COMPLETE SCORE
MAN OF STEEL Original Soundtrack (2013)

MAN OF STEEL

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2013
18
87:48
Watertower Records

MAN OF STEEL Original Soundtrack: Deluxe Edition (2013)

MAN OF STEEL: Deluxe Edition

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  • Tracks:
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2013
24
118:21
Watertower Records

REVIEW

Man of Steel (ENGLISH)

Man of Steel (Hans Zimmer). Nowdays, Zimmer is, undoubtedly, the most effective of the A-list composers. His gift to turn his music into a so enhancer element is easily imitated but difficultly overcome. It is for it that his work attracts so much the attention of practically the totality of the directors who try to work with him or to induce other composers to imitate his style.

His way of creating tension for films of action, thriller or science fiction is easily recognizable, and doesn't seem to tire to an industry that prefers not risking too much at the moment of creating original scores. His music creates an atmosphere that likes so much in Hollywood that the temp tracks that are facilitated to the composers as guide to create their scores are riddled with his music. And the musical loop is such that the proper Zimmer has declared in some occasion that he obtain the temp tracks with his own music to imitate himself. Certain tracks created by him also have been widely used for trailers, though nowadays the proliferation of companies dedicated expressly to the film advertising has reduced his protagonism in this field.

In Man of Steel, Zimmer is still faithful to his style, he shows on the music his unquestionable stamp, which, nowadays, I would dare to define it almost as a subgenre of the film scoring music. In spite of being faithful to his style, in Man of Steel, Zimmer works out victorious, creating good themes, themes that movie after movie make think that prompt the gunpowder of creation will become exhausted, but work after work he demonstrates adaptation and squeeze his talent to surprise us with something new.

The score is solid as it was expected, with audible enough themes and melodies made in Zimmer that always please. In this case, and in spite of possessing an percussionist team ambitious enough, the score does not turn out to be ever strident, like it could happen in any of the passages from long action cues of the Pirates of the Caribbean trilogy, for example. The creation of own themes for this renewed version of Superman, having to be abstracted of the wonderful music that John Williams was creating for the classic version and that it was marrying to the perfection with that version, is the most valuable of this score. In the first moment, it might wait for a wink of Zimmer for Williams's theme, with the connivance of the director of the film, theme that is strongly established in the American culture and inevitably bound to the character of Superman. And one thing that the music of Man of Steel cannot overcome is precisely this theme, and if in a future anyone asks someone to whistles the theme of Superman, this person will execute THE THEME (with capital letters) of Williams, never one of Zimmer, because the conception of the score of Man of Steel is totally different, and does not exist a theme so clearly identified with the hero as the one that composed Williams. On the other hand, this doesn't seem but a good decision, for several reasons: first, because ordering Zimmer to create a theme as significant as the theme of Williams had been a tremendously unjust even for the great Hans Zimmer; and second, because of having done it, the comparisons always would have been odious, and it would have supposed entering in war that would not benefit to anybody.

The Deluxe Edition reaches approximately half an hour more than the standard edition. The incorporation of the track Man of Steel (Hans' Original Sketchbook) with a duration of 28 minutes, as well as a few final tracks of more difficult digestion (that seem to be slightly more experimental), suggests that this edition is far from being a complete score like we could hope, and that an important part of the music composed for the movie is still for releasing.

In spite of it, Man of Steel (Hans' Original Sketchbook) turns out to be more interesting than a priori could be expected, offering a vision slightly different from the themes that are heard along the score.

El Hombre de Acero (ESPAÑOL)

El Hombre de Acero (Hans Zimmer). A día de hoy, Zimmer es, sin duda, el compositor más efectivo del abanico de los A-list composers. Su don para convertir su música en un elemento tan potenciador es fácilmente imitado pero difícilmente superado. Es por ello que su trabajo atrae tanto la atención de prácticamente el total de los directores que tratan de trabajar con él o inducir a otros compositores a imitar su estilo.

Su manera de crear tensión ya sea para un film de acción, suspense o ciencia ficción es fácilmente reconocible, y no parece cansar a una industria que prefiere no arriesgar demasiado a la hora de crear partituras originales. Su música crea una atmósfera que gusta tanto en Hollywood que las temp tracks que se le facilitan a los compositores como guía para crear sus partituras están plagadas de su música. Y el bucle musical es tal que el propio Zimmer ha declarado en alguna ocasión que le ponen su propia música para imitarse a si mismo. Ciertas pistas creadas por él también han sido ampliamente usadas en la musicalización de trailers, si bien hoy en día la proliferación de empresas dedicadas expresamente al film advertising o musicalización de tráilers le ha restado protagonismo en este campo.

