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Right. Hopefully the other missing stuff gets released on the 2nd CD though.why does Amity say (traditional)?Just rip it off the DVD....no biggieAll credits added for the OST, even though since it's long montages from lots of cues, it doesn't make THAT much sense... :)Which cues were written by Steve Jablonsky?
me too!No piano. I believe it was mostly strings and had a small bit of the choir.Which instruments were used to play the love theme? Piano?<br>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.CD RELEASE?
Yes! That piano part is amazing! <br>„when charles and jean stand in front of the school“Saw the movie. Great score and it really fits the movie.<br><br>Missing stuff:<br>- 25 seconds of a piano version of Gap without the brass and bells<br>- a 30 second badass version of the main theme during the mageneto/jean helicopter stand off<br>- 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...after listening and listening...this score is truly amazing! i love it so much! i want the suites and ideas NOW! :DWhere can I find this?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)<br><br>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.<br><br>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.<br><br>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.
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.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.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.I thought I read somewhere Armageddon was the last bay film that hgw was a part of<br>===============================<br><br><br>Well, Bay and HGW were not exactly best friends during Armageddon. Bay is very demanding and tough. HGW is also not a shy dude. He is an opinionated guy who stands his ground, as you can tell by his interviews. He reminds me of Mancina…..He's not afraid to speak up and have his opinion heard. And just like Mancina, his relationship with the Bay/Bruckheimer family seemed to be...….a bit complicated. Yet, he worked on Bad Boys 2 and Deja Vu. Now, it is possible - tho not likely - that Bay didn't even know that HGW did some work on BB2. Maybe it was just a favor for Steve and Trevor. Under the table, so to speak..... Personally, I don't believe that's the case. Whatever the truth, this is a great example of how different those composers are. Trevor and Steve work great with Bay/Bruckheimer and they always deliver great results. While composers like HGW and Mancina have problems with more demanding filmmakers. And apparently they don't even like action cinema. I don't necessary blame them, even though Mancina certainly didn't do himself any favors by trashing the genre and the people who back in the 90's gave him a shot to prove himself as a composer.Love John Powell. But he is not even close to Williams. Williams made his mark on every genre of film scoring. He freaking turn a holocaust movie score into a masterpiece for the ages.<br><br>Today, that score would have been some generic sound design.<br><br>Powell is an incredibly gifted orchestral composer. But he doesn't have the dimensions of someone like Williams. <br><br>
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Additional Music ArrangerAdditional Music ArrangerAdditional Arrangements
Klaus BadeltIan HoneymanAndrew RaiherWolfram De Marco
ComposerArrangerArrangerAdditional Arrangements
Constantine
Label: Varèse Sarabande
Length: 51'32
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 (4442 votes)
  1. Destiny (2:03)
  2. The Cross Over (2:42)
  3. Meet John Constantine (2:39)
  4. Confession (2:31)
  5. Deo Et Patri (1:17)
  6. Counterweight (2:48)
  7. Into The Light (2:53)
  8. I Left Her Alone (1:41)
  9. Resurrection (2:05)
  10. Circle Of Hell (5:36)
  11. Last Rites (1:56)
  12. Encountering A Twin (1:05)
  13. Flight To Ravenscar (:53)
  14. Humanity (2:58)
  15. John (1:31)
  16. Someone Was Here (1:46)
  17. Hell Freeway (2:43)
  18. Ether Surfing (1:14)
  19. The Balance (2:27)
  20. Absentee Landlords (1:35)
  21. John's Solitude (1:26)
  22. Lucifer (1:56)
  23. Rooftop (1:20)
  24. Constantine End Titles (2:39)
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leo reply Replies: 0 || 2009-07-21 00:00:00
great....
.
.
.
i like that

Hybrid Soldier reply Replies: 0 || 2007-12-14 00:00:00
You probably know that Tyler was hired alone and scored alone Constantine... As the producer didn't like the result, they hired Badelt to re-work or replace some cues...

