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come one McNulty or any of you who has this, let's enjoy this togetherHybrid, create page for complete score of that filmGod, please, Skyscraper is more listenable than Hurricane Heist, don't dare to compare with that 'thing'Saw the movie but never listened to the score, is it worth listening to?  <br>=========================<br><br><br>I think it's worth it, yes. There are some powerful, "pure Jablonsky" tracks. Can't say that the entire score is exceptional, but it's certainly better and more layered than, say, The Hurricane Heist (no offence to Lorne).<br>@anonymous it appears in the track "vanishing point" but there's a better unreleased version of it when William was confessing to his wife
well hybrid, if you ever happen to know who did what, add it here please :D I would really be thankful for it!!If Steffen & Max did anything, it's arrange Lorne's cues...Personally, I don´t think that Aruj and Thum got a chance (or time) to write anything for this film, but I may be wrong... who knowsIn which tracks does William's sad theme appear?Alright, these are my speculations on the credits for this version, mixed with what we already know about it from Soundclouds/websites/etc.<br><br>What we know:<br>Luke Richards - Today We Hunt, Running Out Of Tomorrows, Ospreys<br>Lorne Balfe - Battlefield<br><br>Gary Dworetsky - Final 50 seconds of Calling All Autobots<br><br>My personal speculation:<br>David Fleming - Drone Chase, Dive<br><br>Gary Dworetsky - History of Transformers<br><br>Max Aruj & Steffen Thum - Vivian Follows Merlin, Claim The Staff<br><br>I have no sources to back this up, these are just my guesses based on what I feel these composers' styles are.
I watched the movie yesterday. Unfortunately,the songs are in Portuguese here, in Brazil (even "Spirit"! ). But Hans' work is still amazing, intense, he's stolen the show again!Saw the movie but never listened to the score, is it worth listening to?This complete album sound like Lit!! I like to hear about this album in one day soon.I just hope they bring back William's sad theme and other variations of Dolores's theme which were unreleased in season 2It is, actually, completely in correct order. There's just 5 theme suites  here & there.
Okay, I want this. Where, how much? lol<br><br>And I'm willing to bet that even those Jablonsky fans who didn't like the score wanna hear the complete album.@Ahmad i think end credits :PDo you know the chronological order for this one Hybrid? I had quick glance at the complete here and the OST album seems massively out of order16 hours of music?<br>Can we hear those 16 hours of music one day?I saw the film today. It's amazing and wonderful. The feeling and emotions of the 1994 film keep untouchables. The score is simply breathtaking. The songs are incredible. The stampede scene is so intense just like the 1994. Hans has made an intense, epic and beautiful score.

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Hans ZimmerSteve MazzaroDavid FlemingAndy Page
ComposerAdditional MusicAdditional MusicMusic Producer
Dark Phoenix
Label: Fox Music
Length: 67'55 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   3/5 (771 votes)
  1. Gap (8:07)
    Hans Zimmer, Steve Mazzaro, David Fleming, Andy Page
  2. Dark (4:27)
    Hans Zimmer, David Fleming
  3. Frameshift (8:15)
    Hans Zimmer, David Fleming, Andy Page
  4. Amity (5:52)
    Hans Zimmer, Steve Mazzaro (Traditional)
  5. Intimate (10:14)
    Hans Zimmer, Steve Mazzaro, David Fleming, Andy Page
  6. Negative (3:58)
    Hans Zimmer, Steve Mazzaro
  7. Deletion (4:51)
    Hans Zimmer, David Fleming, Andy Page
  8. Reckless (9:35)
    Hans Zimmer, Steve Mazzaro
  9. Insertion (7:56)
    Hans Zimmer, Steve Mazzaro, David Fleming
  10. Coda (4:40)
    Hans Zimmer, David Fleming
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e reply Replies: 7 || 2019-07-21 10:50:35
He mentions the Dark Phoenix second CD here. 20:33 onwards.

https: // v=mHmKZbUZiIA

"I did a film recently that got away, but we wrote 16 hours of music. We're actually fighting to get another CD released because the film didn't do anything, just to have it out there. Because you can't use again in something else, so it'd be nice to have it out there. So that it doesn't disappear into a rubbish bin".

Hybrid Soldier2019-07-21 10:58:22
And I can tell you Hans brought the matter to the very head of Disney Music... Everyone seems game to release it, just need to work out some technicalities...

badbu2019-07-21 11:44:41
i can't wait!!!!!!!

