If you’re dead but still begging to hear music, it’s either a miracle or you’re a zombieWhen you're dead, you'll be begging to hear tracks like these...
I'm talking about the approach in general.But... Since when does the composer get to decide what makes the cut in terms of what's accepted as score? No film score consists of music where every single cue is an ideal version of what the composer may have envisioned per scene... Sure, maybe it's not their most elegant work (by some people's standards), but that is the nature of a score, no?
Hear that, and definitely agree! Cheers...I'm talking about the approach in general.
But I still want to hear more. The production level is amazingly high as usual for HZ, I just want to hear some great musical stuff done with it. Maybe there will be some great fight scene score or a good the main theme or something.
And there isn’t a Lydian mode in these tracks because of the exotic half-steps occurring elsewhere.Never...I got busted once for using it . I was in his room and he wandered over to the piano,played the scale then waged his finger right at me “never..ever do this !”.....
it’s good to have rules and instant dislikes . I approve
best
ed
Well done, Hans. This is absolutely stellar.
I really don't get what people are talking about with "cliches" here. Besides, he probably invented or perfected many of the cliches you're hearing.
Also, guys...drones and sand dunes go hand in hand. Come on now.
As is usually the case with Hans, the devil is in the details, the specific sound, the aesthetic, the drama and vibe of it all, and in the inventive ways he goes about implementing a certain idea, even if the general idea itself isn't something new. Case in point: the textures in the first three or so minutes of "Paul's Dream" are out of this world. Have we heard "textures behind a melody over a drone" before? Yeah, of course. Have we heard those textures, implemented with that much interesting detail and space in the Z axis? Nope. So much cool detail there, I'd love to see how they were made. I'm guessing a generous dose of Metasynth, but who knows.
That panning, wobbly drone at around 2:55 in "Ripples In The Sand?" Absolutely perfect, nails a really specific vibe. Feels like seeing a mirage in the sand while the sun is in your eyes and you're parched for thirst. Love it.
The subtle bitcrush-type layer on the vocals at around 4:25 in the same track. Ugh, perfect. Just hits so good. That's what Hans always does -- just absolutely nails vibes through his sound design, supported by tasteful and dramatic as hell arranging.
Whether you're into this kind of music or not doesn't matter. It's f@#ing good.
Same here, I feel like the music brings out the harsh environment and threat of collapse. When that singer came in I got Harkonen vibeswell. i quite enjoyed what i heard. and am a hard core Frank Herbert Dune fan. It sounds more modern than the original Toto/Brian Eno soundtrack form the 80s and seems in line with the world of Dune.. should be interesting to hear it in context.
Impressive on every level, Hans part, the production, the mix...top notch.
The theme really remind me this one (the horns behind):
Will you listen to the soundtrack before watching the film? I’ve always wondered if that may give me a different perspective on the music. Perhaps create different memories. Certainly it would create certain visual expectations of the film.I'm very excited, and looking forward to the release of Hans Zimmer's DUNE soundtrack. Sept. 3rd.
When I'm interested in a movie I don't listen to the OST before watching the movie (here we have only two tracks and it could be seen as a preview) for those reasons:Yes I can hear what you mean. Morricone, another genius!
Will you listen to the soundtrack before watching the film? I’ve always wondered if that may give me a different perspective on the music. Perhaps create different memories. Certainly it would create certain visual expectations of the film.