyboard, and I just had an idea, just a fraction of an idea, but it got the conversation going.” Zimmer owned the same Yamaha CS-80 that Vangelis used to compose for the original 1982 movie, and played a melody that eventually became the “Mesa” track on the score.


CalendarMan2017-12-07 19:00:30
Sure Mesa must be from Zimmer, as it sounds almost the same as the Main Title from "The Fan".


James (now james callahan)2017-12-16 15:43:05
2049 is by Ben, confirmed.

d a r t h reply Replies: 18 || 2017-10-05 18:16:51
argh... it's maybe very good in the movie, but very flat without... :-(


d a r t h2017-10-07 12:23:37
no real themes, it's more ambiant sounds for elevator or relaxation than real music... it's very sad :-(

1/5


JBSO992017-10-07 13:00:01
In the movie, the score is amazing and if you mix this wonderful soundscape with the beautiful imagery you have a very captivating and visually stunning movie (I absolutely loved it). And it's true that the album alone it's a bit simple but after you have watched the movie, the music makes a lot more sense and it's more enjoyable.
Anyway, I was expecting something similar to this, maybe a bit more thematic, but in the movie this works perfect, so for me it's okay.


Meta2017-10-07 15:35:53
I'm notorious for taking a soundtrack score and chopping it up to fit my personal playlist encompassing 30+ years of music....Right now I'm at 13 Gigs. It's a squeeze, but I gotta boil it down to the essentials.

Lets just say out of this entire album runtime I managed to boil Blade Runner 2049 down to 27 minutes of material; And this is only for RIGHT NOW, as I'm sure I'll be making beef jerky out of this score as I find myself listening to less and less tracks as time goes on...

And just an FYI yes, this is without having seen the movie. And while I understand the movie plays an important role with the soundtrack, I dont really design my life around the movie so much as I do the music itself, which to me I use to serve as a personal diary of sorts, so the album itself should be - I would imagine to most music lovers, anyway - a listening experience to be appreciated in and of itself, outside of the film it represents. Yes, I know one goes with the other. But I'm talking about ignoring the film itself and focusing on the emotions the artist interprets into sound. Let's just say I'm the kind of person who doesn't need music with lyrics telling me what or how to feel - I write my own lyrics to music.

For Blade Runner 2049, FOR ME, it's mostly meandering sound design followed by two or three simple themes that don't need an entire CD to represent. Now, I found this to be similar with Dunkirk, but not so much with IT - which I think Wallfisch put more effort into, because I got more out of IT than I did with Blade Runner 2049. I don't know what Zimmer is up to these days with his music, as it seems he's more into doing sound design type music while he lets his other workers do the harder stuff. I get it - He's getting old and probably doesn't want to overexert himself, or he's choosing projects that call for this kind of thing by the director, or maybe he's just not feeling very creative, which is fine. But still - FOR ME - I can't enjoy a score that's weak on themes and is mostly droning sound design.

Here's the tracks I boiled it all down to:

2049
Rain
Memory
Mesa
Someone Lived This
Thats Why We Believe
Sea Wall
Tears in the Rain
Blade Runner

- Tracks like Mesa and Blade Runner I cut WAY down because it just reprised the same music or just ended in droning sound design noise which mean nothing to me, plus I enjoyed the simple theme from Sea Wall, which seems to be the best theme I think, so the Blade Runner Track (end credits?) I cut down to the final 2 minutes, while Sea Wall I edited down to 7 minutes to cut out all the sound design fat.


Not much else to say, here, really, except:

I found Chappie to be a more inspired score, Vangelis put more effort into the original score than Zimmer did with this, which I find odd considering he says Vangelis was a major inspiration, and not that I'm trying to insult Zimmer and his work, but the the trailer music for Blade Runner 2049 I found more entertaining than the entire score as a whole.


Anyway, that's my take and it's time to move on to Justice League and see what Danny Elfman digs up, clashes with and transfers...OH BOY - that will be an interesting score, I think....


Hybrid Soldier2017-10-07 16:36:02
You realize most of this score is Ben ? HZ did what he could in between his tour shows. :)


Mortifer V.2017-10-07 23:19:33
I would also add 'Wallace' and 'Joi' to that list.


JBSO992017-10-08 11:54:46
Joi was a really good track and the scene where it appeared was breathtaking. I would also add Pilot.


Meta2017-10-08 15:37:28
@Hybrid

Wow, didn't know that and I'm actually surprised at that. I understood Zimmer considered it a personal mission, since he said Vangelis was like a sole inspiration for his music...Mind blown.


