[Hi-Res] Hans Zimmer – Interstellar

[Hi-Res] Hans Zimmer – Interstellar

Hans Zimmer – Interstellar (Original Motion Picture Soundtrack) (2014)

Label: Music On Vinyl – MOVATM023, WaterTower Music – none
Series: At The Movies
Format: 2 × Vinyl, LP, Album, 180 gram, Cosmic Black
Country: Netherlands
Released: 09 Mar 2015
Genre: Electronic, Classical, Stage & Screen
Style: Score, Ambient, Contemporary, Modern Classical, Soundtrack

Vinyl Rip in 24/96

Rip by enexur


Side 1

A1 – Hans Zimmer – Dreaming Of The Crash
A2 – Hans Zimmer – Cornfield Chase
A3 – Hans Zimmer – Dust
A4 – Hans Zimmer – Day One
A5 – Hans Zimmer – Message From Home

Side 2

B1 – Hans Zimmer – Stay
B2 – Hans Zimmer – The Wormhole
B3 – Hans Zimmer – Afraid Of Time
B4 – Hans Zimmer – A Place Among The Stars
B5 – Hans Zimmer – No Time For Caution

Side 3

C1 – Hans Zimmer – Murph
C2 – Hans Zimmer – Detach

Side 4

D1 – Hans Zimmer – Running Out
D2 – Hans Zimmer – Tick-Tock
D3 – Hans Zimmer – Where We’re Going
D4 – John Lithgow, Ellen Burstyn, Casey Affleck, Jessica Chastain, Matthew McConaughey, Mackenzie Foy – Do Not Go Gentle Into That Good Night
Written-By [Poem] – Dylan Thomas

Companies etc

Phonographic Copyright (p) – Warner Bros. Entertainment Inc.
Copyright (c) – Warner Bros. Entertainment Inc.
Copyright (c) – Paramount Pictures Corporation
Recorded At – Air Lyndhurst Hall
Recorded At – Temple Church, London
Mixed At – Remote Control Productions


Bass – Mary Scully
Bassoon [1] – Richard Skinner
Bassoon [2] – Lorna West
Bassoon, Contrabassoon [3] – Rachel Simms
Bassoon, Contrabassoon [4] – Gordon Laing
Cello [First] – Caroline Dale
Choir – London Voices
Choir [Master] – Ben Parry, Terry Edwards
Clarinet [1] – Nicholas Bucknall
Clarinet, Bass Clarinet [C Extension] [3] – Martin Robertson
Clarinet, Bass Clarinet [C Extension] [4] – Duncan Ashby
Clarinet, Clarinet [High Eb] [2] – Nick Rodwell
Clarinet, Contrabass Clarinet [5] – David Fuest
Clarinet, Contrabass Clarinet [6] – Alan Andrews
Conductor [Orchestra] – Gavin Greenaway, Richard Harvey
Contractor – Isobel Griffiths
Engineer [Additional] – Christian Wenger, Daniel Kresco, Seth Waldmann
Engineer [Technical Score] – Chuck Choi, Stephanie McNally
Engineer [Technical] – Dan Cole, Matt Kingdon
Flute [1] – Karen Jones
Flute, Flute [Alto] [5] – Rowland Sutherland
Flute, Flute [Alto] [6] – Siobhan Grealy
Flute, Piccolo Flute [2] – Helen Keen
Flute, Piccolo Flute [3] – Paul Edmund Davies
Flute, Piccolo Flute, Flute [Alto] [4] – Anna Noakes
French Horn [First] – Richard Watkins
Harp – Skaila Kanga
Liner Notes – Christopher Nolan, Hans Zimmer
Mixed By [Score], Recorded By [Score] – Alan Meyerson
Music By, Composed By, Producer, Piano, Synth [Programming] – Hans Zimmer
Music Consultant – Czarina Russell
Music Librarian – Jill Streater
Musical Assistance [Preparation] – Booker T. White
Oboe [1] – David Theodore
Oboe [2] – Matthew Draper
Oboe, Cor Anglais [3] – Jane Marshall
Oboe, Cor Anglais [4] – Janey Miller
Orchestra [Leader Of The 1sts] – Thomas Bowes
Orchestra [Leader Of The 2nds] – Roger Garland
Orchestrated By [Orchestration] – Andrew Kinney, Carl Rydlund, Elizabeth Finch, Kevin Kaska, Suzette Moriarty, Walt Fowler
Organ [At Temple Church Performed By] – Roger Sayer
Other [Air Studio Bookings] – Alison Burton
Other [Ambient Music Design] – Mario Reinsch
Other [Assistant To Hans Zimmer] – Cynthia Parker
Other [Booth Reader] – Chris Craker, Steve Mazzaro
Other [Digital Instrument Design] – Mark Wherry
Other [Sampling Team] – Ben Robinson, Raul Vega, Tauress Habib
Other [Score Mix Assistant] – John Witt Chapman
Other [Studio Manager For Remote Control Production] – Shalini Singh
Other [Supervising Music Editor], Producer – Alex Gibson
Percussion [Tuned] – Frank Ricotti
Piano [Quartet] – Andy Vinter, Dave Arch, John Lenehan, Simon Chamberlain
Producer – Chris Craker, Christopher Nolan
Production Manager – Steven Kofsky
Programmed By [Sequencer] – Andrew Kawczynski, Steve Mazzaro
Recorded By [Pro Tools At Lyndhurst Hall] – Chris Barrett
Recorded By [Pro Tools At Studio 1] – Laurence Anslow
Recorded By [Pro Tools At Temple Church] – John Prestage
Recorded By [Score] – Geoff Foster
Score Editor – Ryan Rubin
Steel Guitar – Chas Smith
Strings [Quartet] – Bruce White, Emlyn Singleton, Rita Manning, Tim Gill
Supervised By [Orchestrator] – Bruce L. Fowler
Technician [Assistant/Abbey Road Mobile] – John Barrett, Jon Alexander
Technician [Technical Assistant] – Jaqueline Friedberg, Leland Cox
Viola [First] – Peter Lale
Violin – Ann Marie Simpson


