' The Peacemaker '
"It's more fun... seriously!"This is an extension of Zinfo.
See below for RA mix!
Check out the Official Dreamworks Records site for the soundtrack. And here is the IMDB listing!
The two trailers are self-scored. The first is from the movie. Second is highly percussive and does for Hans what Bad Boys did for Mancina; however the 2nd cue was written for the trailer only, which contains a theme from the movie. Anyway, everybody loves it! lol. The sound post below now has the bonus RA track of the 2nd trailer.
There was some concern over George Clooney's boycott of Entertainment Tonight (ET); Dreamworks needed as much publicity for its first movie, which ET normally provides a lot of, being the top ranked entertainment news program. It is out now on NTSC video.
The advance word from MV was that you are going to flip when you hear it! "Zimmer turns a new corner with this one - no parallels - Hans integrates Eastern European romanticism into his trademark synth/orchestral fusion approach. The description doesn't do it justice, but we're sure you get the idea. It's really an artistic milestone in our opinion."
This listening post holds edited sound clips from the album, in the Real Audio 3.0 format . Of course the CD sounds heck of a lot better, and don't sell yourself short by being content with these clips.
You have a choice to listen (pseudo)-streamed (faster playback, possible clipping) - recommended for 28.8 or higher users,
or unstreamed (wait for download copy, which plays back unclipped) - recommended for 14.4 users.
(28.8 Mono 550k)
Ominous sounds introduce the new opus - reflective of fog horns in the mist, followed by somber violins, and then the brass immediately announces one of the themes, percussion taps in, with brass granding, crazy violins, then thunderous cymbals, and bass pound in. More crazy violins, then synth brass, along with meandering trumpets.....slowing...pounding again, and a repeat of the first theme passage...followed by a glorious 'Russian' male chorus, if only for a few notes.........a K2-like synth tinkle sprinkles about, and a small march begins, with large brass stepping, rising to thump its mark, climbing higher to trumpet a shrill saturated climax, dropping to a murmuring choir.....who continue with their melancholy ring......they lower, then RISE as a whole, like from the depths.......lowering again, they meander a bit.....then the military field drums start their roll, and synths herald a rhythm, marked by a percussion roll, continuing on and sounding really cool......holds time.....some high pitched strings.....slowdown......sustained synth note in background, while choir steps back in....hesitant, then confident, but restrained. Synth percussion steps right in, and rhythm pumps away while you bob your head, and I type with gusto....oooh yeah, then we get a Muppet Treasure Island passage, letting the trumpets/synths blow around a bit. A brief pause for a respite, only to dive back right in, with more grand brassing, a rollercoaster orchestra....slows right down to a crawl, and synth tapping sets in, followed by strings creating a path for more more brass....mickey-mousing for a bit, and setting a new theme pattern.....the ethnic/East European mandolin -like sound makes its introduction...if only just for a breather....then the drive punches right back in with no remorse, a slight variation on the 2nd theme....a let-up.....covert sounds from a wind instrument....synth moves back in, more ominous tones...the choir returns with a proud verse...and then the synth marching continues albeit with a more militaristic tone, heralding some sort of military pride.......and quiet seeps in.....a wavering cello holds court, with slight variation, to finish.
(28.8 Mono 270k)
|Devoe's Revenge (5.15)
A snare introduces a curt brass rhythm...thick of the action, repeated shrilling followed by a brief voice rise from the choir, which brings on the 3rd theme - a quick-paced light pumping, dodging full range orchestra, punched with layered trumpeting.....a tempo turn into brassy synths, slowed temporarily to go into the 4th theme, which is a mighty cross between Backdraft and Muppet Treasure Island in range...an interesting return of the synth quick-punch riff from Backdraft, seguing into Black Rain type action motifs, a reprise of the 4th theme, a slight breather, and into the 4th theme again....more action motifs......churning over....passing time....coming to a climax, with a drop......slowdown.......moody synth waves.....with some low-frequency prodding..the choir takes things out with a fade.