Ahmad2019-07-21 13:39:25
It's comforting to get a reconfirmation that it's coming.
Now we'll just have to cross our fingers that the process doesn't take months like that one other release ;)

Which one will be out first: End Credits or X-Periments? :P

Max2019-07-21 18:05:58
This is great news.Maybe Balfe’s scores to Ghost in the Shell now can get released.
Over 6000 people have signed the petition for Ghost.

Hybrid Soldier2019-07-21 18:57:53
No GITS cannot be released, it's technically not possible... That's why Lorne leaked his part of the score himself...

Scorefan2019-07-22 05:11:31
16 hours of music?
Can we hear those 16 hours of music one day?

badbu2019-07-22 07:13:27
@Ahmad i think end credits :P

badbu reply Replies: 2 || 2019-07-18 15:09:08
Deleted Scenes:
Edwards Air Force Base
Charles Returns Home
Mission Prep
Beast MIA
Charles Says Goodbye
Rise of the Phoenix: The Making of Dark Phoenix (5-Part Documentary)
Scene Breakdown: The 5th Avenue Sequence88
How to Fly Your Jet to Space with Beast
Audio Commentary by Simon Kinberg and Hutch Parker
*Commentary available on Blu-ray, iTunes Extras and Movies Anywhere only
no Hans (making of) and no isolated score :/ damn...

Ahmad2019-07-18 16:28:51
Wasn't expecting any of that so I'm not disappointed :D

badbu2019-07-18 17:15:40
haha that’s true :D

LS100 Studios reply Replies: 4 || 2019-07-10 22:21:13
Wasn't a fan of this score on my first listen, and I'm not a fan of the film either - but I like the new themes Zimmer wrote and how they're weaved throughout the score. Thought I'd analyze the themes and how they recur in the score.

Zimmer made three major recurring themes - the new X-Men theme, the Phoenix theme, and Magneto's newest theme. "Amity" might contain a motif too, I discuss that more below.

1. "Gap" debuts the new X-Men theme, with various renditions throughout before the Phoenix theme debuts up at the end. Love how the X-Men theme starts off quiet, wish we had more of that in the score.

2. "Dark" is a suite for the Phoenix theme, it has various renditions of it too.

3. "Frameshift" starts off with the Phoenix theme, and then debuts Magneto's motif. The Phoenix theme returns more quietly through the track, then builds up to a violent rendition towards the end.

4. "Amity" is mostly gloomy ambience from the sound of it, but after listening to the whole score it seems like a theme of mourning. It plays after Mystique dies, and again after the loss of Jean. So I guess this counts as a fourth theme?

5. "Intimate" starts off with some uncertain vibes, then transitions to a more ethereal score. Magneto's theme returns, this time in full, with the full theme playing around 6:42. We're welcomed to more renditions of the X-Men theme during the NY skirmish.

6. "Negative" doesn't feature any of the other themes - save for a bit of the X-Men theme towards the end. This track might be a theme for the D'Bari, I think it's when Jessica Chastain takes the Phoenix force.

7. "Deletion" opens with Magneto's theme, and transitions to a violent rendition of the Phoenix theme, which continues through much of the track. The end of the track gave me some Ottman vibes.

8. "Reckless" starts off with a short piano theme - seriously thought Ottman's "Hope" theme was gonna' start at 0:35, haha. It's then followed by the gloomy theme from "Amity", can't remember what scene. Much of this track, similarly to "Gap", contains renditions of the new X-Men theme. An action rendition of Magneto's theme starts around 7:20.

9. "Insertion" starts off with Magneto's theme, its last appearance in the score - followed by a calmer version of the Phoenix theme, which leads to a more violent rendition of it. The theme quiets down to an eerie rendition of the Phoenix theme halfway through the track, and builds up to another violent rendition. The track concludes with a choral arrangement which kind of reminds me of the ending for "Terraforming" from Man of Steel.

10. "Coda" wraps up the score with a reprise of the mourning theme from "Amity". Splices in some bits of the X-Men theme too, and some piano notes towards the middle are derived from the Phoenix theme. Also uses some of the Phoenix chants towards the end. All in all a nice hopeful track to wrap up the film.