– 180 gram audiophile vinyl
– Gatefold sleeve
– 4-page booklet
– PVC protection sleeve

Barcode and Other Identifiers

Barcode: 8718469538058
Matrix / Runout (Side A): [stamped] 11597 1A MOVATM 023 [etched] THE END OF THE EARTH..
Matrix / Runout (Side B): [stamped] 11597 1B MOVATM 023 [etched] …WILL NOT BE THE END OF US
Matrix / Runout (Side C): [stamped] 11597 1C MOVATM 023 [etched] MANKIND’S NEXT STEP…
Matrix / Runout (Side D): [stamped] 11597 1D MOVATM 023 [etched] …WILL BE OUR GREATEST.

In recent years, film scores have been following a certain trend. Composers seem to have this motif of creating overblown pieces (particularly in action films) with horns blasting out from the blue and background strings creating suspense with their melodies. It was most likely when the Christopher Nolan film Inception came out in 2010 when that fad started to settle in people’s minds as it quite literally blasted us with its overblown nature with its film score. Sure it was fun for a while, but within that little span of time listeners were just begging for it to stop because composers had this knack for just creating this style just for the hell of it. And Hans Zimmer was bretty much the center of it all, especially considering the fact that he did the score for Inception.

So one would think that a Hans Zimmer score would equal a completely overblown barrage of blasting horns and pretentious amounts of string melodies, right? In a surprising manner, the answer is no, or at least in this occasion. For the most part, his material of Interstellar (another Christopher Nolan film I might add) is actually toned down a lot compared to the other scores he’s produced. Now granted, Interstellar does take place in space, and so one would expect it to have a more ambient tone. Most likely similar to that of something like Steven Price’s score for Gravity. That being said, Gravity was a thriller, so the over-the-top nature that the score had was more or less acceptable. Interstellar on the other hand is a dramatic film, so a more subtle and subdued mood would be a more obvious choice.

