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The Dark Knight Rises
Composed by Hans Zimmer
Water Tower Music (2012)
Rating: 7/10
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More soundclips below provided by AmazonMp3
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All Dark Things...
Review by The Tracksounds Gang
It began in 2005. In the darkness, we put a
smile on our face in 2008. Finally, in 2012, all dark things must
come to an end as Christopher Nolan's Batman revival rises one last time.
Reduced from a dynamic-duo, THE DARK KNIGHT RISES, finds composer HANS
ZIMMER alone in his batcave to provide the finale's closing notes.
With the new threat of Bane and maneuverings of Catwoman, the stage is set
for Batman's last Nolan-directed, Zimmer-inflected, hurrah and the
Tracksounds gang rises up to tackle THE DARK KNIGHT RISES.
Once you have finished reading each and every one of
these opinions, you have our permission to ... listen.
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Edmund says...
 "THE
DARK KNIGHT RISES is a fitting extension of ZIMMER’s sound for the
franchise, with some genuinely clever and engaging new material – but like
the film, it’s a step down from the previous entry and has some serious
flaws to contend with."
HANS ZIMMER’s scores for CHRISTOPHER NOLAN’s rebooted Batman series have
gained a level of mainstream popularity earned only by a select few film
scores, but it is hard not to wonder whether that is down more to the
excellent movies they are tied to – they’ve always been easier to
appreciate in context than on album. Unrelenting in their dour mood and
relentless lower-register churning, they are simplistic but certainly
effective, short on themes and orchestral flourishes but heavy in
atmosphere and electronic embellishment. The few recurring motifs that do
exist are less than transparent in their application.
If the main character’s musical representation has always left something
to be desired, at least THE DARK KNIGHT’s villain, the Joker, received an
extremely memorable and iconic (if not entirely pleasant) musical
representation. This time around, our villain is Bane – he of the 5.1
surround-sound voice - and once again, he receives a unique motif
bordering on sound design. Heard in “Gotham’s Reckoning” (3), it’s a
menacing whispered chant that builds to a shout via an asymmetrical,
frenzied rhythmic pattern. Much was made of the fact that ZIMMER had his
fans record themselves chanting the words “deshi basara” (“rise up”) and
mixed the recordings together, but the choir’s impact is fatally
diminished on album by a distant mix. Still, it is easily the most
impressive and unique new idea on offer.
The other new theme is that for Selina Kyle/Catwoman, heard in “Mind if I
Cut In?” (4) It’s a decent but rather basic theme (vaguely reminiscent of
ZIMMER’s scores for the SHERLOCK HOLMES franchise), conveying the right
“slinky” feeling with its piano figures hovering around the same central
note. It’s not a patch on DANNY ELFMAN’s far more dramatic take on the
character in BATMAN RETURNS, though – and perhaps this is where JAMES
NEWTON HOWARD’s more delicate touch could have come in handy. ZIMMER’s
collaborator for the first two films decided not to return for the third,
claiming (with some merit) that the “mastermind” behind the scores was
always ZIMMER.
The rest of the score alternates between the grinding and pounding action
music now familiar to the series (often incorporating Bane’s chants well –
and seemingly inserting a portion of STEVE JABLONSKY’s first TRANSFORMERS
score in “Imagine the Fire” (13)), more low-key suspense and the
conversational thematic development cues. Unfortunately lacking
development is the heroic full theme for Batman that was hinted at in
BATMAN BEGINS (in the cue “Eptesicus”) and fully fleshed out in THE DARK
KNIGHT (in “Like a Dog Chasing Cars” and particularly “A Dark Knight”).
Easily the thematic highlight of the series, it receives a subdued
performance in “On Thin Ice” (2) and returns to close out the score in
“Rise” (15) – but that cue is essentially a truncated rehash of “A Dark
Knight”. In fact, significant portions of the score seem to be copied and
pasted from the previous two entries, which gives the entire thing a
slightly stagnant feel when the new themes aren’t playing.
The final gripe to be had with THE DARK KNIGHT RISES is its befuddling
album situation. The regular album is a mere 50 minutes long, but it is
possible to significantly extend that length by consolidating various
bonus cues offered as download exclusives, enhanced CD exclusives, app
exclusives and so on. This forced double-dipping encourages illegal
downloads, and much of the bonus material could have easily fit onto the
single CD. Overall, THE DARK KNIGHT RISES is a fitting extension of
ZIMMER’s sound for the franchise, with some genuinely clever and engaging
new material – but like the film, it’s a step down from the previous entry
and has some serious flaws to contend with.