Might be some mistakes or things I missed. Hoping for that second score to release, I'd love to see Zimmer's ideas/sketchbook for the film.

nvictor2019-07-11 03:26:02
i identified four themes too. roughly in the order you describe them. two in gap -- although i am not familiar with x-men scores, so i didn't know about the new x-men theme. dark is by far my favorite track. and frameshift -- in my head, without seeing the movie -- is a theme that feels like a transition to evil. now that i read your comment, that phoenix theme is "that" villain theme in my head. and the magneto theme in frameshift is "that" transition. at least to me...

now, amity is where i am hearing the progression from Dido's Lament by Henry Purcell. a few people mentioned it was the inspiration for the score. since i have been paying attention to it, i am finding that other parts and themes blend so well with it or complement it well. the same thing with all the other themes. they blend so well that one could have started as chords or accompaniment for the other. and later turned into its own theme.

i am hoping to figure out how all these themes came from amity or from one another. and pray we get that 2nd CD that will have suites because it will solve everything :)

mpolonest123 2019-07-11 04:05:24
“Negative” is definitely the villain theme for Jessica Chastain, it also opens up the first two minutes of “Intimate”.

Great breakdown, there is still so much with the score to dissect. I love the way the Purcell motif from “Amity” recurs throughout the score, transforming into an action variation in “Reckless”.

Ahmad2019-07-11 13:13:47
I was going to do a similar analysis but got too lazy :P

Dark (or the first section of it) actually plays right after Gap in the film. Starts with Jean waking up and them arriving at the school.

I love how Hans sprinkled the new X-Men theme and Amity all over the score. The piano at the beginning of Reckless is actually part of the new X-men theme "Gap" and the big conclusion at the end of "Insertion" is a variation on the theme as well.

I count at least five unique themes:
1- The new X-Men theme
2- Jean Grey/Dark Phoenix
3- Magneto
4- Tragedy (Amity)
5- Vuk's theme (Chastain's character) - which is incredible

I really love the score and I hope we get to hear the content of the second CD. The end credits suite had very interesting variations not included in the album.

BC2019-07-12 17:25:13
You're forgetting Jean's theme at the beginning of "Frameshift", which in my opinion is one of the prettiest parts of the score. It starts shifting over to the Dark Phoenix theme 44 seconds in.

John G. reply Replies: 4 || 2019-07-02 18:22:21
Is there a source that confirms a 2CD release/existence? I’ve been looking around and I’ve found nothing so far.

George2019-07-02 19:39:22
Facebook group. HZ confirmed himself. Go sign the petition, otherwise this release may not happen at all!

Kevin2019-07-09 09:02:43
I'm really hoping they pull through with that 2 CD edition, it would be great to have not only a physical copy but to know what his bonus material has to offer.

Ahmad2019-07-09 12:16:53
The whole thing is about getting the CONTENT of CD2 out :)
A physical release seems highly unlikely.

BC2019-07-09 18:18:38
Physical release is pretty much a no go at this point. Maybe if the movie hadn't bombed so hard, but the fact that Disney/Fox is going to lose about $150 million on it means that they're definitely not going to throw out money on getting a physical release done. We'll be REALLY, REALLY lucky if we get a digital release with the second disk, and I can live with that, despite wanting a vinyl copy of this very badly.

Nicklas reply Replies: 0 || 2019-07-09 12:18:14
Hybrid Soldier - It seems like you work in the bizz? are you working the same place as Hans?
I have a few questions maybe you can answer?

A few weeks ago Hans Zimmer composed the theme for 13 Minutes to the moon. And last year he did a theme for a car commercial (scoring the drive).
And now the ekstra cd release with Dark Phoenix, which is doubtful will ever be released even though we have signed the petition. A track that is also missing a release is Thunderbirds - Live in Prague...
None of these music tracks were ever released on Apple or Spotify. Why not?

How can a world famous genius composer like Hans still compose great music that don't get I digital release, these days... How can that be?
Who decides if it gets a digital release on iTunes or Spotify if not Hans himself?
Us - the fans have to find it on youtube which is too bad.
You would think that a creative and music lover like Hans would want to get all his music out to the public?

Friendly regards.

Der Profl reply Replies: 1 || 2019-07-02 21:47:59
What does "(Traditional)" mean in the composer credits for "Amity" mean?

