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Agree. 2020 is rough for us.youíre right. didnít consider 85 min is actually a good length especially when looking at how short other releases are these days. in 2020 weíre very lucky to be getting it at all.Yeah, but consider most of the real good HZ albums are way shorter than 85 minutes. SO we're lucky with that one.BVS is 90 and interstellar is 1 hr 40 min :PIf 85 minutes of music is short...
Almost one and a half hours of music is short?thatís it? kinda short. being a zimmer score will there be a deluxe version with additional tracks?All I know is that the album is gonna be 17 tracks, 1h25 !nothing is known yet? In some countries it opens in mid-DecemberOne of this score's best and most underrated moments, especially in the context of the film, is the introduction of the Kraken's theme in "Row to Tia Dalma". The tense buildup while Gibbs describes the creature's horrors, then the brief pause as he names it, followed by the theme in the absolute lowest registers of the orchestra, quiet, but so so so menacing and also just SUPER FUCKING COOL.<br><br>It gives me goosebumps every time, in a *dialogue scene*. That is incredibly good musical storytelling.
Edmund: And posted their one-sentence review of it on the Hans Zimmer fan site.Anything missed from the official release?oh damn really? huh that would be cool. even with the ultimate edition thereís still deleted scenes and I wish they were put on the Blu ray.<br><br>it plays during the scene after the knightmare when Clark is looking through the polaroids that say judge jury executioner on them. i donít remember if thatís an extended scene or not as Iíve only seen the theatrical cut once in theaters. one and done lol"Chicken Run really makes you FEEL like you're in a concentration camp." - IGNI guess it comes from a deleted scene where Jesse Eisenberg gets playful with his dinner. Rumor has it it's gonna be included in the Snyder Cut.
I love the notion of Barack Obama and IGN teaming up to review 20 year old film scores.Smoothly done soundtrack. IGN - 10/10what the hell is Quaker steak and lube????I disagree on Catwoman. I love Zimmer's theme and I thought it is one of his most underrated themes.Loved the new tracks!<br><br>Hans & Chris really did something special.<br><br>I enjoyed the Tenet score, but honestly Ludwig's work doesn't compare to Zimmer's. I just hope they work together again instead of Chris choosing Ludwig as his main collaborator from now on.
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Benjamin Wallfisch
Composer
The Invisible Man
Label: Back Lot Music (Digital Download Only)
Length: 49'36
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 (832 votes)
  1. Cobolt (1:42)
  2. Escape (4:28)
  3. He's Gone (3:37)
  4. This Is What He Does (2:19)
  5. We've Got That In Common (1:21)
  6. Make It Rain (2:22)
  7. Attack (2:46)
  8. Why Me (3:00)
  9. The Suit (2:15)
  10. Asylum (3:31)
  11. He's Behind You (4:42)
  12. House Fight (5:34)
  13. It's All A Lie (5:26)
  14. Surprise (1:32)
  15. Denouement (4:57)
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Anonymous reply Replies: 0 || 2020-10-04 09:18:16
Benjamin Wallfisch scoring Tiny World with Chris Egan

Jack Afrogarrix reply Replies: 0 || 2020-03-24 02:41:32
Booklet Credits

Score Composed, Produced & Piano Soloist By Benjamin Wallfisch
Score Conducted By Chris Egan
Score Orchestrations By David J. Krystal
Score Performed By The Chamber Orchestra Of London
Score Recorded By Rupert Coulson
Score Mixed By Benjamin Wallfisch & Scott Michael Smith
Score Edited By Brett Pierce
Score Synth Programming By Jared Fly
Solo Cello By Justin Lepard
Score Coordinator By Darrell Alexander
Orchestra Contractor By Gareth Griffiths
Score Recording Assistant By Jack Mills
Score Technical Assistant By Michael Dean Parsons
Pro Tools Recordist By Chris Barnett
Music Mix Assistant By Kailtyn Delle Donne
Music Preparation By Jill Streater
Assistant Music Editor By Devaughn Watts
Concertmaster By Igor Yuzefovich
Assistant Orchestrator By David Deustch
Assistant Engineer By Gianluca Massimo


Felix reply Replies: 6 || 2020-03-02 23:44:07
Great score!


mpolonest123 2020-03-03 18:21:34
I really like it as well.

Most of the music is very minimilist string/piano, ala ďA Cure For WellnessĒ. The rest falls more into horror/electronic manipulation style ala ďItĒ.

And of course ďDenouementĒ, what a great cue!


MrZimmerFan2020-03-03 18:36:05
Original comment

'The Invisible Man, would be one of the most dark, hard-hearing scores by Wallfisch, by far, multiple people will hate this score -i know, is difficult listening horror scores-, but when is good, is good.

If you love Lights Out, the two ITs, speacially, A Cure for Wellness, The Invisible Man is for you: dark, unpleasing (the theme for Elisabeth Moss' character is a beautiful melodie, example in 'Denouement', constantly accosed -rightly word- with the sounds of the Invisible Man, he has not theme, more motif and tremendously agresive sound desing, you can here listen in 'Attack') and very Hermann-esque (the score was only recorded with string orchestra, say by Wallfisch).

Like i said before, is not a score for everyone, but if you love Wallfisch's writing for horror, this one is for you'


Knight2020-03-03 23:52:12
I don't know why people think they need to take such an extreme position on scores like this, it was the same on 6 Underground.

Apparently if theres any unpleasant grunge on the score album "you will either hate or love the whole thing" and ignore any of the many melodic cues as this score is almost exactly 50/50 dark melodic/horror action grunge (just like 6 Underground incidentally).

Melodic/thematic cues:

Cobolt
He's Gone
This Is What He Does
Make it Rain
Why Me?
The Suit
Asylum
It's All a Lie
Surprise
Denouement


and the horror cues:

Escape
We've Got That in Common
Attack
He's Behind You
House Fight


mpolonest123 2020-03-04 04:28:26
@Knight

Yeah Iíve never gotten that either. Personally I like when a composer can take electronic manipulation and do some f*cked up things with it. Take portions of ďItĒ or even Zimmerís Inferno score, crazy sound design always fascinated me.

And if you donít like those portions you still have the more Ďtraditionalí music acting as a counterweight. Same with Cure for Wellness.


MrZimmerFan2020-03-04 17:50:47
The problem would be today standars for a good score: it must be something orchestral, thematic and largely without any type of sound design.

My recommendation: be yourself.

I love the most symphonic scores ever made by the most reverend composers, like Goldsmith or Williams, but i love when the composers go something extreme, even when they go extremely sound design and experimental, like Chappie, Inferno, even Tomb Raider (yeah, unpopular opinion in there).

The case here with this score, is this, is a horror score (myself loves the material created by Chris Young in Hellraiser, such great work), but when they start hearing electronic manipulation and horror, the people always goes crazy in his opinions about that, and, ALWAYS, mentions work where there is a lot of orchestra playing themes or melodic aspects (Knight mentions It, but It has more orchestral appeling for those who dosen't want much sound design).

The Invisible Man, has melodic ideas, like i said in my comment, and believe me, when i saw the movie, the score works great in there, because, we talking about a movie score, and the principal idea is the score work in the movie, specially in horror.


MrZimmerFan2020-03-04 18:01:53
You guys, mentions 6 Underground, i don't believe is the best example, but i give this to that score: works very well in the movie.

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The Invisible Man soundtrack - Benjamin Wallfisch 2020