Richard's Rating: 6/10
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Richard says...
 "Simply
put, if you struggled to find anything to enjoy in BATMAN BEGINS or THE
DARK KNIGHT, RISES is just not for you. "
An eternal darkness has consumed Christopher Nolan’s Dark Knight trilogy,
but this is a darkness in which Gotham’s saviour will remain - never to
rise from the shadows. THE DARK KNIGHT RISES brings one of Hollywood’s
most profitable and critically acclaimed trilogies to a close, signalling
the dawn of yet another new frontier for Bruce Wayne’s alter ego. Nolan’s
third and final act proved to be a divisive one within the vast fan base,
perhaps due to the enormous expectations placed upon it after the
exceptional second entry, THE DARK KNIGHT, but few can deny the gratitude
owed to Nolan’s trilogy for ushering in an era in which the comic book
film is more than just simplistic and vapid fan service. However, it is in
the music that the trilogy has proven the most contentious, with fans
clamouring for the age of ELFMAN despite the clear tonal shift from the
likes of BATMAN and BATMAN RETURNS.
Given the franchise’s gritty outlook, it’s perplexing to see many still
demanding an explanation as to why composer HANS ZIMMER took the music of
Batman in such a different direction to the DANNY ELFMAN scores. Not that
it really mattered, as ZIMMER’s score for THE DARK KNIGHT RISES continues
very much in the style of the previous two films.
Simply put, if you struggled to find anything to enjoy in BATMAN BEGINS or
THE DARK KNIGHT, RISES is just not for you. A perpetual storm of angst
rains down upon THE DARK KNIGHT RISES, not subsiding for even a second. As
with THE DARK KNIGHT, ZIMMER has taken the opportunity to utilize Batman’s
oppressor, in this case Bane, as his prime thematic inspiration, although
to a lesser effect than his efforts for The Joker’s theme. Perhaps it is
partly down to the character himself, but Bane’s theme lacks the erratic
unease of the Joker’s. The chant has substantial gravitas, but fails to
fully embody the villain in the way Zimmer may have intended. The cues in
which it takes centre stage make for a thrilling listen however -
“Gotham’s Reckoning” (3), and “Imagine the Fire” (13) are raucously
entertaining, providing wall-to-wall thrills. The chant is noticeable in
its absence from “Why Do We Fall” (11), which is an entertaining cue as it
is, but fails to ignite in the same way as when combined with the rallying
call.
Aggravatingly, much of THE DARK KNIGHT RISES score is clearly missing in
action, given the short running time and overabundance of
atmosphere-building cues such as “Underground Army” (5), and “Born In
Darkness” (6). As a result, THE DARK KNIGHT RISES is never given the
chance to reach the heights of THE DARK KNIGHT, a fate confounded by yet
another infuriating “exclusive track” fiasco.
There’s no doubt that RISES lacks a certain depth of emotion that was
previously heard, perhaps due to the absence of JAMES NEWTON HOWARD, but
thankfully much of the music is high in quality, with my personal
favourite cue being “Rise” (15) - an emotionally draining combination of
“Barbastella” and “Lasiurus” from BATMAN BEGINS, and “A Dark Knight” from
THE DARK KNIGHT, that is perfectly aligned with the bittersweet finale of
the trilogy.
THE DARK KNIGHT trilogy, at its inception, was an altogether different
comic book origins story, and as a result demanded an altogether different
musical approach. ZIMMER’s approach is one that I personally see as
largely a success, although I can sympathize with those who perhaps do
not. It is with great sadness that I bid the Nolan Batman universe
farewell, but I take solace in the knowledge that I can always return to
the shadowed streets of Gotham through the notes of HANS ZIMMER.
Richard's Rating: 8/10
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Christopher says...
 "What
Zimmer delivers is, in context, hardly less entertaining, if not even more
forceful than its predecessors. "
Christopher Nolan’s critically acclaimed trilogy comes to a close with THE
DARK KNIGHT RISES. Having faced the mystical League of Shadows, and the
maniacal Joker, Batman is now confronted with a seemingly new menace lead
by the martially eloquent, masked-man, Bane. Left in the wake of the
previous two films are, not only Batman’s foes, but some of his loved-ones
and this extends outside of the story itself to the storymakers.
