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@Bob<br><br>Thank you for the enlightment, I will consider opening my wrists for misconduct in the next few days, thank you very much... :o<br><br><br><br>Ok seriously though, you guys should know that if there's one guy that could not care less about awards... it's Hans... :)I am really enjoying his season of the Crown.a big balfe influence in this season with hints of Churchil and Genius I think. Really excellent music/ it's me@ds "Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity."<br> <br>I think the same for Jablonsky, Zanelli, XL, Jackman and Mancina.@macejko<br><br>"All the time he acts like the hottest shit in town, refusing to score basically everything they offer him"<br><br>You said in another comment that you never read an interview with Powell, so not reason you take that kind of conclusion of your character.<br><br>"The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ."<br>Powell is a clearly talented composer. He suffered criticism at the beginning of his career by sounding like Zimmer, but soon showed substance. And much more than that created an identifiable style, which today is reference to other scores of modern animations (which may be good or bad to depend on of the point of view).<br>Today he is an established composer and it is common for these composers to move away for a few years or even close their careers without many explanations for the public. In recent years we watched the estrangement of Silvestri, Horner, Williams and in the past we saw Faltemeyer, Bill Conti and Brad Fiedel drop their careers when they were at the top of the game.<br><br>" Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better"<br><br>As they said in another comment, you're compared to newbies and veterans. Balfe's having the opportunity of his life now. Take it or leave it. There's no choice. Powell, as well as Zimmer others, on the other hand, is a "senior member" of the club. He can afford to go away for a few years to resolve comprehensible personal problems without affecting the hard work he has developed in the last 20 years. Will Balfe continue to be so creative in 10 or 15 years?<br><br>@ds<br><br>"<br>Powell has nothing to prove, he has already mastered all genres"<br><br>That's funny, but it's fair. Powell Is a good composer. Not the best, far from it. Your style really narrows your work down, but we can say that from all the composers out there. So it's not a problem.The problem is he wants to limit his work to animations and fantasy.because he abhors gratuitous violence.<br><br>@george<br><br>". Although, I hate to say it, we could say the same for Zimmer in my opinion"<br><br>Zimmer's at the end of his career. All the other composers when they arrived at 60 years (with the exception of JNH, Goldsmith and Morricone) reduced the amount of projects per year and went on to choose their work best. It's a natural way.Over the years, it tends to get worse with one exception here and there. Don't keep expectations like he's in his prime<br><br>"he has "nothing more to prove", he is creatively dead."<br><br><br>Powell will work with a little more frequently in the coming years (or not) that only depends on his ambitions. However, frankly, he's never going to do three again. 4.5. 6 projects in a year. It takes a lot of motivation for that.<br><br><br><br><br><br><br><br><br><br>
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
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Additional MusicConductor - Orchestrator
Hans ZimmerNick Glennie-SmithFiachra TrenchJay Rifkin
ComposerAdditional MusicOrchestratorMusic Engineer
K2
Label: Varese Sarabande
Length: 41'20
HZimmer.com rating:        3/5
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 (6511 votes)
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  1. The Ascent (27:39)
  2. The Descent (13:41)
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Dimitris Krommidas reply Replies: 0 || 2017-02-18 16:46:46
Glad to have this too.
With the European cover.

Mike reply Replies: 0 || 2013-12-10 17:31:33
Anyone else think that the part about 3 or 4 minutes into "The Ascent" resembles "Absurdity" from The Lone Ranger?

Dom reply Replies: 4 || 2013-09-01 22:06:52
can someone actually tell me who plays the guitar in the K2 movie ? I have the soundtrack from the movie and its not there ? it would be nice to know I had the move for over 15years ! someone said its E Van Halen huh ?


Hybrid Soldier2013-09-01 22:40:09
Click on "See details..." and you'll find all you need ! :)


Dom 2013-09-15 08:24:50
I mean no disrespect to Hans Zimmer in any way But why ? WHY !
was the Chaz Jankel soundtrack never released for the k2 movie ?
there is so much energy in it ! were MR Zimmer its just to mellow for my taste

anyone know where you can buy it download it ?

Thanks


Hybrid Soldier2013-09-15 09:36:58
Ask Robert Townson from 20 years ago, he's the one who decided to release that version of the score.

