The Ring / Ring 2

Review by Thomas Glorieux:

Through mysterious ways the film music community works, and occasionally the companies of movie soundtrack distributors works a hand in it too. So was one of Zimmer's most heralded scores (especially because of its effect and non Zimmer like tone) was worshipped by fans, but frustratingly unreleased for the mass populous, and only several promo additions satisfied the appetite. Now comes with Ring 2 (a score normally Zimmer would have written but left it for his fellow cello member of the first score namely Martin Tillman) also the score for The Ring, the first and foremost best of the 2 Japanese horror Americanized versions. And to hear Zimmer's music sharper yet longer makes the fans glad again they have waited so long for the inevitable release. The first score by Zimmer might be a moody subdued orchestral scare score, its at least an extremely effective one, and those 7 tracks of Zimmer prove in abundance the incredible effect the music made in the film itself. 'The Well' starts with the Aidan piano theme, growing with cello's, menacing after it and the orchestra setting the rhythm, what's most delicious about this track is the variated form in which the main theme progresses, and after 6.00 its got the best version of all. 'Before you Die you See the Ring' has again the danger main theme and starts to tinkle with piano and cello, but its especially the moody solo piano and strings that steal the effective show. 'This is Going to Hurt' captures the angry classical cello strokes and is a track that was missing from the promo, quite nicely placed in between what was already presented. 'Burning Tree' is another 10 minute whopper and the main theme is heard menacingly in the opening, orchestra and cello's in the most classical sense take the side of the horror music, and the growing mix of the danger theme lets the track be alive, as also the dissonance near the ending.

Sadly 'Not your Mommy' is more plucking pizzicato and too dark to enjoy, while 'Shelter Mountain' grows with loud dissonance to effective scare techniques, 'The Ferry' was also missing on the short promo and has a lovely cello tone, but the percussive end with cello strings shows the horrible ending of the scene even without visuals. And the master cello player of The Ring, namely Martin Tillman then took on the job of Ring 2 alongside Henning Lohner, most known lately of Laura's Stern. Sadly, their technique for the second movie is based on the ideas of the themes of Zimmer, but messes it around in even half the listening length of Zimmer's affair. Namely 'I'll Follow your Voice' starts with piano and classical strings and basically mood, but this one is the track closest to Zimmer's score, since the rest takes the themes and makes techno tones of it. 'She Never Sleeps' has the main theme tinkling with electronic accompaniment, and basically beats push always the orchestral feel away. 'Let the Dead get In' is kinda nice, more optimistic with piano and beat and while the electric guitar makes an unwanted appearance, it also sadly reminds you of Black Hawk Down, which we then ask "isn't it a whole different genre?" But as much as you can criticize these, its nothing compared to the horror of 'Seven Days' and 'Television', these are the real insult for Zimmer fanatics since its got nothing to do anymore with Zimmer's music as basic film music. 'Seven Days' has Aidan's theme, growing beats and horror effects, the cello remains the same, yet however the voice of Tamara, phone dials and the beat makes it like a techno song you will hear in disco's in the future, and sadly 'Television' just continues that manner, with electric guitar joining, and repeating basically 2 to 3 times the same score, meaning no boundaries are anymore necessary for film music standards, meaning its not like it has to accompany the visuals, therefore its totally non fitting as score material. Of course the second movie received lots of bad criticism and therefore will not be missed that much, but it makes Zimmer's effort seem like the superior effort, which it is by mood, themes and effect alone. The Ring is a terrific subdued yet powerful affair, and is recommended before the horrible out of tone follower sadly ends the album.