Surprisingly and sadly, treading in the wake is also composer James Newton
Howard, as Hans Zimmer finishes out the trilogy alone. The departure of
Newton Howard told those paying attention that it was likely THE DARK
KNIGHT RISES would shed the more lyrical and romantic traits woven into
BATMAN BEGINS and THE DARK KNIGHT RISES.
What Zimmer delivers is, in context, hardly less entertaining, if not even
more forceful than its predecessors. Where does this force come from
exactly? The revelation of a new villainous element, personified in Bane,
provides the foundation for this finale. Rather than the one-note,
insanity of the Joker, the methodical brutality of Bane and his horde is
captured in Zimmer’s 5/4, Bane-theme. On the album it is Introduced in
“Gotham’s Reckoning” in as subtle of a manner as Zimmer dared, but in the
film, it first appears in “The Fire Rises.” There, it is comingled among a
cacophony of percussive and electronic explosions as it plays under the
IMAX-shot, early-released, prologue. By the time we reach “Fear Will Find
You” we hear the most accelerated and tension-filled performance, even if
it is short lived and goes on to play counterpoint to the very familiar,
two-note Batman theme.
Speaking of that two-note theme, yes, it, of course, makes several
appearances throughout the score. One of the most intriguing is in the
track “On Thin Ice” where we hear it played on, what sounds to be, some
Zimmer-crafted, high-pitched synthesizer - which creates a strange
atmosphere like angels singing while cognisant that a threat looms just on
the other side of their wordless song. Still, it’s the grand, brass swell
performances that our caped-souls search for in this Batman trilogy. It is
in tracks such as “Despair” and “Why Do We Fall?” that we find that
satisfaction.
Finally, with the disappearance of James Newton Howard and most all
reference to his melodic work, we have, in its stead, Zimmer’s
mysteriously playful theme for the enigmatic Catwoman. The theme is
essentially relegated to the track “Mind if I Cut In?” on the standard CD
release, but is used more often within the film itself. The toyful piano
notes and feline-like cello provide much needed contrast to the edginess
found in the majority of other tracks..
How much one enjoys THE DARK KNIGHT RISES original score heavily depends
on where one experiences the score and their opinion of the movie itself.
Aside from the themes mentioned above, this score can feel a bit “noisy”
with little to musically cling onto at times; however, in the film it
certainly does its job. Those who appreciate the film as a whole will find
even the standard soundtrack release mostly satisfying; however, for
others, this finale by Zimmer may not measure up to the two that preceded
it and find it lacking a certain “jay en ache quoi.”
Christopher's Rating:
6/10
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Batman has bailed. The gang has spoken. The absence
of James Newton Howard appears to keep the score from matching the
emotional balance or rising to the overall quality of the first two
scores. THE DARK KNIGHT RISES clearly has moments of brilliance (perhaps
fewer than its predecessors), but as presented on the official soundtrack,
finds itself mired in a surprising, if not disappointing, amount of
mediocrity.
Rating: 7/10
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Track |
Track Title |
Track Time |
Edmund |
Richard |
Chris |
Ave Rating |
|
1 |
A Storm is
Coming |
0:36 |
** |
*** |
*** |
*** |
|
2 |
On Thin Ice |
2:54 |
*** |
*** |
**** |
*** |
|
3 |
Gotham's
Reckoning |
4:07 |
**** |
***** |
**** |
**** |
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4 |
Mind
If I
Cut
In? |
3:27 |
**** |
**** |
*** |
**** |
|
5 |
Underground
Army |
3:11 |
*** |
*** |
** |
*** |
| 6 |
Born in Darkness |
1:56 |
*** |
*** |
*** |
*** |
| 7 |
The Fire Rises |
5:33 |
*** |
**** |
*** |
*** |
| 8 |
Nothing Out There |
2:51 |
*** |
*** |
*** |
*** |
| 9 |
Despair |
3:14 |
*** |
**** |
**** |
**** |
| 10 |
Fear Will Find You |
3:08 |
*** |
**** |
*** |
*** |
| 11 |
Why Do We Fail? |
2:02 |
**** |
***** |
***** |
***** |
| 12 |
Death By Exile |
0:23 |
* |
** |
** |
** |
| 13 |
Imagine the Fire |
7:25 |
**** |
***** |
**** |
**** |
| 14 |
Necessary Evil |
3:16 |
*** |
*** |
*** |
*** |
| 15 |
Rise |
7:15 |
*** |
***** |
**** |
**** |
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Final Rating |
6/10 |
8/10 |
6/10 |
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Total Running Time (approx) |
51 minutes |
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