![]() The score opens with an exciting and frenetic action-packed choir piece humorously titled “160 BPM,” as in 160 beats per minute, or the tempo of the piece. ![]() ![]() And of course, Zimmer’s happy band of goons (this time it’s Lorne Balfe, Geoff Zanelli, and Atli Örvarsson) assist him here as usual. Most of his Angels & Demons score is purely orchestral, but a few tracks employ synth textures that, fortunately, do not detract from the score. ![]() Zimmer often is heavy on synth sounds and frequently employs the use of ghostwriters while taking full credit for his scores. Zimmer, much like composer James Horner, instantly sparks controversy amongst film score collectors. One’s enjoyment of this score, however, is likely predicated on one’s opinion of the composer. For his Angels & Demons score, Zimmer brings all that and more to create a score more enjoyable and better composed than his The Da Vinci Code score. Zimmer’s score for The Da Vinci Code was terrific the score included tension, elegy, brooding gothic chants, and a magical theme for the revelation scene at the end of the film. Ron Howard and Tom Hanks are back in this The Da Vinci Code sequel (even though the novel Angels & Demons was released first), and they again bring along Hans Zimmer and his usual band of goons to provide the score. ![]()
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