(28.8 Mono 400k)
A slow violin, punctuated with a bass line synth....slowly meanders in....a synth wave goes by, followed by another...raising the volume, with moaning brass synths...a Crimson Tide aura begins, and choir takes forefront, low-toned.....slowing.....quietening...whispering, mournful trumpet accompanies them......a slight beat pervades, punched with a trumpet pitch, the snazzy violins weave their way in...the high pitched synth line, trickles in....more cellos, and more of somber CT notes.....a collective mumbling.....solo trumpet has the spotlight, as percussion starts its snaring...the strings pick up, lilt......rise, mark time, rise.......glorify.......swell, with a League Of Their Own crescendo. A new combo between a high whine, and ominous chorus sounds off.....and more of solemn solo trumpet and sustained low chorus......a variation between a new Eastern wail on violin, and European female cry, mixed with the male chorus, rising in passion, yet lovingly restrained, to allow the violin to speak, quickly dropping off leaving the female to sigh....a bobbing violin arrives with a synth wave, to re-introduce the 'mandolin' adjacent to the choir, and saturated bass.......fades.
Quite a few people have chosen this as their fave, due to the apparent primary female solo at the end. On my playback however, it is secondary to the violin - most likely due to different equalization settings.
(28.8 Mono 1.1MB)
For a lil fun, take a guess as to how many 'cuts' there are in this clip.
Slow Drop Zone-like rumble enters, followed by new wind-instrument riff, synth wash...rising synths, choir background moaning, percussion sets in, drums roll, violins take on 5th theme, drums expand it along with trumpet, varying into 2nd stage of theme, thundering for 2 sets, slowdown to dark washing......high pitch synth line sustains for bass thump introducing 6th theme, very brassy, and proud, changing into sub-theme, and back to 6th, cut-off with a DZ drop......meandering with percussion, and waving high-pitch synth line, drumming , tinkering, violins energizing, synth brass pumping, more DZ action motifs climaxing in a Aliens-Bishop's Countdown passage, with drums into more DZ manouevering, synth thumping, repeating synth hi-hats, and into 6th theme again, rising a note, press, and into 7th running theme, trumpets and violins abound, Lion King motifs are present......pinch, roaring synths are angering, choir joins, .....breathes, synth press, cymbal wash, violins riff away, sub theme plots along, rising trumpet synth, punching abound, chaos in harmony......choir melds in, and violins bring back triumphant 6th theme, expanding ...rising........moving forward.......and on......marking time......lower a note, punch, slow....low.......start on a different tempo, no let-up on brass......no time for resting.....speed tempo with synth rhythm, another sub theme, back to DZ motif, violin leads into rhythmic quiet, drums start 8th theme.......and building......abrupt stop, and into crazy violins, rumbling drums, light tempering, here and there........quiet, Pacific Heights hi-hats, and tinkering. More synth PH motifs....classic electronic pounding......more DZ stuff.......more jumping around........discord.....bring on the tin drums, and back right into the orchestra, tempering a rhythm, ....and more........and on........hop step, unreleased CT riff, and back into chaos.....stopped by choir, and Broken Arrow synth wavering. And into Black Rain synth motif - cool as it is....fading.....choir.....orchestra granding,........back to choir, then fast BA motif, pounding.......swell into the 8th theme, punching.....the 6th theme again, punching......then hey ho....CTwritten for the Russians, mixed in with new sub theme, heralding on with pride......fades.
(28.8 Mono 570k)
A low intro, with sublime choir rising...voices and cello meld......rising in waves....louder, picking up in tempo..........and continuing, then swelling voices.....maintaining ...... lower....... the orchestral onslaught starts out, adding layer after layer, percussion rips in.......settles in......raises the energy....more dissonant action motifs...... slows to a lull......CT style......choir steps back in, low tones...pings...... cello playing the 'danger' theme, and then into the rhythmic 5th theme, then back into the 6th, plunging into baritones, then piano bashing plucking, and the choir bounds back in to regain the stage.......slowing things down again......the synths are brought in again painting a large scale....to slow down again to a choral whisper...the 'mandolin' returns....'romantic' for what it is......a CT recurring 'hrrrrmph' permeates the female solo who wails, while a CT percussive riff adds company, and then the BA 'rrrreow' signals the 'mandolin's' cue to end the opus.
(28.8 Mono 170k)
|Trailer - Dance version REMIX (1.29)
I finally managed to loop the source, and thus edit the track. Shifted the phase enabling a stereo image. Inspired by accidental Quicktime jitter during scrolling, I added such to the sound mix.
This isn't available on CD........just have fun!
(28.8 Mono 80k)
Nocturne in C Minor by Chopin (0.43)
Finally - sourced and answered; the 'best' cue in the movie (Dusan lamenting over his piano before he leaves for New York)? Nocturne in C# Minor by Chopin, performed by Nick Glennie-Smith.
Well, this one has been a 'long' time coming. And Doug's review was pretty much on track. I would definitely have to say this is unusual yet familiar. My first listen was on headphones, and I wasn't too impressed. With repeated listenings, at different settings ie. headphones/speakers/volume combinations, impressions kept changing.