Comparing with the 75 minutes promotional release (finally not as great as I heard) of the Tyler-only score, you can find who composed what here :

01 - Destiny (2:03)
Klaus Badelt
02 - The Cross Over (2:42)
Brian Tyler
03 - Meet John Constantine (2:39)
Klaus Badelt
04 - Confession (2:31)
Brian Tyler re-worked by Klaus Badelt
05 - Deo Et Patri (1:17)
Brian Tyler
06 - Counterweight (2:48)
Brian Tyler re-worked by Klaus Badelt
07 - Into the Light (2:53)
Brian Tyler
08 - I Left Her Alone (1:41)
Klaus Badelt
09 - Resurrection (2:05)
Brian Tyler
10 - Circle of Hell (5:36)
Klaus Badelt
11 - Last Rites (1:56)
Klaus Badelt
12 - Encountering a Twin (1:05)
Brian Tyler re-worked by Klaus Badelt
13 - Flight to Ravenscar (:53)
Klaus Badelt
14 - Humanity (2:58)
Brian Tyler
15 - John (1:31)
Klaus Badelt
16 - Someone Was Here (1:46)
Brian Tyler re-worked by Klaus Badelt
17 - Hell Freeway (2:43)
Brian Tyler re-worked by Klaus Badelt
18 - Ether Surfing (1:14)
Klaus Badelt
19 - The Balance (2:27)
Brian Tyler
20 - Absentee Landlords (1:35)
Brian Tyler
21 - John's Solitude (1:26)
Klaus Badelt
22 - Lucifer (1:56)
Brian Tyler
23 - Rooftop (1:20)
Klaus Badelt
24 - Constantine End Titles (2:39)
Klaus Badelt

;-)

michael reply Replies: 0 || 2007-04-26 00:00:00
does anyone know which tracks are by brian tyler and which are by klaus badelt in particular? or did they make each one together?

Morsmordre reply Replies: 0 || 2006-04-29 00:00:00
I'm not really so satisfied with this OST. To me it appeared rather boring, I liked only the end titles.

toma reply Replies: 0 || 2005-09-18 00:00:00
does anybody know the title of the electronical music which ends one of the trailer?

Angel reply Replies: 0 || 2005-08-08 00:00:00
When you listen Constantine's score for the first
time you probably won't find something special in it.
But after listening to the cues several times you'll realise that
it is a good OST indeed. The music motifs are tension, fear, anxiety, panic, despair
expressed by dark-atmosperic, scary-hellish-intense strings and slow - disturbing orchestra passages.
There are several thrills that will chill your backbone.
However when crescendos peek up and the music climates suddenly the crescendos stop giving a feeling that the musical denouement is unfinished &-- uncompleted. Infact that is very unpleasant. Except track 10 were the crescendo at the end is performed very well with bombastic-pounding percussion &-- fierce tempo.
Also track 24 consist of electrinic cello riff with electring guitars and is a little bit irrelevant with the previous cues

Ehn Harald John reply Replies: 0 || 2005-04-27 00:00:00
not so good

3danimasyon reply Replies: 0 || 2005-03-17 00:00:00
thanks

Alexandre Véguer reply Replies: 0 || 2005-02-20 00:00:00
The Music "--Constantine"-- is very good.

Cheer Mr Badelt.

Alexandre Véguer (Fan The Music media Ventures).


maykel reply Replies: 0 || 2005-02-15 00:00:00
THANKS GUYS!!! for the site with audio clips :))

Steve Langvardt reply Replies: 0 || 2005-02-12 00:00:00
I haven't yet heard the work off of this disc, but I have only the best expectations from Mr. Zimmer. I loved your work from Blackhawk Down, maybe because I am a Blackhawk Crewchief.

Demetris Christodoulides reply Replies: 0 || 2005-02-02 00:00:00
Really really looking forward for it! I am sure it will be great !

Antas, Webmaster reply Replies: 0 || 2005-02-02 00:00:00
A such collaboration is very interesting. I am very curious about it -- Brian Tyler is an other great composer I enjoy so much :o)

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Constantine soundtrack - Klaus Badelt 2005