En El Hombre de Acero (Man of Steel), Zimmer sigue fiel a su estilo, el cual casi ya me atrevería a definir como un subgénero de la música cinematográfica. A pesar de ser fiel a su estilo, en El Hombre de Acero Zimmer sale victorioso, creando buenos temas bajo su sello, temas que película tras película hacen pensar que pronto se le agotará la pólvora de creación, pero que trabajo tras trabajo demuestra adaptarse y exprimir su talento para sorprender con algo nuevo.

La partitura es sólida, como era de esperar, con temas bastante audibles y melodías made in Zimmer que siempre agradan. En este caso, y a pesar de contar con un elenco percusionístico bastante ambicioso, la banda sonora no resulta en ningún momento estridente, como pudiera pasar en algunos de los pasajes de acción prolongada de la trilogía de Piratas del Caribe, por poner un ejemplo. La creación de temas propios para esta versión renovada de Superman, teniendo que abstraerse de la maravillosa música que John Williams creara para la versión clásica y que casaba a la perfección con aquella versión, es lo más valorable de esta banda sonora. En un primer momento se podría esperar un guiño por parte de Zimmer al tema de Williams, con la connivencia del director del film, dado que dicho tema está fuertemente arraigado en la cultura americana e inevitablemente ligado al personaje de Superman. Y es que una cosa que la música de El Hombre de Acero no puede superar es precisamente eso, y si en un futuro se le pregunta a alguien que silbe el tema de Superman, esa persona ejecutará EL TEMA (con mayúsculas) de Williams, nunca uno de Zimmer, más que nada porque la concepción de la banda sonora de éste último es totalmente diferente, y no existe un tema tan claramente identificativo para el héroe como el que compuso Williams. Esto, por otro lado, no parece sino un acierto, por varios motivos: primero, porque el encargo a Zimmer de la creación de un tema tan significativo como el de Williams hubiera sido tremendamente injusto incluso para el gran Hans Zimmer; y segundo, porque de haberlo hecho, las comparaciones siempre hubieran sido odiosas, y entraríamos en una guerra que no beneficiaría a nadie.

La edición de lujo de El Hombre de Acero aporta aproximadamente media hora más que la edición estándar. La inclusión de la pista Man of Steel (Hans' Original Sketchbook) con una duración de 28 minutos, más unas pistas finales de más difícil digestión (y que parecen algo más experimentales), sugiere que esta edición dista de ser un score completo como se pudiera esperar, y que una porción importante de música compuesta para la película aún está por ver la luz.

A pesar de ello, Man of Steel (Hans' Original Sketchbook) resulta más interesante de lo que a priori pudiera esperarse, ofreciendo una visión algo distinta de los temas que se oyen a lo largo del score.

TRACK LISTINGS
MAN OF STEEL (2013)
Total Time: 87:48
DISC 1 DISC 2
  1. Look to the Stars (2:54)
  2. Oil Rig (1:31)
  3. Sent Here for a Reason (3:46)
  4. DNA (3:18)
  5. Goodbye My Son (1:57)
  6. If You Love These People (3:03)
  7. Krypton's Last (1:58)
  8. Terraforming (9:46)
  9. Tornado (2:47)
  10. You Die or I Do (3:04)
  11. Launch (2:29)
  12. Ignition (1:12)
  13. I Will Find Him (2:47)
  14. This is Clark Kent (3:36)
  15. I Have So Many Questions (3:21)
  16. Flight (4:09)
  17. What Are You Going to Do When You Are Not Saving the World? (5:26)
  1. Man of Steel (Hans' Original Sketchbook) (28:16)
MAN OF STEEL: Deluxe Edtion (2013)
Total Time: 118:21
DISC 1 DISC 2
  1. Look to the Stars (2:54)
  2. Oil Rig (1:31)
  3. Sent Here for a Reason (3:46)
  4. DNA (3:18)
  5. Goodbye My Son (1:57)
  6. If You Love These People (3:03)
  7. Krypton's Last (1:58)
  8. Terraforming (9:46)
  9. Tornado (2:47)
  10. You Die or I Do (3:04)
  11. Launch (2:29)
  12. Ignition (1:12)
  13. I Will Find Him (2:47)
  14. This is Clark Kent (3:36)
  15. I Have So Many Questions (3:21)
  16. Flight (4:09)
  17. What Are You Going to Do When You Are Not Saving the World? (5:26)
  1. Man of Steel (Hans' Original Sketchbook) (28:11)
  2. Are You Listening, Clark? (2:39)
  3. General Zod* (7:07)
  4. You Led Us Here (2:51)
  5. This is Madness!* (3:38)
  6. Earth (6:13)
  7. Arcade* (7:25)

* contains music composed by Tom Holkenborg (Junkie XL)

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