The Score for Superman reboot and cinema blockbuster of the summer comes in typical Hans Zimmer-style in recent years, in which case outweighs the spherical element. In order to engage in this kind of music, you have to mentally probably adopt initially the ubiquitous orchestral Superman score by John Williams. Such clearly defined heroic fanfares and catchy musical motifs here are not found. Everything is created less motivic and more atmospheric, unterschiedlichstes percussion, bass and guitar alternate with delicate violin or cello sounds from and add to a rhythmically pulsating synthesis, as they in recent years already from many other successful bedroom Blockbuster credit scores knows, such as The Dark Knight or Inception. Here prevails once again the brachial Bombastic against the Romantic-heroic, individual motivic elaborations occur in the face of the force of the sound into the background. The music screwed repeatedly spiral upward and controls on an almost ecstatic rhythmical climax. Calmest and zurückgenommensten are clearly Track 14 This is Clark Kent and track 15 I have so many questions, but they form in the overall balance is exceptional. It is well at the end, once again the delicate balance between electronic sounds and live orchestra with occasional choral and solo passages that makes this score also and should give the film a good dose of bombastic emotional fairway. Too much innovation and a great diversity but do not expect. Whether all the expectations of the musical-note accompaniment of a superhero story (eg Track Flight 16) is full justice, everyone must decide for themselves at the end. But we must not lose sight of the fact that the narrative and film design implementation of such stories over the years has indeed also changed: the presence-related, realistic, gritty, complex might have to such a movement even their very own, new and more experimental musical expression concede.
