I've said it before on the board, but 160 BPM impressed the hell out of me. The choir is so magnificent, and the track oozes classic mid-90-actionmovie Zimmer, especially Crimson Tide.

I listen to that track repeatedly several times each day, and I continue to grin like an idiot every single time at..I think it's 5:20 when the darker rapid male choir starts.

I've been looking for a track like that for a long time in new score. I scourt new actionscores looking for something that sticks out of the generic pile, something that sticks with me for a long time. Just like discovering Little Ducks, it has already positioned itself way up on my favorite Zimmer tracks simply because of how awesome the track feels.

The rest of the score is not bad either, several standout moments help the score and a consistent quality all around. But it's 160 BPM that really does it for me.

I've got to say that the 160 BPM cue is probably one of the best, if not the best cue I've heard this year. It covers so many different layers and sounds and can be both beautiful yet full of action at the same time. A truly unique listening experience, even if you've got issues with Mr. Zimmer's over-reliance on synths.

> I've said it before on the board, but 160 BPM impressed the hell out of
> me. The choir is so magnificent, and the track oozes classic
> mid-90-actionmovie Zimmer, especially Crimson Tide.

> I listen to that track repeatedly several times each day, and I continue
> to grin like an idiot every single time at..I think it's 5:20 when the
> darker rapid male choir starts.

> I've been looking for a track like that for a long time in new score. I
> scourt new actionscores looking for something that sticks out of the
> generic pile, something that sticks with me for a long time. Just like
> discovering Little Ducks, it has already positioned itself way up on my
> favorite Zimmer tracks simply because of how awesome the track feels.

> The rest of the score is not bad either, several standout moments help the
> score and a consistent quality all around. But it's 160 BPM that really
> does it for me.

> I've got to say that the 160 BPM cue is probably one of the best, if not
> the best cue I've heard this year. It covers so many different layers and
> sounds and can be both beautiful yet full of action at the same time. A
> truly unique listening experience, even if you've got issues with Mr.
> Zimmer's over-reliance on synths.

I agree. Still quite a few promising scores left this year, but one of my first thoughts when I heard 160 BPM was how damn good it was. Very intense and powerful, and one of the best action cues I've heard from Zimmer. I love most of his works, and I've long waited for a return to his older sounds. 160 BPM is one of those, it got the vitality, speed and energy of a young composer pouring all his energy into it, and the experience of a veteran in the business of movie scores.

It's just wicked brilliant the way he handles the score and how the male and female choirs almost compete in rapid progression.

> I agree. Still quite a few promising scores left this year, but one of my
> first thoughts when I heard 160 BPM was how damn good it was. Very intense
> and powerful, and one of the best action cues I've heard from Zimmer. I
> love most of his works, and I've long waited for a return to his older
> sounds. 160 BPM is one of those, it got the vitality, speed and energy of
> a young composer pouring all his energy into it, and the experience of a
> veteran in the business of movie scores.

> It's just wicked brilliant the way he handles the score and how the male
> and female choirs almost compete in rapid progression.

Yeah, this cue is just awesome. I can't wait to see how this whole score works in the movie!

> Yeah, this cue is just awesome. I can't wait to see how this whole score
> works in the movie!

I agree. I'm so curious about how it blends in with the movie, it's already great outside of the movie but I'm looking forward to hear it in it. It's one of those rare times when a score makes you curious about a movie you'd normally not bother watching simply because the score is so good that it makes it essential to experiencing the whole thing together. (Like Craig Armstrong's World Trade Center score, a damn beautiful score that forced me to watch a movie I'd otherwise not bother with)

I can't stop praising this track, and the rest of the score is very, very good.

> I agree. I'm so curious about how it blends in with the movie, it's
> already great outside of the movie but I'm looking forward to hear it in
> it. It's one of those rare times when a score makes you curious about a
> movie you'd normally not bother watching simply because the score is so
> good that it makes it essential to experiencing the whole thing together.
> (Like Craig Armstrong's World Trade Center score, a damn beautiful score
> that forced me to watch a movie I'd otherwise not bother with)

> I can't stop praising this track, and the rest of the score is very, very
> good.

Well, i saw the movie and i can tell you that the score works wonders in the movie! There are some beautiful cues that are not on the soundtrack, but for the most part, we got the best parts of the music.

Anyway, there are some brilliant moments in the movie because of the music, and let me tell you that the pseudo-ending of the movie is beautiful! The whole movie theatre was just dumbstruck by the whole sequence and ofcourse the music. A wonderful moment to experience!

Now.. i want to see the movie again!

> The rest of the score is not bad either, several standout moments help the
> score and a consistent quality all around. But it's 160 BPM that really
> does it for me.

I like "Air" quite a lot, but 160 BPM is a worthy contender on any top-10 Zimmer cues list. Would you believe where they put it in the movie, though?

Yup. The end credits. And you can bet I stayed behind during those XD