2049 Song Lyrics

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Vangelesque. When I heard that they didn't get Vangelis I was disappointed. I thought it impossible to conceive the movie without his music. So when I had heard they had originally gotten Johann Johansson I was intrigued but thought it would be too much of a departure from the world of Blade Runner. As that didn't work out, I would still like to hear what he came up with. Shortly after, they had gotten Hans Zimmer, and I initially thought he couldn't adapt. Well, he did. I didn't have high expectations for the music, but overall it's quite good. There are quite a few inspired synthesizer sounds, and they sound glorious. There is quite a bit to enjoy, and it has elements of Vangelis' style and sound with something more jarring and aggressive, perhaps NIN / Trent Reznor. As an accompaniment to the movie, the music is certainly effective and beautifully describes the action and vivid imagery. The only complaint is that I would've enjoyed more themes, melodies but overall quite good. Considering that it would be nearly impossible to top the original soundtrack, Hans Zimmer did an admirable job. He manages to capture the essence of the Blade Runner film within the music. The last song by a vocalist is irrelevant and unnecessary, and beneath the quality of the movie and the rest of this soundtrack.

Worthy Successor... almost. Yes, five stars although I do have a couple of nitpicks. I look at this in the same way I looked at Daft Punk's score for "Tron: Legacy" compared to the Wendy Carlos amazing off-time-change compositions for the original "Tron": younger minds, different ideas. Not fresh, but different. I was mostly glad that the music BR2049 wasn't some EDM-influenced racket. There's a place for that and this ain't it. I see some complain that it uses too much of the Vangelis-written themes which I really felt wasn't out of place. Much like Jed Kurzel's adaptations of Jerry Goldsmith's "Alien" score for "Alien Covenant", I found them to be a welcome note of familiarity in a visual world that's very much updated from the original. It's not unlike comparing scenes of NYC in the 1930's versus now. Where Vangelis's work was steeped in a classic "film noir" tradition (which probably was made moreso with the Deckard voiceover in the theatrical release of the original), Zimmer & Wallfisch have a more modern sound to fit a modern film. My two issues: Just me, but a little more organic, analog instrumentation in certain moments wouldn't have been a bad thing. The right instruments at the right time could've given certain dialogue passages a little more heft. Again, that's my armchair filmmaker side coming out to play. Then, there's that synth that sounds like they sampled a crotch rocket motorcycle in a tunnel and tuned it to suit their needs (reference "Pilot" around the 1:48 mark). Playing it though home speakers seems to take the harshness out a good bit but, in the theater, I guess I was sitting in the sweet spot where I'd get the brunt of whatever frequencies were gonna give my ribs a bit of a shaking.

Nice review by Darshan. Great opinion piece by Darshan— no bull just personal opinion and it’s appreciated.

bummer. Wish Johann did this soundtract

2017 and perhaps the decades most jaw-dropping film. To put it clear and simple this is probably the most captivating movie I have ever seen. And with any good movie comes an incredible soundtrack.

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