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And streaming practically dominates how the majority listen to music. Physical media is costly and expensive to manufacture and don't sell very well in stores as everyone prefers to to use Spotify and getting the same album for free. Same goes for movies and TV shows as well with Netflix.For me it's easy.<br>If there is a cd version I buy it. If there is only digital version.....NO<br>I'll pay for music while there are physical format (only cd really). I'm not interested in pay for downloads,Spotify, etcLorne has nothing to do with interstellarGITS 2.0? I hope not.I have no idea why, filmmusicreporter wrote about it...
Seriously? Why they make this decision? They want to sound like Interstellar or what?LOL, Lorne is co-composing "Ad Astra" with Max Richter, that guy is everywhereI think we can call Ian Brown McCarthy the Anti-MacArthur....lol.... Where MacArthur set out to prove everything was by Zimmer, Ian proves everything is by Lorne. ;)<br><br>Kidding, mostly. Lorne's contributions, especially where he has "producer" credits like on this score, are undeniably underrepresented. I've always considered Lorne a co-composer here, just like on Inception, Sherlock Holmes, and Kung Fu Panda 2-3.Not to nitpick, but even "near co-composer" is downplaying Lorne's role IMO; I've had him listed as co-composer in my personal library for a solid year now.<br><br>On a relate note: man, Hans and Lorne make damn good music together.What I want to know is if the album version of Nixon Defeated is the solo Hans alt or not
Feels like there are more Balfe credits on this version than on the album (e.g. Status Suite, solo Hans on the album, Hans/LB here). In fact I'd go so far as to label him a near co-composer here, just like Inception and Sherlock Holmes.Any word on where this can be found, or if it actually exists? H-Z (here) is the only place any of these tracks (let alone mention of a complete version of this score) can be found.Why you haven't update about David Buckley with Angel Has Fallen score yet?Yep, fun (if slight) score to a very fun movie. "Get it On" is a great action cue.It was also one of the first HG-W's scores I ever listened to (way back when!), so maybe it's just nostalgia talking. <br>But it's worth a listen at least.
It's a shame no one talks about this score. <br><br>It's a great listen if you love heavily percussive music! <br><br>Not a highlight in HG-W's carreer by any means, but it's a fun ride, and has some neat unique sounding stuff courtesy of Heitor Pereira, as well as plenty of goold ol' MV style synth/orchestra pounding!He returns to the hitman's bodyguard part 2I was honored, back in 2006, to meet both Nick Glennie-Smith and Harry Gregson-Williams.<br><br>I talked with both about The Rock, and here's what they told.<br><br>Nick & Hans worked very closely on most of their cues. That's why it's so hard to notice any difference between their own styles (and why they share most of the credits).<br>Harry worked separately from Nick & Hans. He remembered working on the San Francisco Chase (though we know Don Harper helped at some point in the process), and on "a lot of the action material from the second half of the movie, once the heroes reach Alcatraz".<br>The credits here tend to prove they were right.<br><br>All the Opening Titles / SEAL Attack is a bit complicated. Hans might have written the theme, but it also might be arranged for pictures by Nick Glennie-Smith (plus there's a lot more going on in these tracks than the man theme alone). So, well, I guess the final result still is a collaborative effort.A brilliant score, no matter what some people might say. Some of the darkest and most beautiful themes by Hans Zimmer were born here, as well as a lot of very exciting and propulsive electronic techniques. <br>Heck, I even like the movie! The score fits like a glove.<br>It helps that I'm a huge Tony Scott fan though.<br><br>Zimmer would even 'steal' from this score quite a bit in some of his later films. The 'Wayne Manor Suite' from TDKR comes to mind, as well as one of the Blade Runner 2049 themes being strangely similar to The Fan's 'Opening Titles' theme, and I'm sure there are other examples.<br><br>I would love for a complete version to be officially released sometime. It's very unlikely, but one can dream...Listen to the first demo at NGS demos album of "The Rock". The opening and SEAL Attack have a few notes from original NGS theme. That's why NGS is credited to it.
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  2014, June 27updated by Hybrid Soldier 
TOMORROWLAND 2014 INTRODUCTION (Music by Hans Zimmer)



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  2014, June 24updated by Antas 
Just love this version...



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  2014, June 09updated by Antas 
The MasterPiece presents music by Hans Zimmer and Thomas Bergersen



From Thomas Bergersen :
The amazing multi talented Ciprian Costin is a blessing to the epic music community. His relentless and passionate work brings us another concert in Romania, this time featuring music by Hans Zimmer and myself. June 28th! The concert is FREE! Please help spread the word and make this a success, so we can do more concerts in the future! Thank you!

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  2014, June 04updated by Hybrid Soldier 
Hans Zimmer to Compose Title Theme for History’s "Sons of Liberty"



Hans Zimmer has been tapped to compose the title theme for History’s upcoming mini-series Sons of Liberty. The show is created by Stephen David (The Men Who Built America, The World Wars) & David C. White and stars Ben Barns, Henry Thomas, Michael Raymond James, Rafe Spall, Ryan Eggold, Marton Csokas, Emily Berrington and Dean Norris. The series follows a defiant and radical group of young men – John Adams, Sam Adams, Paul Revere, John Hancock and Joseph Warren – as they band together in secrecy to change the course of history and make America a nation. Kari Skogland (Boardwalk Empire) is directing the six-parter and David is also executive producing the project with Matthew Gross (Across the Universe, Body of Proof), Russ McCarroll and Elaine Frontain Bryant. Zimmer has previously co-scored History’s The Bible. Sons of Liberty is currently in pre-production and is expected to premiere in 2015.
Source : http://filmmusicreporter.com

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