Der Profl2019-07-02 21:53:44
Oh, wow. My English is at its best today. XD

HiX reply Replies: 0 || 2019-07-01 01:16:25
Crysis 2 has a track named "Insertion" as well

HiX reply Replies: 0 || 2019-07-01 01:16:21
Crysis 2 has a track named "Insertion" as well

Hybrid Soldier reply Replies: 2 || 2019-06-30 15:34:54
Here is one way to make them realize : se-the-second-part-of-the-dark-phoenix-original-motion-pictu re-score-by-hans-zimmer-87958d0b-fc42-4b8e-bed9-94f3f23ff4be

badbu 2019-06-30 15:50:42
don‘t understand why fox didn‘t release it digitaly...

mpolonest123 2019-06-30 16:59:30
Thanks for the link @Hybrid. With Han’s clout I can’t see why on earth they wouldn’t put out an already finished album. Regardless of the film’s performance.

Fred reply Replies: 2 || 2019-06-30 11:54:04
so...are there more tracks coming?...

nvictor2019-06-30 13:33:26
Hybrid told us not to hold our breath and what he says is often right...

Fred2019-06-30 14:29:37
oh damn...:( and digital? :(

nvictor reply Replies: 2 || 2019-06-28 03:20:51
there is so much to love about this soundtrack. it always brightens my day when i discover something i haven't noticed before. here are a few favorites:

the sharp transition from very quiet to very loud at the beginning of "Gap" gets me every single time.

"Dark" is such an amazing track. i have grown as a score fan and listener and now i gravitate towards tracks that are moving slow, moody, with only a few strong moments. "Dark" delivers all of that. at the moment it's easily my favorite.

the choir in "Dark" (and throughout the album) is said to have been done before but nothing i heard before compares to the "humming" and those tribal sounding voices. it's such a joy to listening to plus when it complements the percussion it is just awesome.

the end of "Reckless" does not seem to have a resolving note and that trick has been used before. but what's new for me is that i seem to hear that final note at the beginning of next track "Insertion". also the end of "Reckless" is pretty much "Amity" but more intense.

when i previewed "Coda" i thought it sounded hopeful like the end of Gladiator. but now it also sounds like Chevaliers de Sangreal. and the voices give me a Circle of Life vibe. it is such a hopeful track and yet feels so incomplete. that's what makes it so beautiful.

nvictor2019-06-29 10:52:49
"Amity" looks like is it in a canon form with the main and accompanying themes circling on different instruments. really simple but effective. i also like that pulse in the low end (a la dunkirk).

Nahuel2019-06-30 08:42:58
Decent movie, way better than crappy endgame.

Nick reply Replies: 1 || 2019-06-28 02:43:28
This score is the very definition of hit-or-miss for me.

On one hand, I admire that this is a lighter and more colorful effort by Zimmer and co. compared to their other superhero scores. The "main theme" introduced in Gap is simple yet uplifting and inspiring enough, and I am really liking the use of female choirs to denote Jean and The Phoenix. It is reminiscent of classic Zimmer bombast from scores such as Crimson Tide and Pirates, and to me (and I'm sure many others) that is a breath of fresh air when compared to his other works in the last decade or so.

On the other hand, I don't think it's quite the return to form for Zimmer some of us were hoping for. The fact of the matter is the reason most of the cues are so long is because half of them are taken up by discordant ambiance and rhythmic pounding (take out the non-melodic/themed content in a cue like Reckless and it could hover around the four minute mark). And the themes themselves aren't anything too special; the aforementioned Gap is more reliant on powerful, overstated chords and piano arpeggio, which doesn't sound bad, sure, but it doesn't elevate it to levels of greatness.

Also correct me if I'm wrong, but in the year prior to the score's release Zimmer was hyping up "trying something [I've] always wanted to do in a film score," and unless I'm mistaken it's adapting "Dido's Lament" for a blockbuster action score? If that's the case then I guess it works out fine (except in a cue like Amity, which irritated me to no end), and the "pounding" remix it sees in a cue like Reckless is entertaining but not really that innovative. Zimmer's toyed with the "adapting classical pieces for the big screen" idea before (Gladiator, Hannibal, Dunkirk, etc.) and this particular treatment doesn't strike me as anything special.

So overall I think Dark Phoenix is one of Zimmer's better efforts in the last ten years but it doesn't reach the heights achieved in a score like Gladiator or Pirates or Angels and Demons (my personal favorite). I'll definitely find myself exploring the soundtrack later on, maybe I'll find another thing to like about it.

