Giving us our first real glimpse of what will be the musical soundscape of Denis Villeneuve’s upcoming Dune film, WaterTower music have today released the first of what will ultimately be three Dune albums from Hans Zimmer. This first one, The Dune Sketchbook, is a pretty substantial one, one hour and forty-two minutes of what I presume are sonically finished (they certainly are not demos), works-in-progress musings and expansions of themes and motifs that we’ll hear on the official soundtrack (released September 17th, apparently).
I’m not really one for buying soundtracks ahead of a films release; I remember hearing the The Empire Strikes Back album before it came out over here in the UK (I seem to recall it came out before the film did Stateside, too), and have found I much prefer seeing a film ‘fresh’ and experiencing the music at the same time as the rest of the film.
But the idea of The Dune Sketchbook seemed an intriguing one, and presumably much of what I’ve heard here will be different in the film and much of the actual score re: themes, motifs etc will be missing from this. Its also quite possible that these versions will be more rewarding than the official soundtrack counterpart, as these pieces are not constrained by the whims of film editing etc. and have been given plenty of room to ‘breathe’.
LOTS of room: some of these tracks are very long. The album has nine tracks but they are really each more lengthy musical essays or suites than simply ‘tracks’: the two best pieces, I See You In My Dreams and House Atreides are substantial: the first is eighteen minutes long and the other just shy of fourteen. I remember entire soundtrack releases totalling less music than that of just those two tracks. There’s some very good stuff in the other tracks (Pauls Dream and Moon Over Caladan spring to mind) while in others Zimmer slips into less easy-listening, experimental sound design, but its all quite fascinating stuff, even when it descends into the very weird. There’s an atmosphere to it all that is very promising: its not scoring in the traditional John Williams/Jerry Goldsmith sense that is sadly missing today, but it does have a clear identity and sense of self which is quite refreshing. That said, I’m sure people more familiar with Zimmer and his colleagues doing the ghost-writing will have fun picking out bits similar to earlier scores like Gladiator or Dunkirk etc.
That being said, I did sense a distinct Vangelis vibe to some of it, particularly the two standout tracks I mentioned earlier. I suspect Zimmer still had some of his old keyboards handy that he’d pulled out of storage for the Blade Runner 2049 score, because there is a Vangelis feel to some of those electronics weaving through the voices. Also reminded me of the Tron Legacy score (which itself nodded somewhat to Vangelis with its ‘old-fashioned’ analogue synth pads etc). Indeed, the voices that are a big part of the score’s soundscapes (at least the experimental workouts here) remind me of Vangelis’ work with Irene Papas: latter parts of the track I See You In My Dreams which feature a woman’s voice in an unknown (native Fremen?) dialect weaving through electronic drone reminded me of the Vangelis/Papas track Song of Songs from their Rapsodies album (which is a brilliant albeit obscure album) and also Vangelis’ See You Later album, in how Vangelis featured spoken and sung vocals in that album’s partly dystopian music.
The House Atreides track breaks out into a bold anthemic piece that will inevitably remind some of Braveheart’s James Horner score (or indeed Bear McCreary’s Battlestar Galactica music) but to me pointed almost directly to Vangelis’ Chariots of Fire score, particularly the triumphant swells of Eric’s Theme (possibly even more so in Vangelis’ re-recording album for the London play from a few years back). I’d never imagined music like this for the Atreides but it does make perfect sense; its noble, heroic, clearly signifying the hope and tragedy of what befalls them: an emotional quality totally missing from, say, the David Lynch film.
I’m not suggesting Zimmer is being a plagiarist here, its just that I’m hearing plenty that I like, especially as I’m such a huge Vangelis nut. This album is certainly worth a punt for those curious, and while I’ll be leaving the official soundtrack proper until I’ve seen the film, I’m sure I’ll be listening to this a lot in the meantime up to the film’s release. On the strength of this album I think its very easy to get just all the more excited regards what Zimmer has been doing for this film: it could be great.
Really, at this point, is there anything negative one can say about Villeneuve’s film other than its a Part One currently without a Part Two? You can almost touch the hope and positivity about the film, its difficult not to get swept up by it. If this film turns out to be as great as it might be and still flops at the box office… ugh, I can’t bear to imagine.