Zanobard Reviews

Hans Zimmer’s Dune: Part Two feels like a thunderously bombastic continuation and expansion of the first film’s more quiet and moody opener, and that shift in tone allows for some truly spectacular weaving of the composer’s thematic tapestry for Dune – with the finest new thread being the absolutely gorgeous love theme for Paul and Chani.

The score for Dune: Part Two begins with “Beginnings Are Such Delicate Times”, and immediately as the track begins those signature percussive snares for Arrakis echo moodily through – just as they did in “Dream Of Arrakis” at the start of the first film – though with a murkier and slightly darker feel to them this time. This gloomier tone doesn’t last for long though, as the percussion then gives way to gently romantic woodwinds introducing Part Two‘s main theme. The motif actually originally served as the quieter beginning to the “House Atreides” theme from the first score, but has been given new purpose in this sequel soundtrack as the main thematic driving force for the love between Paul Atreides and Chani. The theme echoes peacefully through on said woodwinds for much of this eight minute opening cue, before then rising tremendously in the final ninety seconds as loudly bombastic synth and otherworldly electronics practically blast the now gorgeously romantic theme into centre stage. Wow, was my first thought. The film’s director Denis Villeneuve commented that he “wanted something heartbreaking, and the most beautiful love theme ever written” in reference to Zimmer’s spellbinding work for Part Two‘s main theme here, and while I’m not sure I’d agree with the ‘most beautiful love theme ever written’ part I will say that this theme is utterly mesmerising, and I’d certainly rank it up as Zimmer’s best piece of music for Dune so far. Hands down. It’s just… beautiful.

With the main theme fading grandly out, “Eclipse” draws us further back into the mystical musical world of Dune with eerie vocals and strings reprising the solemn motif from the first film’s “Holy War” cue. Deeply moody brass however then pulls the music further down into ominousness as the creepy ‘foreboding future’ side of the aforementioned track also returns in typically darkly downtrodden form. For the remainder of the five minute cue, frightening bursts of percussion and eerily echoing vocals and electronics then cement a particularly sinister tone. With the tonal stage set, the theme for Paul Atreides then returns on commanding vocals and woodwinds in “The Sietch” with the mystical Kwisatz Haderach motif following close behind, and all-in you could practically cut the sheer atmosphere set by the tracks so far with a knife, it’s just that rich. Zimmer sure knows how to craft a world in sound, I’ll always give him that. Chanting vocals then take centre stage in “Water Of Life” alongside ominous percussive rattles until the volume is dialed up to practically deafening levels in the back half, becoming almost unlistenable in its sheer intensity. The music however then calms for the subsequent “A Time Of Quiet Between The Storms”, as the main (and love) theme returns for a happily enjoyable concert piece – the theme opens gently and romantically on its hopeful woodwinds in the first half of this nearly five minute track, before then building to a simply spellbinding crescendo once again as those deafeningly otherworldly and beautifully serene electronics and synth notes reprise. Again, I have to say – it’s such a gorgeous main theme.

“Harvester Attack” takes us on our first foray into action territory, with malevolently chanting vocals, tense bursts of percussion and loudly imposing electronic notes thrust into the forefront alongside the occasional moody reprisal of the foreboding future motif for three thunderous minutes – until Paul’s theme then crashes in on screeching vocals at the end for a triumphant victory. Eerie electronics then open “Worm Ride” before the Kwisatz Haderach theme then practically bursts in on those iconic vocal yells from the first score, with Paul’s motif following on loudly grandiose and very otherworldly sounding brass – or at least, I think it’s brass. Action cue “Ornithopter Attack” then leans heavily on the percussive side of things for much of its runtime with the pace frantic and tensions high, and echoes of Paul’s theme manifesting on distorted electronics in the back half. “Each Man Is A Little War” then slows the pace dramatically down with unnervingly sinister ambience taking centre stage, before “Harkonnen Arena” darkens the tone considerably as moodily malevolent electronics and chanting vocals musically re-establish the titular villains of the story with echoes of “Armada” from the first score sounding tensely through. Notes from the gorgeous main theme then sound atmospherically through in the minute-long “Never Lose Me”, with the similarly short “Travel South” featuring Paul’s theme in triumphantly propulsive form on grandiose electronics. A couple of quiet vocal notes from the start of the “House Atreides” theme then fade solemnly through in “Paul Drinks” before a dramatic crescendo drowns them out.