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Edmund Meinerts2019-06-28 19:12:14
This sums up quite nicely how I feel about the score as well. In a way Dark Phoenix is a perfect microcosm of how the 2010s have been for Zimmer in general - a mixture of genuinely great moments with a lot of frustration and understated droning and ambience that is not nearly as revolutionary or groundbreaking as the composer would like you to think it is. It's an okay score, and I definitely am curious to hear what ideas got left by the wayside, but it's getting more and more clear to me with each new release that what I loved about Hans Zimmer's music and what Hans Zimmer himself currently is interested in pursuing are no longer the same thing.

maybe reply Replies: 10 || 2019-06-27 00:54:31
My Question again?!!!!


badbu 2019-06-27 05:49:48
we don’t have a release day...

Hybrid Soldier2019-06-27 12:02:45
Don't hold your breath...

mpolonest123 2019-06-27 15:17:49
That’s disappointing to hear. Was it the film’s box office failure?

badbu2019-06-27 15:45:37
it will be released. maybe not a cd but digital...widows was not a good movie and there is a vinyl :D

maybe2019-06-27 15:52:01
thanks for the long-awaited answer. It's a shame to hear that there is no cd-release. at a score from Hans Zimmer something completely new.

Nick2019-06-27 16:27:54
@badbu Widows was still a critical and commercial success, and all that combined with the nostalgia, subject matter, and talent both behind and in front of the camera undeniably contributed to a vinyl release, even though I didn't think the score was anything special.

kekec2019-06-27 19:47:01
Do you know something more specific, Hybrid? Not so long ago it seemed the 2CD release was confirmed.

Ahmad2019-06-27 20:57:08
Why are we comparing Dark Phoenix to Widows again?
Widows got a CD and vinyl release. The key here is the record label. Widows was Milan Records while DP is Fox Music and apparently they don't do physical releases.

Wish they had given it to Sony like previous X-Men soundtracks, maybe things would've been handled better.

Gump2019-06-27 21:05:03
Does that mean the 2nd cd is canceled?

badbu2019-06-27 21:12:58
for me a digital release is enough :D

Aere reply Replies: 0 || 2019-06-27 13:48:08
when Jean visits her father there was a subtle humming cue not in the soundtrack. I am not sure is that the school cue that is missing?

Bdange reply Replies: 6 || 2019-06-23 20:15:06
This is not a best soundtrack of Hans, but the theme "Gap" and the first two minutes for me are very good, no good....excellent.

badbu2019-06-25 07:43:04
for me the best cues are:
the unreleased piano cue (school)
Deletion (what a scene!)
Insertion and Coda!

I like the choir so much in this cues! Amazing work!
I can't wait for the second "cd" and i also hope we get a making of the score (video)!!!

ThePhantasm2019-06-26 03:09:20
The song Deletion plays in what scene?!

Mephariel2019-06-26 04:12:37
Insertion and Coda are probably my two favorite cues other than Gap. But the last 3 minutes of Intimate is the best action sequence of the entire album. I just wish there is a cue completely devoted to that sequence.

badbu 2019-06-26 08:29:41
@ThePhantasm the magneto vs jean scene ;)

Ahmad 2019-06-26 10:17:17
Any reason why Negative is put before Deletion other than to piss us off and ruin the chronological order? :P

Intimate > Deletion > Negative > Reckless > Insertion > Coda

badbu2019-06-26 16:10:18
@Ahmad hahah idk :D

JamesT reply Replies: 1 || 2019-06-19 15:12:51
Is there any word or time frame on the second release?

badbu 2019-06-23 15:39:02
no :(

... reply Replies: 13 || 2019-06-20 14:57:53
I saw the movie again and can confirm that most of the music is on this release. There are 3 unreleased cues I would like to hear... The scene where Jean and professor X arrive at the school, romantic cue which ends with the aliens landing on earth and finally end end credits cue.

Ahmad2019-06-20 16:12:56
I'm actually quite pleased and surprised that most of the album if not all of it is comprised of actual cues - not suites, not edits (although some tracks are slightly edited like Reckless - which extends the X-Men theme with brass @ 4:20).

The romantic cue/s (I think there's more than one) is a variation of the Jean Grey/Dark Phoenix theme played with high strings.

The end credits are easy to get when the Blu-ray comes out so I don't give it any thoughts. And I think the first part of the cue is probably taken from CD2 or would be featured on CD2.

The cue at the school is really good though. Wish it was put on the album. And that loud swell that played during the title card is incredible.

One thing, they definitely butchered and buried some cues in the mix. The first part of Intimate, parts of Reckless and Insertion, sound effects took the center stage.

badbu2019-06-20 17:01:29
all i want is the "school" cue :D

Ahmad2019-06-20 17:12:07
Isn't funny how we always focus on the cues we don't have instead of the really cool ones we already got? :D
CD2 and the school cue lol.

mpolonest123 2019-06-20 17:19:46
For me personally it really depends on how well the album is put together/what is missing. If an album is arranged well enough and nothing important is left off I’m usually happy.

