Black Hawk Down

Review by Thomas Glorieux:

Whenever someone looks forward to Ridley Scott's upcoming movie, he is also looking forward to Hans Zimmer's accompanying score. Together these two Hollywood products have created versatile elements in both view as tone. And one of those reoccurring elements is Hans Zimmer's complete change of tone whenever the situation calls for it. This is one of the things that keeps me intrigued for a very long time, the sudden change in tone making the discovery both a challenge and a worthwhile experience. Also, the reason why I for instance can appreciate more a daring move than an expected one lies completely in the difference in tone and preparation. And while all people were looking forward to Black Hawk Down, being the war movie with action from start to finish, I was actually waiting with what Zimmer would bring us this time. The sight at the end isn't pretty, nor is the movie but this is just difference in every part you can imagine it. Decca's release in fact brings perhaps the biggest difference you can find today and surprisingly critics didn't bother with it. While Pearl Harbor was easy to listen to, they didn't find something interesting and Black Hawk Down is interesting enough to warrant a listen, and listens it requires to accept its roughness because it is Zimmer doing something completely different.

From start to end, we don't hear Peacemaker action rhythms and no full avand garde melodic tracks but just difference. Black Hawk Down is different from any score you have heard today and perhaps that's why a lot of people see it as a more interesting score than Pearl Harbor. It starts strange and it ends strange, making the link complete. The first track 'Hunger' completely sets the tone straight, hearing an African vocal, African based rhythms mixed through a rough (Mission: Impossible 2) based edgy rhythm, together showing both sides of militia (Somalia and America). Its all about making the music count during the movie and this risky maneuver makes its more satisfying than Pearl Harbor could have ever done in place of it. The score also sounds An Everlasting Piece in places, track 3 (because of the bagpipes) and Mission: Impossible 2 linked because of the rough edge acquired with the Western based music, like in track 4. Zimmer also made the impact by using different performers, making the music as diverse as possible, or different to describe it the best. Heitor Perreira lends his ear in 'Mogadishu Blues' which is extremely interesting to listen to and we also hear additional music by people that call them the BHD band, its merely Hans Zimmer and several names put together.

Black Hawk Down's pinnacle moment is track 7, either you'll accept 'Synchrotone' or not but surely this track must make impact during the movie. First rough music crosses the line of the audible but truly becomes inspiring when the final minutes show an emotional side with the use of soft music. Without knowing what this track does in the movie, I know without doubt this makes impact from start to finish. The final tracks are the best with one being the duo performance of Denez Prigent & Lisa Gerrard in the track 'Gortoz A Ran / J'Attends', a completely inspiring piece of vocals mixed together and by making so the effect even more tantalizing, and in fact I liked the effort of Denez Prigent much more than Lisa Gerrard's performance (which frankly didn't last long in the track). Its followed closely by the best emotional track of Zimmer, 'Leave no Man Behind'. This track is 6 minutes of continuing building music (a bit like An Everlasting Piece) but uses such an inspired theme that it can only silence you during the movie. Also the song by Joe Strummer & The Mescaleros makes impact during the final minutes of the score. Together with a fitting 'Still Reprise', which is actually close to Thin Red Line sounding it makes Black Hawk Down different but equally interesting in its effect.

But why interesting if it doesn't offer much truly melodic? This is because even without seeing the movie, you simply know this fits the movie with 100 percent accuracy. The 67 minutes coming of Decca are appreciating if even a but too much but continuing listens make the score more appreciative and especially higher in quality. I know without doubt that some people will hate what Zimmer created here, and more that they will criticize it for not being melodic. But you have to draw the lines because Pearl Harbor was melodic but not fitting and Black Hawk Down interesting but not satisfying. For me it is the intriguing quality that makes it satisfying in its context and is such a score that doesn't need melodic tapestry to make it work. Sometimes a different attempt can do miracles for the listener and in a year that perhaps shows the biggest diversity in war scores, Black Hawk Down stands as the winner in making the effect on disc as in the movie. Also, a part that makes it intriguing are the songs and for once these are as fitting as the score itself. Guaranteed, the score needs multiple listens, could have been 10 minutes shorter and will no doubt put patience's on the test but overall Black Hawk Down feels more advanced than Pearl Harbor and perhaps time, effort and ingenuity has a lot to do in making the score work.

Score: ***
Songs: ***1/2

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Tracks

Single Disc

1. Hunger (6.35)

2. Barra Barra: Rachid Taha (5.47)

3. Vale Of Plenty (2.27)

4. Chant (2.33)

5. Still (4.48)

6. Mogadishu Blues (2.53)

7. Synchrotone (8.55)

8. Bakara (3.12)

9. Of The Earth (2.19)

10. Ashes To Ashes (4.43)

11. Gortoz A Ran / J'Attends: Denez Prigent & Lisa Gerrard (5.51)

12. Tribal War (2.39)

13. Leave No Man Behind (6.18)

14. Minstrel Boy (Film Version): Joe Strummer & The Mescaleros (5.42)

15. Still Reprise (2.12)

Total Length: 67.03

The use of artwork or photos is posted for non profitable reasons

=== Link to Composer Site: Hans Zimmer ===