Crimson Tide

Review by Thomas Glorieux:

It were perilous times. Film music was considered more and more to be the epitome of orchestral grandeur yet more of these synthetic soundtracks started to prevail themselves and one man was considered to be the cause of all this mayhem. Yet in '94 and in '95 this sole mastermind captivated the world with movie music that didn't need to sound like this orchestral epic side and everyone except some forgave him. Hans Zimmer became legendary for his control of both and created scores that at itself became strongholds in the career of the German composer. I was talking of course about The Lion King and Crimson Tide, and this score was the example of all that was good about him. A super strong main theme that not only exploded onto screen with great thematic awe but did the same when the fans listening to it couldn't resist turning up that volume knob, the choral Russian sound so accustomed to submarine scores developing this unfelt mass of power that made it incredibly epic in scope and a tense rhythm that barely seemed to stop, giving you just the feel that it keeps on going forever. If you haven't figured it out by know, Crimson Tide is all that and I love it.

The score indeed has a main theme to be proud of, a theme that solely makes the score worth recommending. And perhaps this is why some see it as the best, others as the only thing that is good about it. For some this can mean that after everything that has been built, you receive this enormous explosion of sound that makes it seem like the best available. Yet others could set that theme to be the standard and then of course being disappointed as the rest is not of the same vein. The theme of course doesn't need to be subtle and only the enormous load of patriotism and pride is what Hans Zimmer needed to create, if 'Mutiny' and 'Roll Tide' are not the examples you wished of it, then I don't know what is. It builds and builds until the most explosive version is heard, often backed up with choir. Yet, just like The Hunt for Red October, this score needs to set more then just patriotism and the tense electronic samplings make the score not only effective but darn right fitting to the musical genre. 'Alabama' and '1SQ' are brilliant examples of creating a mood beyond your wildest dreams and even a look towards the film proves that Hans couldn't have done it any other way.

Of course, for some it will still turn out to be a disappointment. And even I can understand that. First of all, the score does indeed have a superior main theme and this can set your hopes up so high, that the rest can not equal the same scope. But for others it might have to do about the insane length of several tracks. One that lasts for 24 minutes is indeed not a track you can listen to again and again, just because it seems to run like forever. It is indeed a complaint you could make but then again, it might not. A long track can create this environment that almost makes it real, so that you the listener can like it for what it is, a track that creates tension and pace. Crimson Tide remains one of Hans Zimmer's most beloved scores and even if I don't listen to it often, it still creates the goods from the moment I hear its opening minutes. A respected movie score that captured a lot of people, not only for its thematic highlights, environment and effect, but more because it proves why submarine scores are so interesting to listen to. A recommended classic in and outside the film.

\ЕЕЕЕЕ/

Tracks

Single Disc

1. Mutiny (8.57) Excellent Track

2. Alabama (23.49) Excellent Track

3. Little Ducks (2.02)

4. 1SQ (18.03) Excellent Track

5. Roll Tide * (7.33) Excellent Track

* Includes hymn "Eternal Father Strong To Save"

Total Length: 60.31

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

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