The problem with most Zimmer releases (thankfully not this one) is that there are always major/important cues left off for no reason whatsoever. When you are missing “Escape From Ship”, “No Time For Caution”, or most of “Dunkirk” it becomes a burden. Especially when so many composers nowadays are putting out longer albums.

I will say though, I think Zimmer has gotten better in recent years in terms of albums. Dunkirk aside most of his releases have been pretty strong. Compare that with Sherlock Holmes 2 or the Pirates scores.

...2019-06-20 17:37:40
Well the school cue is one of the best in the score.

badbu2019-06-20 17:44:03
@Ahamd haha yes it is :D
No... i'm really happy about this release!

Ahmad2019-06-20 17:48:59

Long post :)

I totally agree with you. I think this release is very satisfying because you really get most of what you hear in the film. But also it does make the cues not included stand out because you can literally count them, plus they're really short so they could've been included as well.

I really enjoy releases like Justin Hurwitz's First Man where we got literally got every single cue (some alts but still). People still complained about "filler tracks" or whatever that means but you can always make your own playlists.

With Dunkirk (I might be wrong) but I feel like the score doesn't exist in a traditional way like other scores - I'm going by what they Zimmer and Nolan said publicly. The idea that the score was constructed as one long track. Although Nolan did mention exporting having to re-export music stems for archival purposes as they were mixed with unwanted sound effects, so audio files exists. So couldn't they have found a way to export the music and give us a proper film version? They probably could have done that. But I feel like they didn't think it would be a good listening experience so they opted with the suites.

Also, I feel like Hans may not want to release cues if they are heavily edited by music editors. That might be the case with the film version of NTFC and Dunkirk.

Interstellar was an interesting one. It seems very satisfying as we eventually got all important cues but it missed some really good ones like Quantifiable Connection and Landing In Tesseract.

One last thing... although I love physical media and love to collect CDs, why are they still concerned with having to cut stuff out to fit stuff on CDs? Although with Hans it seems like it's more about a pleasant listening experience. But they can put out hours of music digitally while putting a short concept album physically. There should be no limits.

mpolonest123 2019-06-20 18:03:36
Dunkirk is one of those rare instances where the only presentation that would have worked would be a complete one, for the reasons you stated.

And I definitely give major props to whoever is handling the Marvel score releases nowadays. Both of the latest Avengers and Black Panther had some
extremely comprehensive album presentation on the digital side of things. Or even Brian Tyler (who I’m not generally crazy about) and Ben Wallfisch, who put out long albums.

In today’s digital age there is no reason to skimp on music. I’m personally satisfied with Dark Phoenix’s release because, while not complete, it does at least contain almost every major cue (pretty much the last 30 minutes is completely intact). Now that doesn’t mean I’m still not waiting eagerly for that bonus disc....

Ahmad2019-06-20 18:16:41
Yes, exactly. It's an experimental film to the core so I wish they walked the extra mile and released the music in an unconventional way by releasing it as one-ish track (there are 2 to 3 pauses actually).

Well... I'm not with you on Marvel lol. They skipped incredible tracks with Captain Marvel and Endgame. There's one cue in CM that's so incredible and I cannot believe they skipped it. Another cue in EG which is literally in one of the biggest and most important moments in the film. They released the cue before it and the cue right after but kept it out of the release.

But I love that they do put out extended versions of the albums digitally and not conforming to the limits of physical media.

iamtommie442019-06-20 21:44:58
I've been wondering something for quite some time now.

Why are there soundtracks albums made? Why aren't the Complete Score/Sessions just released at first hand?

Is there a reason for this?