@Mortifier and JBS - I will give a relisten to Joi, Pilot and Wallace, but from what I heard of those at first glance, they did not stand out - without having seen the movie, of course. I was mostly focusing on the main themes to extract. Joi sounded pretty, but it felt superfluous, Wallace sounded motify with the guttural vocal chanting sounds, but I will check that one out again in context of the film. Pilot....um...Jesus that one is gonna be hard to figure out, as by itself it makes my teeth grate.

Thanks for the input!


Jorn, Norway2017-10-09 01:23:42
Mesa (08) makes my heart skip a beat. I stop breathing when it comes on screen. Its life itself.


JBSO992017-10-09 11:08:20
Meta I talk from the experience of listening the score within the film, because I hadn't listened to the album until I watched the movie. In the album itself the ones that stood out the most were 2049, Wallace, Mesa, Joi, Sea Wall, Tears in the Rain and Blade Runner, but then again, it's after listening to it in context.

Also Wallfisch appears first on the credits of the movie so he had a bigger role in the score than Zimmer.


Meta2017-10-09 14:25:55
@JBS

In context I can myself listening to tracks like Joi and maybe Wallace or Pilot, but then you would be linking those tracks to the movie memory, and not your own personal memory, which tends to get muddled once you see the movie and the context of the score falls into place. I tend to use the score for my own personal palette first before exposing myself to anything having to do with the source material it is based on.

Haven't seen the movie yet....


JBSO992017-10-09 18:36:57
@Meta Yeah, well I most of the times do the opposite. Listen to it first within the movie to see how it works the music as was meant to be in the movie, and then I listen to the album itself to get my personal opinion on the score based on how it works in the movie (or TV show or whatever).
But there are times when I listen first to the album and I start creating the feelings around the movie even before seeing it.
Depends on the score but I always try to listen to it first within the movie.


Hedon2017-11-15 02:48:46
I think we all know that if Hans had the time to do this himself, which was impossible as he was on tour, the score would have been much greater, more personal and "Zimmerish". I believe this is a project Zimmer would have loved to put as much of himself into as he possibly could, if he had sufficient time. He is an expert with many many years of experience with synthesizers and synthesizer programming, and he has a shitload of equipment from all eras, even the CS-80! I can think of no better to emulate Vangelis style than him. If anyone is to blame here, it is the director for not realizing this from the start and for not calling in Zimmer earlier in the process.

Also, Wallfisch was a strange choice, given that his background is with orchestral music, and not electronic. Of all composers at RCP, why choose the composer which has the least experience with synthesizers when the director was quite clear that he wanted an all electronic score?


Leonard Dante2017-11-15 13:57:36
Answer: Dunkirk.


Edmund Meinerts2017-11-15 15:27:20
Re: why Wallfisch, I feel like Hans kind of goes through these phases of a few years at a time where he has a new "toy" (maybe not the most respectful word :p ) he likes to play with before either he moves on himself, or else the toy in question starts forging their own solo career. From 2009-2013, it was primarily Lorne Balfe. 2013-2016, it was Junkie XL, Mazzaro and Kawczynski. This year it seems to be Wallfisch. A couple years from now, who knows?


James2017-11-15 16:30:04
+

2005 - 2007 - Henry Jackman
2003 - 2005 - Jablonsky and Djwadi
2003 - 2004 - RGW
2000 - 2002 - Heitor Pereira
1999 - 2002 - Klaus Badelt
1998 - 1999 - John Powell
1996 - 1998 - HGW
1992 - 1996 - NGS

Among so many others like

Verbinsky and Brukeheimer efforts: Geoff Zanelli


Hybrid Soldier2017-11-15 22:47:46
2005 - Forever : Lorne BALFE O_O


igur2017-11-15 22:58:11
Best one was Klaus Badelt! Zimmers most epic and beautiful scores were composed when Badelt was his partner.


James ( now James Callahan)2017-12-16 15:39:45
generalizing all direct and indirects participations in Zimmer's career, I think this role is of Glennie Smith...

Second half of 1970-forever.

Max Potcats reply Replies: 9 || 2017-12-04 21:29:33
Ok, I know we already talk about this before but this is so unclear; this article saids that HZ & BW "maintaining the theme written by Johansson". So, anyone knows what this theme refears to? And there is no reference the Johansson in the credits...