The Ring "Promo"

It's not often a score by Zimmer gets unreleased for the mass populous since that happened only when he was composing films in the '80 and early '90. Now, Zimmer is to many a god and filmmakers always go to him before the students of MV are assigned to that specific movie. But Hans Zimmer knew it was not wise to pass up this project since it basically gave him a challenge from start to finish and more, introduced him to a genre he basically didn't compose anything for. The American version of the hit movie Ringu became so attached to Zimmer's filmography and it is to me obvious that Gore Verbinski's movie became a sensational thriller. It does keep you enthralled from the begin and the ending kept me nailed to the seat. It also has few distinct scary moments but when they arrive, you will scream for mercy. For fans of the composer, The Ring was a major disappointment because they could only experience the score in the film since Zimmer's music didn't receive a CD release. The best thing is, The Ring is an absolute match in the film and one of the few Zimmer scores that so effectively captures the movie in its essence that even a low background horror effort is spotted so easily in the context. That was simple, because Zimmer's score is all about ambience, mood and the frequent cello solos which unleash the thrill to the audience in the most effective way. The Ring is no example of the best Zimmer score, but it is the best effective score in a long time and the sole reason why so many people screamed for a release was because of this effectiveness, it literally makes the movie and on disc, it at times blows me away with its ideas.

This is a promo version consisting of 25 minutes and 8 tracks, and unfortunately misses some highlights I remembered in the movie. On the other hand, those 25 minutes make something and that is ambience in a moody dominating listen. Zimmer perhaps composed two non spectacular themes but when they appear in their most effective form, they create what The Ring needed and there lies the brilliance. There is Aidan's theme, mostly performed on piano such as in 'Aidan' or in 'The Lighthouse'. However it also appears in 'End Credits' whether through piano or a little female voice singing it over the last dying seconds ala the children did laughing at the end of Poltergeist, it is a neatly intriguing moment. The other theme is the main theme which works on many levels and Zimmer states it from the first track 'Seven Days to Die'. However Zimmer is careful to let this theme grow and only here do we receive the first few notes on cello. The great thing is, Zimmer constantly pokes around with false statements of the main theme before it receives great but short attention in 'Under the Rug', here the piano sets the rhythm and the cello's the scare, together they form a most effective theme's performance. Of ambience we have either the scary mystifying whooshes of a choir in the first track ala The Sixth Sense or Devil's Advocate and a rather disappointing 6 minute track 'Floating Minds' which simply moves ahead without any specific melody or theme.

From track 6, the score does improve greatly with powerful strokes of the cello in 'Overboard', stating further signs of the main theme with Goldenthal and Reign of Fire frightening cello moments. And further does 'End Credits' provide any musical moment in a excellent suite form, whether it is the piano theme, short swelling of cello's (performed by additional composer Martin Tillmann and Anthony Pleeth) or through darker strings which bring the classicism of Hannibal to mind. Altogether The Ring is simply a unique listen. One that doesn't promise many divvying moments but in fact some of the most effective non horror music composed. Hans Zimmer's ideas are spot on the money and the effectiveness only enhances the movie to what it became today, a darn good thriller. Personally, I'm capable of stating whether or not The Ring deserves a release and I would have to say that it does deserve one. It is not music you will enjoy but it is music that will intrigue you. Simply the fact that Zimmer used two cello's, a piano and various strings brings to mind that the score does offer more oomph then you would innitally think. A short listen which could have expanded in a 35 minute CD release would proof the quality of The Ring, an effective listen with several great ideas (I simply love the moments when the cello's raise the tension and fright of the music to new levels). Zimmer's score is then also a unique effort which many fans are still crying for. I then hope we will see the next few words soon, "Before you die, you will see ... a CD release of The Ring" Let's hope!

The Ring: *** / Ring 2: **
The Ring "Promo": ***

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Tracks

Single Disc

1. The Well (11.24)

2. Before You Die You See The Ring (7.09)

3. This Is Going To Hurt (2.48)

4. Burning Tree (10.13)

5. Not Your Mommy (3.59)

6. Shelter Mountain (4.10)

7. The Ferry (3.15)

8. I'll Follow Your Voice (6.28)

9. She Never Sleeps (2.17)

10. Let The Dead Get In (4.00)

11. Seven Days (3.24)

12. Television (4.00)

Total Length: 63.11

The Ring "Promo"

1. Seven Days To Die (1.57)

2. Aidan (0.45)

3. Drawing / Investigation (2.33)

4. The Lighthouse (2.32)

5. Floating Minds (6.09)

6. Overboard (1.54)

7. Under The Rug (1.23)

8. End Credits (7.44)

Total Length: 25.06

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

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