Anonymous2019-06-20 22:04:30

nvictor2019-06-21 00:23:42

may i compare with mainstream music for a minute here. albums are important because putting one together is an art form on its own. the best albums are often not the ones with only the good tracks. but of course there are also those you buy because of track #2 or #3

in hiphop for example, mixtapes are a big thing. they seem like a freer album form. a way for artists to test new ideas and project directions. based on the response, those ideas would show up in albums. it's a nice way of testing things (or us lol) since our taste, especially in music, changes often. sometimes these artists want to see what works and what doesn't. i wouldn't mind buying experimental stuff from my favorite composers to be honest.

but anyways, dundirk is a very good album if you ask me. it's one of those that i can listen to in a loop and not get tired of. the tracks carry you along the journey. and by the time you reach the end of the last track, it loops right back into the first one...

kekec2019-06-21 09:47:29
Why soundtrack albums are made? Because most of the times a well edited album is a much better listening experience than the music as heard in the film, complete and chronological. At least 9 out of 10 cases I prefer to listen a well edited album. There are very few cases when a complete album is needed, in my opinion. The other thing is: I only have about 40-60 minutes patience for an album listen.
In Hans' case it's different sometimes because I really enjoy his suites and experiments.

levraibond reply Replies: 0 || 2019-06-18 11:18:55
No more superhero film score for me, he said .... :D

Mr.Unbreakable reply Replies: 12 || 2019-06-12 20:02:10
I know it's a lot to ask, but @Hybrid thinks you could put the credits of Mazzaro and Fleming?

Hybrid Soldier2019-06-16 23:55:41
All credits added for the OST, even though since it's long montages from lots of cues, it doesn't make THAT much sense... :)

Anonymous2019-06-17 01:46:18
why does Amity say (traditional)?

Hybrid Soldier2019-06-17 08:58:59
Because it's heavily influenced by Henry Purcell, that's what Hans said :

"Dark Phoenix is all Henry Purcell... I felt the last few bars of “Dido’s Lament” with the endlessly descending line and the “Remember Me” perfect for the characters... less the tune, more the harmonic movement"

Edmund Meinerts2019-06-17 11:03:07
I guess I should know better at this point but I'm still a little disappointed that there are no solo Hans cues. Although I suppose there could be some hidden inside the longer album tracks.

Ahmad2019-06-17 16:53:55
"heavily influenced" indeed :D
I really love Amity and I love how the theme appears in several other cues:
Reckless which features an epic/action rendition
Insertion = a short quote at the beginning
Coda = another call back to the theme

Been listening to the score since I saw the film. Love it. Eagerly waiting for CD2. I wonder if it includes an extended version of the last 2 minutes of Insertion - INCREDIBLE.

mpolonest123 2019-06-17 18:53:45
I wonder if this is one of those situations where the material in film is derived heavily from the suites, with everyone either arranging it or adding elements onto it. Just guessing of course, I’m sure we’ll get a clear picture once the bonus stuff gets released.

And apparently there is about 16 hours of music “lying around”, going off of what Hans mentioned in the Vi-Control forums.

Michael Baker2019-06-17 19:07:37
Yeah... Wait till CD 2 and I'm sure we'll get a much stronger idea of what's solo Hans in here.

George2019-06-17 20:35:18
@Michael Baker - I can’t be the only one who read that as Han Solo right?

Backbiter2019-06-17 21:12:31
The same thing happened to me George

Michael Baker2019-06-17 22:37:30
A surprise reference to be sure, but a welcome one.

Backbiter2019-06-17 23:10:10

maybe2019-06-18 01:07:23

Anonymous reply Replies: 6 || 2019-06-16 12:58:54
Saw the movie. Great score and it really fits the movie.

Missing stuff:
- 25 seconds of a piano version of Gap without the brass and bells
- a 30 second badass version of the main theme during the mageneto/jean helicopter stand off
- 1.5 minute end credits suite. Typical Zimmer to leave the best and most epic track and best main theme version off the album. I hope it will be on CD2, but knowing Zimmer the best tracks always remain unreleased. This is another escape from ship...

badbu 2019-06-16 13:24:48
Yes! That piano part is amazing!
„when charles and jean stand in front of the school“

Zac2019-06-16 20:37:05
There was also a Jean/Scott love theme that was briefly used in the bedroom scene after they return from space. It was included in the end credits suite as well.

...2019-06-16 20:53:09
Which instruments were used to play the love theme? Piano?

Zac 2019-06-16 21:51:41
No piano. I believe it was mostly strings and had a small bit of the choir.