(i can not put the link cause of spam but this is from the interview in Collider "Hans Zimmer Is Now Working on ‘Blade Runner 2049")


...2017-12-04 22:03:55
No that was an old report. None of Johansson's work remained.


Anonymous2017-12-05 03:16:49
thank god


Michaels2017-12-05 17:20:02
Why did they use the original themes ?Atleast they were memorable.obviously seems Zimmer did not spend time on this soundtrack


Michaels2017-12-05 17:32:36
Oooops!!! Why didn’t they use the original themes


Ahmad2017-12-05 17:39:11
What original themes? Johannsson's or Vangelis'?

If the answer is the former then you haven't heard any of Johannsson's material and if it's the latter, then I would say that's not how Villeneuve envisioned for the movie. I think they did a good job with the score. 2049 is so much darker than the original and the score fits so well and when they used Vengelis' material it was absolutely perfect and didn't feel forced at all.

Just my 2 cents!


Andrew2017-12-05 17:43:52
Vangeles’s themes . They are still so moving and memeorable


Gotham Rogue2017-12-05 20:37:57
I hate this score hasn't had more attention, it's really perfect for the film and when you listen to it in depth it has several recurring themes.


Ahmad2017-12-05 21:13:05
My favorite theme is what Ben calls the "Horse Theme" which appears at the end of "2049", "Someone Lived This" and the majority of "Sea Wall". It's gorgeous.
This score is so underrated.


hz2017-12-06 03:55:29
and also variation of horse/soul theme can be heard in sapper's tree, memory and that's why we believe

Michael Fields reply Replies: 0 || 2017-11-23 06:36:34
Yes! I Finally found the booklet credits for Blade Runner 2049:

Original score by
HANS ZIMMER
BENJAMIN WALLFISCH

Music editors
CLINT BENNETT
RYAN RUBIN

Music production services
STEVEN KOFSKY

Synth programming
HANS ZIMMER

Synth design
HOWARD SCARR

Vocalist
AVI KAPLAN

Exotic instruments
CHAS SMITH

Cello, vocals
TRISTAN SCHULZE

Cello
SIMONE VITUCCI

Guitars
OWEN GURRY

Technical score engineer
CHUCK CHOI

Digital instrument design
MARK WHERRY

Sampling team
TAUREES HABIB
RAUL VEGA

Score techincal assistants
MAX SANDLER
NATE UNDERKUFFLER

Score mastering by
ALAN MEYERSON

Score mastering assistant
FOREST CHRISTENSON

Score mixed at
REMOTE CONTROL PRODUCTIONS, Santa Monica, California

Studio manager for Remote Control Productions
SHALINI SINGH

Assistant to Hans Zimmer
CYNTHIA PARK

TEARS IN THE RAIN

Written by
EVANGHELOS PAPATHANASSIOU (VANGELIS)

Here's the link:
https://ia601507.us.archive.org/21/items/mbid-149daaf9-5c9d- 47d9-a452-d732122da496/mbid-149daaf9-5c9d-47d9-a452-d732122d a496-18376707127.jpg

Ahmad reply Replies: 3 || 2017-11-18 10:18:47
The CD has been shipped finally!


MaxPotcats2017-11-18 18:28:18
Nice!
What about the 2nd CD?


Ahmad2017-11-18 19:07:16
It's the same 24 tracks divided on two CDs. I'm truly hoping for a nice numbered digipak that separates the limited editions from the regular release otherwise it would be quite a crappy move from the record label.



john2017-11-20 14:38:23
cd may have been shipped but ups tracking refrence shows up nothing on there site anyone got an ideas at to why this may be many thanks

John reply Replies: 1 || 2017-11-14 15:59:56
Hi There just wondering has anyone on here heard anything more on the double cd release from the Blade Runner 2049 website as there now stating a shipping date of 17/11/17 im just a bit concerned about this can anyone shed anymore light


Geoffrey2017-11-14 23:17:52
No, neither did I. They don't seem very serious at all. We have to be patient I think. And hopefull.

Patrak reply Replies: 2 || 2017-11-04 18:48:30
Here is an interesting look at the sound design of BR2049 :
SoundWorks Collection: The Sound of Blade Runner 2049
https://vimeo.com/237369956

Jump at 06:24, interesting to see Wallfisch using the CS80, the Synthesizer used by Vangelis on BR.

Enjoy.


Ahmad2017-11-04 21:56:51
And Hans working with Zebra :)
Apparently, they used Zebra for most of the score according to Benjamin.


James2017-11-05 00:39:08
I laughed a lot of the people screaming in the tank.

