Motion picture soundtracks have been a part of my world for nearly 50 years. When I say “soundtrack,” I’m referring to the music score. Songs from pop artists are great, but they usually aren’t what I’m paying attention to.^

It started in 1977 when I became captivated by all things Star Wars, including the magnificent score by John Williams. Before long, I was making a conscious effort to see who was writing the music for the movies I loved. Williams’s name seemed to come at me from everywhere! Jaws, Raiders of the Lost Ark, Close Encounters of the Third Kind … the list seemed endless. See an epic movie, and John Williams wasn’t far behind with his epic scores.

A couple of other composers like Lalo Schiffrin, James Horner, and Jerry Goldsmith — among others — also began to make frequent appearances. Clearly, these guys knew what they were doing.

These days, the name I seem to see above all others is Hans Zimmer. If the movie is epic … well, you get the idea.

Zimmer seriously caught my attention when I heard the soundtrack from The Dark Knight. The opening piece is called “Why So Serious,” which revolves around the Joker and his bank heist that opens the movie. I was stupefied. And I had the overwhelming desire to rob a bank!+

There’s a sound in the middle of the piece. A deep, rumbling low end built for subwoofers. The sound hypnotized me. I had to know the composer. Zimmer worked up The Dark Knight with James Newton Howard, but he did plenty of movie work on his own.

Zimmer’s sound — dark, percussive, bombastic — wasn’t difficult to distinguish from other composers. Before long, the soundtracks from Man of Steel, Interstellar, F1: The Movie, Dune and other movies were in my musical rotation. It began to seem like all Zimmer all the time! But I was fine with it.

More than a few others feel the same way. I’ve found Zimmer’s concerts on YouTube packed with his fans. They’re yelling out with excitement over their love for the compositions from their favorite soundtracks.

I also found something that rather surprised me. There’s more than a little hate out there for Zimmer and his work. I wasn’t ready for that.

There’s too much sameness to Zimmer’s work, they said. It was too bombastic. There weren’t enough melodies, only soundscapes. He doesn’t write enough as an individual.

Go figure.

I mean, most soundtrack composers have a style. Crank out enough scores and it becomes relatively easy to see (well, hear). John Williams has a style. So do James Horner and Jerry Goldsmith. From where I sit, there’s nothing wrong with that. If anything, I find it rather comforting. “Hey! My old friend (composer) is here to guide me through this film via the music. Cool!”

Zimmer’s soundtracks journeys, though each composition is a little trek in and of itself. His music lends itself to intense emotion, conflict, and the triumph that comes from breaking through to the other side. By that moment of triumph, I’m more than thrilled I took the journey.

I love the soundscapes! I love the percussion! I love the bombast, especially when it catches me off guard. I love the darkness and how Zimmer is able to pull it into the light. Prime time sample: Batman v. Superman: Dawn of Justice, which he wrote with Junkie XL.

I guess some don’t see it that way.

No matter, I’m forging ahead. And Zimmer is coming with me.

^ With the exception of Sinners. Those songs are amazing!

+ Not really, but you get the idea.

#cirdecsongs

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