Zimmer would’ve been more or less a last choice for a film such as this, since he’s been recognized from action films. However, not only is this Hans Zimmer’s best film score in years, but it’s quite possibly one of the best musical scores to come out since the beginning of the decade. Sure it does have it that typical over-dramatic feel to it in certain moments. But those are only moments, not entire songs, when that happens. Most of this album is soothing, subtle, relaxing, and sometimes uncomfortable. And when those horns create those typical blasts that most people will recognize, it actually works the way it’s supposed to. Songs like “Mountains” and “Coward” build up suspense ever so perfectly and then when they reach their well-placed church organ filled climax you’re left of the edge of your seat throughout. “Coward” especially manages to succeed in this more than any other song in the record, as the those small little beats sound like a clock, ticking down the time towards the climax while the rest of the instruments build up the suspense more and more and ever so slowly; practically to the point of being rather creepy (most likely helped by the organ). Then you have songs like “Running Out” and “Dust” that are subdued and laid-back yet they have a very sinister feel to them that just leaves you in a rather uncomfortable state.

But the score is at its most beautiful during the melodies. “Stay” and “Where We’re Going” create such a subtle yet powerful tone to the album that it feels almost dreamlike. It feels free, broad, open and spacious, as if you’re actually in space. Even the quiet moments such as in “Message From Home” create this phenomenal aspect of creating an emotional experience that flows freely among itself and it just leaves you in such awestruck wonder. I can’t find any other soundtrack that manages to capture the beauty and magnificent imagination that the film managed to bring as much as this one.

To put it in a precise manner, Interstellar is one of the most intriguing, ambitious, and incredible film scores in years, and easily one of Hans Zimmer’s best records in years. Using the emotional tone that it sets for itself as well as its climactic moments to its advantage, this record manages to engage the audience in a manner that one wouldn’t expect, and it succeeds in detaching away from the standard film score clichés that one would expect from a film like Interstellar. What else could I say, it’s just down right amazing.

foobar2000 1.3.6 / Dynamic Range Meter 1.1.1
log date: 2015-03-22 18:41:36

Analyzed: Hans Zimmer / Interstellar (Original Motion Picture Soundtrack) (1-15)
John Lithgow , Ellen Burstyn , Casey Affleck , Jessica Chastain , Matthew McConaughey , Mackenzie Foy / Interstellar (Original Motion Picture Soundtrack) (16)

DR Peak RMS Duration Track
DR13 -3.34 dB -22.15 dB 3:56 01-Dreaming Of The Crash
DR10 -3.40 dB -20.05 dB 2:06 02-Cornfield Chase
DR11 -2.94 dB -19.65 dB 5:41 03-Dust
DR11 -1.53 dB -18.99 dB 3:19 04-Day One
DR13 -12.50 dB -33.05 dB 1:40 05-Message From Home
DR10 -0.85 dB -15.83 dB 6:52 06-Stay
DR10 -0.46 dB -18.04 dB 1:31 07-The Wormhole
DR15 -15.14 dB -34.30 dB 2:32 08-Afraid Of Time
DR11 -5.52 dB -22.88 dB 3:27 09-A Place Among The Stars
DR12 -0.38 dB -18.73 dB 4:05 10-No Time For Caution
DR12 -0.10 dB -19.07 dB 11:21 11-Murph
DR10 -0.63 dB -15.81 dB 6:42 12-Detach
DR10 -8.79 dB -26.37 dB 1:57 13-Running Out
DR13 -0.42 dB -17.98 dB 8:19 14-Tick-Tock
DR13 -0.41 dB -20.37 dB 7:41 15-Where We’re Going
DR15 -9.56 dB -28.61 dB 1:37 16-Do Not Go Gentle Into That Good Night

Number of tracks: 16
Official DR value: DR12

Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2484 kbps
Codec: FLAC

Ripping Info

Kenwood KD-990
Audio Technica OC9 ML/II
Project Phono Box RS: Subsonic Filter = On
Tascam US 366
recorded in 32 Bit 192 Khz with iZotope RX3 Advanced
manuall deklicking – iZotope RX2 Advanced (iZotope RX2+RX4 filter)
edited groove noise
splitting Tracks – iZotope RX2 Advanced
tagging – Foobar (discogs plugin)
to FLAC – Foobar with FLAC 1.3.0 Level 8

no denosing
no equalizers
no dithering




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