Ahmad reply Replies: 0 || 2017-11-03 23:58:36
Oh for heaven's sake not again! WaterTower or Sony Classics should've handled the soundtrack release.

"Greetings,

Thank you for participating in the Blade Runner 2049 pre-order. CDs are in the final stages of production and should be headed to our facility next week. Orders are now expected to ship on or around November 17, 2017. You will receive a shipping confirmation email once your order ships. We apologize for any inconvenience this may cause, and thanks again for your support.

Thanks,
Blade Runner 2049 Pre-Order Store"

Micah reply Replies: 1 || 2017-10-29 06:08:56
Amazing to hear my girl Lauren on this. She's certainly blown up in the past year. Keep your eyes on her.


Micah2017-10-29 06:09:35
Centricity Music as a whole has been killing it lately. Between her, Unspoken, and Jordan Feliz, their roster is STACKED.

Wallace reply Replies: 2 || 2017-10-28 21:03:49
The suite listed for all to listen to is not a suite. It's the second to last track. Also the end credits.


Ahmad2017-10-28 23:58:57
Which is a suite in itself and has most of the themes.


James2017-10-29 01:37:43
Thanks for suite, Hybrid!

Phil78 reply Replies: 1 || 2017-10-25 06:44:56
VINYL!!!
https://bladerunner2049.shop.musictoday.com/product/Y4LPBR01 /blade-runner-2049-original-motion-picture-soundtrack-2disc- lp?cp=98847_98848


Yannick2017-10-28 17:20:23
Woohoo !!
Just ordered mine.
Thanks for the info.

jewen reply Replies: 0 || 2017-10-23 15:47:29
A total revelation about Wallfisch "Horse Theme" (AKA K/Joe's theme) and its relation with original Tears in the Rain.

http ://www.mundobso.com/bso/blade-runner-2049

Geoffrey reply Replies: 2 || 2017-10-20 13:23:57
I received this yesterday :

" Greetings,

Thank you for participating in the Blade Runner 2049 pre-order. CDs are still in production and your order will be delayed slightly. Orders are now expected to ship on or around November 3, 2017. You will receive a shipping confirmation email once your order ships. We apologize for any inconvenience this may cause, and thanks again for your support.

Thanks,
Blade Runner 2049 Pre-Order Store "


Well , not a big issus cause I've downloaded the tracks from the link they've sent me but clearly, they're not very serious.


Phil782017-10-20 22:00:48
Maybe there is a big surprise and Disc 2 is different from the actual release. If you look at the download files you see 01-01 to 01-24. I think Disc 2 must be named 02-01, 02-02...etc.


Geoffrey2017-10-21 23:57:43
Maybe. Clever deduction. Wait and see then ;)

jewen reply Replies: 1 || 2017-10-20 09:43:57
When we'll know the tracklist for second CD from the Limited Edition??


JBSO992017-10-20 09:49:10
I'm not totally sure, but I think it's the same in here, just splited in two

SPECTER reply Replies: 6 || 2017-10-18 19:42:38
I feel like there should have been a proper theme for Rachael. She was a really important character in both movies and it would have been nice to hear a sad melancholic melody for in her in some kind of Flashback or dream sequence for Deckard.


James2017-10-18 21:27:32
I agree. It is the most beautiful theme of the previous film and one of the biggest in Vangelis' career.


James2017-10-18 21:29:49
@spectre

She has a theme! Search for "Rachael's Song"!


SPECTER2017-10-19 06:12:09
@James

I have heard the original Vangelis theme but I was referring to a new theme for this new movie.


james2017-10-19 12:33:12
i believe that glimpses of the original would have solved the problem ;)


Frank2017-10-19 20:54:27
Go watch the film and you'll understand why there's no Rachel's theme


SPECTER2017-10-20 03:33:14
Maybe not a full theme for Rachael. But perhaps something simple and subtle to melodically yet still in the tone of the film to describe the state of Deckard and Rachael at this point in the film's story. For example, I'm think something along the lines of 3:30 from " Harvey Two-Face", 0:50 of "Sorrow", beggining of "To know my Enemy", 2:30 of "Welcome to the Real World".

jewen reply Replies: 3 || 2017-10-17 14:03:26
Am I the Only one that feels Johánn Johánnsson touch everywere along this score?
Truly is the Vangelis reminiscense in each song, but the style is more near to Johánnsson than Wallfisch and of course Zimmer.
Could be Denis Villeneuve's suggestion, or maybe Benjamin has study Villeneuve last works, but is unquestionable that 2049 score sounds very Johánnsson.