At different times, I was reminded of different scores, but likeability certainly increased. I first thought it was another The Rock, loud, dissonant, with some nice moments (one that I didn't like too much at first). Then it changed to being reminded of his early European stuff, that takes some getting used to. Ironically, it took me more listens than Smilla to get used to. I recommend repeated listening, played on a good as you can get stereo (for full range appreciation), and as loud as you can get. Otherwise it'll sound like background noise. The total 102 piece orchestra (all named, taking up the space normally reserved for an article) is not apparent at first either, but they're there, albeit masked. Preferred listening order - 2, 3, 4, 5, 1.
To keep things short, I made myself listen to Face/Off in comparison. And I know this will sound funny....since I haven't formally reviewed Face/Off yet, I'd give it a 9, with a recording of 10 (yes, even though John Powell wrote most of it, Hans certainly produced it to the hilt, with all the soundscapes, and arrangement). To me, The Peacemaker sounds like a LOUD Face/Off, and an even more frenetic Con Air (ratings 8, 9). However, it is really a collective of previous styles (including Bird On A Wire), mixed in with a few new passages here and there, and should serve as a representation of 60% of his work and style (nice case of fusion). Bear in mind that the 'temp' influence was work by Prokofiev. I find its strengths to be the unique use of the choir (building on that of CT, and surpassing The Hunt For Red October), and Gavin Greenaway's contribution - track 2. Watch out, this is the type of score that'll make you 'drive faster' in line with the theory posed on the newsgroup this year..........now, judge for yourself!
Further comments - recently I listened to it in the bathroom, with a Bose portable - and I was even more impressed! Lovely acoustics, which bring out the recording more. I am very tempted to raise the rating to 9, but 8 will suffice. Lots of fun when you're bored!
Jeff Rona also said this was the most rewarding album compilation for him.
After seeing the movie, the score definitely appealed more. It was well spotted, using some nice sound/film transitions. There is a cue used in the scene where the 'baddie' Dusan is lamenting over a piano, which has listeners all gooey over it. It is NOT on the CD, and is Nocturnes by Frederic Chopin in C# Minor. The piece played by the little girl is the F Minor composition; they were performed by Nick Glennie-Smith. The full end credits is rather nice, and part of it is in track 4 - Chase.
There are a few major pieces not on the CD mix, as well as a few short passages. They seemed to be the typical Zimmer transitions, which we've heard before, so I guess Jeff made a logical decision. The major pieces missing include the whole scene with 'mafia' Hans getting tied up (at least the 3rd movie which makes reference to Hans or Zimmer), and the train massacre scene, along with a few other medium-sized cues.
While speaking to Hans briefly, he confirmed that the Crimson Tide riff was put in after Steven Spielberg specifically made the request. In describing the approach to the score - "Everything I couldn't do with Crimson Tide, is there."
On the movie - I enjoyed it as a political drama. It has action, more sense than Air Force One, and a well executed score. Best scene - Devoe's Revenge - George Clooney uses a Mercedes to demolish 3 BMWs.
Hans thought it was so-so; is this the reason why he may not be scoring Mimi Leder's next project - Deep Impact?
I just watched it again in Fiji, to finally get answers about the use of Nocturnes, and also just to enjoy it more, and I did - waving my hands about conducting, bobbing my head to the beat, and flailing as Hans name came up, lol. Kinda cool when you have some pull in a place like this, and thus not feel foolish when talking about and promoting scores (probably the only person in this country who knows more about it).
I loved the tongue-in-cheek reference to AOL.
Trivia - Mimi Leder drives a HUGE Mercedes. Hans sold his BMW. Get the joke when you watch the movie!
|How to purchase - well, if you're convinced, you can buy this album from Pentagon. Doing so supports Zinfo in a small way. Thank you, and enjoy!|
Lastly, I was a bit shocked to read in The Sunday Times (Fiji - "First newspaper published in the world today"), a mention by so-called reviewer Luisa Tora, of the job by Hans:
"Kudos to the actor playing the suffering bad guy. You really feel his pain when he plays the piano. Hans Zimmer did good with the music. Excellent job. The Peacemaker gets two stars."
While I won't comment on her lack of astute reviewing skills, I appreciate the mere mention of the composer (cool in this case, being Hans) by a person who was a pop radio DJ. (No, The Fiji Times isn't online - their reporting skills ain't even up to par; I won't even mention the tackiness of The Daily Post). But hey, all for promoting scores!
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