The screeching Kwisatz Haderach yells shatter the quiet at the start of “Resurrection”, with moodily downtrodden ambience then descending afterward alongside echoes of whispering vocals that are very Bene Gesserit in tone. With the track approaching its end however additional, deeper vocals then reprise the darkly foreboding future motif. Deep, floor-shaking bass then opens “Southern Messiah”, with eerie vocals entering the fray and the foreboding future motif rearing its malevolent head once again as the cue continues, playing quietly at first before then bursting with deafening intensity in the back half with quiet echoes of “Holy War” again sounding through. “The Emperor” then practically makes your hair stand on end, as high-pitched strings open the track followed by some particularly imposing vocals and a dramatically imposing electronic crescendo. Flickers of tension start “Worm Army”, with sound effects flaring that actually sound like sand vibrating and moving alongside ominous synth notes. A rapid build-up of drums however then bursts through with considerable intensity in the final minute, with Paul’s theme emphatically reprising alongside screeching action vocals until cue’s end. “Gurney Battle” then continues this action foray with bursts of intense electronics and thunderous percussion, with only sequel track “You Fought Well” finally giving any reprieve from battle. Here Paul’s theme plays quietly and forebodingly, with eerie strings and deep, dramatic electronics setting a particularly unnerving tone throughout.

With the album fast approaching its end, “Kiss The Ring” opens in almost silence. Slowly though the synth-y atmosphere of Dune begins to seep back in, with gently romantic woodwinds once again starting to play the main theme alongside echoing vocals. A burst of emphatic electronics however then absolutely shatters the initial gentleness of the cue, with vocals singing and bells ringing as the main theme thunders in its loudest, most dramatic and indeed frankly epic rendition yet. A truly spellbinding sense of victory just descends over the music here, cementing it instantly as an absolute standout cue. Zimmer however is only just getting started with the emotional highs, as next track “Only I Will Remain” initially plays the quiet opening notes of the House Atreides and love themes before then slowly building over the course of its six minute runtime until the motif from “Holy War” then bursts in one last time – cementing itself as Paul’s Victory theme on deafening bursts of dramatic electronics, soaring vocals and triumphant synth notes. To close out the score, “Lisan Al Gaib” then opens with one last reprisal of the Kwisatz Haderach theme on electric guitar before moody strings echo a keen sense of mystery for the next few minutes, slowly building up Paul’s motif with the occasional flutter of notes until the full theme starts to play at the halfway mark, with it then echoing mystically through all the way to the end.

Overall, Hans Zimmer’s wondrously and indeed densely atmospheric musical world for Dune returns in more breathtaking form than ever with his score for Part Two. The forebodingly dramatic musical style returns in full force and the themes from the first film reprise in quick succession, with heavy emphasis naturally placed on Paul’s and the Kwisatz Haderach motifs, but it’s actually with the “House Atreides” theme where surprisingly the most focus is held. The gentler side of the aforementioned track forms the basis for a beautifully romantic love theme for Paul and Chani – and acts as the main theme for the film as a result – which combined with some exquisite woodwinds and gorgeously bombastic synth makes for an utterly spellbinding piece of music overall, and it’s various notable appearances – “Beginnings Are Such Delicate Times”, “A Time Of Quiet Between The Storms”, “Kiss The Ring” – are simply the best parts of the score respectively. The moody ‘foreboding future’ motif from the first score then acts as a sinister dread-inducing counterpoint to the love theme’s dramatic hopefulness throughout the album – as do the Bene Gesserit and the creepy new Emperor themes – though the more hopeful side is backed by further “Holy War” reprisals, now emphatically transformed into Paul’s Victory theme – and overall the way each and every one of Zimmer’s excellent themes here weave and dance together across Part Two‘s score is an absolute musical spectacle to say the least, and for me a bombastic and indeed triumphant step-up from the first film’s quieter and moodier feel.

I do wish there were more bagpipes though. Small nitpick.

Score: 8.5/10

Standout Cues: 5. A Time Of Quiet Between Storms/23. Kiss The Ring/24. Only I Will Remain

Follow me on Twitter for the latest soundtrack and review-based news!