Zimmer creates a sound world full of texture, personality and new timbral possibilities.
Industrial. Mechanical. Brutal. These are the words acclaimed electro-acoustic composer Hans Zimmer uses to describe his music for Dune: Part Two, released in Australia on Thursday.
Creating a rich, textured sound world Zimmer looks to the film’s visual world – such as the costume colour palette, or the way the cinematographer shoots the film – to inform his sound and instrument choices. The result is a unique soundscape in keeping with the war-footing narrative at the heart of the film. The militaristic feel of the score is created through the use of deep drums and percussion, repetitive vocals and ominous synthesisers that range from warm tones to uncomfortable screeching metallic tonalities.
There are several familiar components, such as synthesised real-world elements, vocals and a repeat of melodies used in the first film. Both Paul’s and the Kwisatz Haderach melodies are repeated, as is the House Atreides theme. The lines are blurred between the soundtrack and the film’s sound design to create moments of building tension. For the viewer, the dynamic use of these musical elements creates an almost visceral experience.
The first track, Beginnings Are Such Delicate Times, expands on a theme we hear briefly in the first film – played in the bagpipes as the Atreides first arrive on the landing fields of Arrakis. In Dune: Part Two, this theme stands out as Zimmer has transformed it from a military announcement to a moment of pure emotion.
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