Many people these days talking bad about 2049 score (No melodies, No Vangelis, All ambiance...), but the reality is that this work has perfect match with the rest of the film.

2049 is different to the original Blade Runner. Yes it has the same world and feeling, but is another director's vision, and the music follows (perfectly) the same way.


Medigo2017-10-17 14:28:07
I can hear it
'Her Eyes were Green' gave me a heavy Arrival-vibe for example


Rian2017-10-17 15:23:32
also seems very like ghost in the shell. Did Balfe also help out on this score ?


James 2017-10-17 19:35:49
No he is not. It's just the musical palette created for all the futuristic scifi films that are inspired by what Vangelis did in 1982.

Kalman reply Replies: 0 || 2017-10-17 12:22:16
OK, there seems to be a regular edition at amazon and other retailers with the same content (2 CD) for a cheaper price than the limited one. It's nonsense. Will the record label pay me back a couple of bucks? I don't think it is ethical business at all.

Phil78 reply Replies: 3 || 2017-10-14 08:41:09
2nd Edition Soundtrack also SOLD OUT!


sam2017-10-14 10:48:38
cool, another bunch of dissappointed consumers then.


Medigo2017-10-14 11:51:30
cool, another unneeded comment


Phil782017-10-14 21:06:44
Can‘t wait for my 1st & 2nd Edition Soundtrack CD‘s! I think they are very special collector‘s items! Like the „Deckard Blaster Edition“ Blu-Ray Box...also pre-ordered two of them ;-) I‘m a bit obsessed right now...

Megalith reply Replies: 2 || 2017-10-12 04:14:28
How did Zimmer and Wallfisch score this so quickly? It seems like the news that the other composer was dropping out only happened weeks before the film's release.


Medigo2017-10-14 11:52:10
The news was given weeks before release
the actual change happened earlier


James2017-10-14 12:55:17
They started it in april.

Mephariel reply Replies: 0 || 2017-10-14 08:25:51
Am I the only one extremely irritated by the fact that I can't just buy the "Blade Runner" cue without buying the whole album? I mean, I been around long enough to know this is how things work, but it still bugs the hell out of me.

"Blade Runner" is actually a very good cue, and encompassed some of the best ideas and materials from the whole album.

SPECTER reply Replies: 3 || 2017-10-12 04:57:47
1:00 from "Rudest Bad Boy in Joburg" could have fit in well somewhere in this film. Thoroughly enjoyed the film, score was enjoyable.


Apeters2017-10-12 14:04:59
I wonder if the temp was Ghost In the Shell ? Some of the action sounds very familiar


SPECTER2017-10-14 00:16:07
Just occurrd to me that the first melody from Steve Jablonskies "Burn or Jump" (Deep Water Horizon) could have been a good inspiration for the the Sea Wall rescue/fight sequence. The second part could have been used for when Deckard is going to see his daughter.


Anonymous2017-10-14 07:05:16
Spoilers much?

Hybrid Soldier reply Replies: 12 || 2017-10-06 08:44:33
Has anyone criticizing the score actually... seen the film ? If not I'll pass your comment, we're not talking about a studio album.

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Edmund Meinerts2017-10-06 12:26:12
I can't agree. Criticizing a score album is fair game.


Hybrid Soldier2017-10-06 12:38:06
Nope, we will have this debate every single time :P, but I will always hear someone telling me a score is terrible in context... It's just like reviews based on albums lol who have no idea what the "real" full score is...


Edmund Meinerts2017-10-06 12:49:37
When I'm talking about scores I always mean how they work as independent music...It's a totally separate thing from judging how they work in context IMO, and I think it's important to make the distinction, but if you see me make comments, 99% of the time it will be about how the music works of its own accord.


jewen2017-10-06 13:12:14
Criticizing the score without seen the film? That's totally ilogic.
The score always is meant to be part of the film, more than that, the score is the film. You can't analyze the score function if you don't listen in context.
And yes, we have musical albums from films, but this doesn't mean that the score is an ordinary album launch, it's only a musical compilation that represents(sometimes more complete than oders) the original composed music appeared in film.


Edmund Meinerts2017-10-06 13:34:06
Thing is, I listen to way more scores than I do films. I listen to scores from films I otherwise have never even heard of. I listen to scores from films I have zero interest in ever seeing. I listen to scores because I like the composer, not because I care about the movie. I'm not aiming to write some sort of analysis of the function of the music here, I'm just listening as a fan and judging it by how much the *music* works for me *independently*, as a *listener* rather than a watcher. That's just my choice of how to look at things. You can choose differently, but I don't think my way is any more or less legitimate.