HZ has nothing to do with it.


Actually I'm still trying to see the British version of that movie with HZ's score, no way I listen to it with Jankel's ! :P


Bioscope2013-09-15 17:19:34
In South Africa, there's a dvd distributer named NEXT VIDEO, if I remember correctly, that released the PAL version with Zimmer/ Glennie-Smith's version. Check out an online store named KALAHARI, you should get it there :)

The picture and sound is great...

MacArthur reply Replies: 2 || 2013-09-02 06:09:29
Is this the One on iTunes


MacArthur2013-09-02 06:10:31
Because I thought that Zimmer didn't do the music for K2. only the The Music Inspired by it


Anonymous2013-09-02 09:25:19
There are two scores - a European version (scored by Zimmer) and the original version (scored by Chaz Jankel).

mittens reply Replies: 0 || 2012-09-29 16:51:33
I was dust cleaning my old cds, and I accidentally read the notes Hans wrote on the back of this album where he thanked Nick Glennie-Smith for writing and arranging some cues which have unfortunately been omitted from this record, so if someone was wondering the music on this cd is 100% Zimmer.

just 007 reply Replies: 5 || 2011-06-28 22:16:00
track on expanded score
1. main title
2. the team
3. family
4. packistan / k2
5. brotherhood
6. climb high
7. portents of doom
8. denali
9. two friends
10. death zone
11. touching the void
12. save / end title


T-Mann0362011-06-28 23:59:19
I wish the 12 tracks are leaked. Thanks for sharing just 007.


K22011-06-29 02:23:01
I think its the OST cut into tracks with possibly the end credits added from DVD.


T-Mann0362011-08-13 02:36:01
Is it possible if you could separate them by length of time on each of the 12 tracks?


Takehiro2011-08-13 05:26:33
1. (3:10)
2. (4:30)
3. (1:41)
4. (2:57)
5. (4:06)
6. (3:37)
7. (3:10)
8. (3:01)
9. (3:04)
10. (4:45)
11. (2:56)
12. (4:40)

There is no extra music on this, it is simply the OST cut into film order. Its a neat idea, but its not an expanded score by any means, not even slightly.


T-Mann0362011-08-13 07:26:03
Thanks Takehiro... I DEFINITELY needed that!

Iceboy reply Replies: 0 || 2011-02-13 00:00:00
Theres an expanded score of this on sale in Europe, from a bootlegging group. Anyone got the tracklisting for it?

tim reply Replies: 0 || 2010-04-16 00:00:00
having seen both versions of the movie, with both scores... Jankel may have been a replacement, but his score works better within the film; the slow character scenes and vastness of the surroundings come across better with the pink-floyd-esque music in the american release. Zimmers score just doesn't match the tone of the film itself; its too busy, sonically cluttered, and dare-I-say, small scale.

That being said I prefer the European cut of the film for the extra scenes, so c'est la vie. And Zimmer's score, I was surprised to find, works really well on the CD, if you're a fan of his sound.

It just doesn't work in K2.

Now wheres the Chaz Jankel CD?

Mike reply Replies: 0 || 2007-12-23 00:00:00
Superb soundtrack.
Originally saw the movie in the UK with the Hans Zimmer soundtrack. Absolutely stunning.
Live in Canada now, and own the infinitely inferior North American edition of the movie with some guy called Chaz Jankel doing soundtrack duty. Completely senseless!
Hans rules!
Praying that someone with real taste and class will release the DVD with the Hans soundtrack over here!

Suicune reply Replies: 0 || 2007-03-21 00:00:00
1) The Ascent (27:40) (The longest cue ever written by Hans Zimmer)
2) The Descent (13:41)

Suicune reply Replies: 0 || 2007-03-04 00:00:00
An excellent progressive soundtrack that holds your ears bound to the speaker. The kind of soundtrack that you don't know what will you hear next. A must-hear soundtrack.

Eduardo Caballero reply Replies: 0 || 2005-07-19 00:00:00
Need to buy actual soundtrack and movie from K2, not interpretations of that music.
can you help me find that cd/dvd

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K2 soundtrack - Hans Zimmer 1991