Meta2019-06-17 01:16:11
Just rip it off the biggie

Zac2019-06-17 02:02:33
Right. Hopefully the other missing stuff gets released on the 2nd CD though.

badbu reply Replies: 1 || 2019-06-16 11:15:35
after listening and listening...this score is truly amazing! i love it so much! i want the suites and ideas NOW! :D

nvictor2019-06-16 22:10:01
me too!

maybe reply Replies: 0 || 2019-06-16 18:12:56

nvictor reply Replies: 0 || 2019-06-14 18:06:30
been listening to this score for a week now and i am going to wait a little more before putting a comment on it here... but there's something else i have been saying for a while now. let's stop associating scores with movies and start seeing them as a work of art in their own rights. (albeit inspired by movies)

people are here complaining about the movie that it didn't speak to them. and then i have the feeling that they project their disappointment on the soundtrack. but both pieces of art co-exist and not depend on each other. i, for example, seldom watch any of these movies. but i have listened to their soundtracks and love them.

also i never asked for an extended CD before... but we need one for this one. it's very clear that tracks like gap and coda were definitely shortened.

also i never asked for an extended CD before but we need one for DP. it's clear that tracks like gap and coda were definitely shortened.

Choir reply Replies: 0 || 2019-06-14 14:38:42
There's nothing unique about those choirs, standard East European chorus stuff mixed with Johansson. Check out Debbie Wiseman's Warriors from 2000 and you'll get a much more elaborate version of this music.

Spor reply Replies: 5 || 2019-06-13 12:32:23
Ah, maybe it's not that bad. Gap is fantastic for the first two minutes. There's some nice stuff in the other tracks. But this is so derivative. Everything outside of Gap comes from somewhere else, Da Vinci Code, Interstellar, even older Hans like frigging Pacific Heigths and Spirit.

It's not a bad score but it sure is a massively overwhelmingly disappointing one. So Kinsberg wanted something progressive/conservative and fucked up his film and Hans went back to the 1990s to get some inspiration? Sounds plausible.

Ds2019-06-13 13:30:55
I'm curious... where did you hear Spirit?

Michael Baker2019-06-13 18:52:07
Some of the synth work throughout is definitely like Spirit. The first couple minutes of Coda are one example.

Ian Brown McCarthy2019-06-14 02:00:33
Yeah, while this does have a great deal more substance than most of the work Hans has done the past few years, I struggle to say it's a genuinely *good* score.

I mean, within the first minute I'm reminded of Dunkirk, then we get a pretty standard Zimmer/Balfe buildup we've heard a million times since Inception... and it doesn't get hugely better from there.

I will definitely give Zimmer credit for the unique and genuinely creative use of female choir in some of the cues, though.

AFan2019-06-14 10:28:34
I agree that Gap is the best track. My main complain with this score is that it feels that Zimmer composed it on autopilot. For me those choirs sounded too much to Electro's Theme in TASM. Is too standard and has very few remarkable moments. The movie itself lacks of personality and the score is part of that problem. I think they just wanted "dark" and hired Zimmer for making his dark ostitatos.

Medigo2019-06-14 11:07:08
I cant say that this chorus reminds me of anything I have heard Zimmer done before. And I have played all his scores to death.

Collector reply Replies: 0 || 2019-06-13 09:26:26
Seen the film last Friday, its definitely not as bad as they are saying it is. Not very good either, but a solid average. Loved the score! Works really well in the film, I need to give it a thorough listen tho. Been listening since Friday and Im only on track three now, but enjoying the hell out of it so far. Thank you Mr. Zimmer!

Morgan Joylighter reply Replies: 7 || 2019-06-12 12:43:11
I hope the box office results don't discourage them from releasing the 2CD album. There are so many great ideas in this score that I'm dying to hear further development in suites.

Hybrid Soldier2019-06-12 13:21:44
It's in the works.

Jordan2019-06-12 13:35:21
Very happy that the 2CD edition is still in works and not canceled !

mpolonest123 2019-06-12 18:24:57
Do you know if the bonus music is exclusively for the physical release or will it also be released digitally?

Hybrid Soldier2019-06-12 18:46:00
Digitally, sure. Physically, maaaayybe ?

badbu2019-06-12 19:24:33
i can‘t wait!!!! :))

mpolonest123 2019-06-12 19:25:52
That’s great to hear, if it is digital that means a faster release hopefully :-)

Anonymous2019-06-13 00:01:12

Topic reply Replies: 0 || 2019-06-12 13:01:33
Even though I agree with the previous poster - would love to hear what Hans came up originally - but sadly a lot of this sounds like copying Interstellar (when it's good) and Dunkirk (when it's totally useless). Hans is not a man to innovate from score to score, so if all sounds like previous work?

Zach reply Replies: 0 || 2019-06-11 21:34:25
I’m not in love with the score, but l love the piano motif in the first two minutes of track one. Shame it wasn’y used more.

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Dark Phoenix soundtrack - Hans Zimmer 2019