That's why I try not to call something like Dunkirk a "bad score". It's clearly not a bad score, it has a stated purpose, and it fulfills that purpose effectively. It does what it sets out to do. But for me it's not a good or interesting album.


Hybrid Soldier2017-10-06 13:39:05
I watch a lot of films, and I barely listen to any "albums" (outside of HZ & co stuff), I get my opinions from movies directly regarding their music... I have a strong cinema & music passion, you just don't have the cinema one... But anyway, I'm not exactly attacking YOUR points of view Ed... ;)


Waymann2017-10-06 15:19:31
As long as people don't forget that score albums exist because of a movie. Composers don't write music like music artists or band that produce one music album one or two years. The score is a nice addition you get from a film. It's genre on it's own and I always judge it on how well it fits the move AND how the album experience is (which is actually something most score albums can't change much except for changing the order of the track or with suites.) Some films I like to have to full score but that mostly a RCP thing to do.


Bolidzar2017-10-06 18:56:25
Interstellar was successful because as standalone music the motifs and queues in order tell the emotional story of the film without having to actually watch it. I think Dunkirk has some interesting contextual applications, but its not "music" as most people would care to define it, it is closer to sound design. The movement towards droning nothingness for scores is a shame.


Bolidzar2017-10-06 18:59:44
Edit/add: In summary, a good score is both great context to the film and music in its own setting. There is a delicate balance that must be struck.


Naji2017-10-07 00:10:47
When i have criticized Gladiator i wasn't saw the movie it was and still a magnificent Album, so please don't give a bs way of thinking for what we r getting recently from Hans Zimmer OST its bs without the movie!!! And its great with it!!! So y I'll buy and y i have to listen to it.
I have checked this web for long long time maybe i don't have a lot of comments but sorry i can say this is the most nonsense comment ever came from u t its nonsense same as recently HZ work after interstaller to be clear.


Catastrophic Jones2017-10-11 20:03:55
If you've seen a film by Denis Villeneuve you'll know he likes to go for a very ambient yet intriguingly sonic tone for the score. Johann Johannsson used this to his advantage, and while to some his scores could appear bland and boring, they are quite the opposite, especially considering the films they belong to. Prisoners, perhaps the closest to melody so far, brings about that reoccurring depression theme of losing something precious, and that relentlessness to find it. No epic loud bombastic 'on the hunt' music. Much like Sicario with its low and constant percussion and Arrival with its brass 'alien' sound, and much like that vintage 80's meets dystopian future in Blade Runner 2049, minimalism is the key. It allows you to focus on the long and character driven stories instead of overwhelming you. Appreciate the atmosphere, the directing, the motions of the camera and locations along the way. There were quite a few quiet scenes in 2049, giving you that uneasy feeling of not knowing what to expect next, and when the music hit? I love Johnann's vision for the past Villenevue films and while I'm curious to have heard his for this film, Hans & Ben pulled it off fantastically. While it doesn't compare with Vangelis' score, it doesn't need to. This film is darker, the time is 30 years later, it's a much more sinister take on something familiar. Comparing the two is similar to who is better, John Williams or Hans Zimmer, because they both have distinct styles, both far from coming close with one another. Hearing those high synths meshing with the picture was beautiful. I felt like I was in the film alongside of Ryan and Harrison, investigating along the way. Denis proves you don't need to go big to have a memorable film, just as Hans has proven you don't need a huge orchestra (or any) to make a brilliant score. These are tactics that have been employed long since before both their time, and will continue to even after. Watch the film, and you'll understand why the score sounds the way it does, not to mention you'll be enjoying a fantastic film. That furnace setting is probably one of my favorites I've seen in any film to date. Props to the design team for that one.


Guitwo2017-10-12 01:59:22
@Catastrophic Jones : oh boy you summed everything so well!
on point on every aspects.


Medigo reply Replies: 0 || 2017-10-12 00:45:42
not much was missing from the OST indeed
though I do wish that we got more of the transition from Joi to Pilot

Medigo reply Replies: 0 || 2017-10-12 00:42:06
not much was missing from the OST indeed
though I do wish that we got more of the transition from Joi to Pilot

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Blade Runner 2049 soundtrack - Hans Zimmer - Benjamin Wallfisch 2017