The art is in the details

Proponents of this assumption see fully confirmed in the score for Christopher Nolan's latest concoction "Interstellar".
A small special history to film and film music, which inflates the media until it bursts, crowned with a "music" that lacks any musical motivic conciseness, an aural sound design mush that seems to repeat constantly and a good long hour on this CD right hinwabert ...

... Is it ever someone this Verurteiler noticed how painstakingly detailed and timbre was working here? Does anyone have these critics actually already noticed that Hans Zimmer is no longer in great epic themes and heroic popcorn Widescreen Cliché harmonies from at least since "Inception" to want to (without this talk bad, I love this epic thunder phased really, just to perfection by Thomas Bergersen, Two Steps From Hell, Audio Machine or similar!), but has become much more stylistically and now, rather in the category of minimal music, so in the spirit of Philip Glass or even partly Alexandre Desplat again can be found, without being of course compared to mentioned composers? ...

Hans Zimmer is no longer looking now for a suitable melody, but the perfect sound, the matching color of his music. Was it in "Man of Steel" even an army of drums, coupled with the typical American pedal steel guitars and extra newly invented "instruments" constructions made of steel, searched rooms now a sound that also the technological aspect of humanity but the basic element of human existence to the base has: air.
The organ combines precisely these qualities: she is alone in the music industry since its early existence a technological marvel that repeatedly hervozubringen new technical refinements white and sometimes in utopian dimensions breaks (think only of the "Mighty Wurlitzer"!) .. ,
Hans Zimmer is experimentally still further provides the recorded organ of the London Temple Church, among others, a large woodwind ensemble and choral singing at your side who can nachreflektieren only as echo or reverb sounds ... ... and thus simulates however by sound experiments and the incredible surround the Temple Church, the width of the worlds in which the gigantic work Nolan plays, impressive and sometimes intoxicating uniqueness.
Origin for the KlangRausch large-scale spherical forms a small intimate piano-strings - music, in its demo version "Day One" called and also here on CD (Track 4) represented in the final version, caused by a short text about a parent child relationship.
Here is the complete perfect parallel is finally beaten to what is the film: a large, above ground tremendous history, but at its core emanates solely from the relationship of a father to his daughter.
This description can in my opinion as well, 1 to 1, be translated to the character of the film music. The sound structures are impressive soghaft, tear ironically by their significant static and Ravel Bolero adhere development through repetition with ... ... and reveal their finesse especially when they do not have cell phone speakers, but with earbuds or a decent sound system off.
This music is designed indescribably happy and detail has sometimes so so small facets of Europe, that they are only noticed when they disappear.
With all the small parts obsession but the great emotional aspect is inevitable. A harmonious overall picture, seemingly ironically by microparticles .... .... in regard to the origin of the universe, of interstellar space and everything is still in it, another coherent symbol ...

Particularly pleasing is however here the fact that Hans Zimmer really only seems to us to be solely responsible for this music as a composer this time. The CD booklets of Zimmer'schen soundtracks are basically but always honest and open when it comes to list, who hath composing still so involved in the form of "additional music".
And since "Interstellar" really just a composer is mentioned, I'm completely on the assumption that it has this time really to do the listeners with a pure "rooms". Considering the rigor and stylistic unity of all existing tracks of the score, hardens for me this assumption.

It hereby is summarizing so maybe not a themed laden musical concoction for Mitpfeiffen but definitely voiced an exceedingly coherent film music, which is an incredibly impressive overall picture particularly in conjunction with the film images.

And so much fan-being is permitted according to expert observation: I currently know of no other composer who had music Nolan's science fiction drama so harmoniously enrich ... ... as Hans Zimmer.