#hanszimmer — Public Fediverse posts

On the 12th of September 1957: #HansZimmer, German Grammy and Academy Award-winning film score composer (The Lion King; Dune (2021); Inception; Kung Fu Panda), born in Frankfurt, West Germany.
#HappyBirthday #69 ⋆｡°✩🧸✨🧁 ⋆｡°✩

On the 12th of September 1957: #HansZimmer, German Grammy and Academy Award-winning film score composer (The Lion King; Dune (2021); Inception; Kung Fu Panda), born in Frankfurt, West Germany.
#HappyBirthday #69 ⋆｡°✩🧸✨🧁 ⋆｡°✩

On the 12th of September 1957: #HansZimmer, German Grammy and Academy Award-winning film score composer (The Lion King; Dune (2021); Inception; Kung Fu Panda), born in Frankfurt, West Germany.
#HappyBirthday #69 ⋆｡°✩🧸✨🧁 ⋆｡°✩

On the 12th of September 1957: #HansZimmer, German Grammy and Academy Award-winning film score composer (The Lion King; Dune (2021); Inception; Kung Fu Panda), born in Frankfurt, West Germany.
#HappyBirthday #69 ⋆｡°✩🧸✨🧁 ⋆｡°✩

On the 12th of September 1957: #HansZimmer, German Grammy and Academy Award-winning film score composer (The Lion King; Dune (2021); Inception; Kung Fu Panda), born in Frankfurt, West Germany.
#HappyBirthday #69 ⋆｡°✩🧸✨🧁 ⋆｡°✩

https://www.europesays.com/at/389197/ Gema-Auswertung: Das sind die beliebtesten Songs in Frankenthal – Frankenthal #Abba #AT #Austria #EllaFitzgerald #EltonJohn #Entertainment #Frankenthal #HansZimmer #Music #Musik #Österreich #TimRice #Unterhaltung #web

💁🏻‍♀️ TIL: 🦁👑 A new four-part #NationalGeographic series follows cub Kio and his pride in #Kenya for four years as he grows toward adulthood.

Filmmakers logged over 1,400 hours using specialized #camera rigs without manipulating footage. The #story hinges on his mother Summer and his brotherhood, showing real lion cooperation that contrasts with solitary paths to power.

👉 https://www.sciencenews.org/article/lion-documentary-series-review-natgeo

#lions #cubs #natgeo #animals #wildlife #documentary #savanna #masaimara #jonfavreau #bbc #hanszimmer #cats #bigcats #nature

Anfang der 2000er war Hollywood von Serienmördern besessen. Die Ermittler wurden zu Genies, die Killer zu Superhirnen und das Publikum durfte sich am Ende über eine sauber gelöste Gleichung freuen. Sean Penn hatte auf dieses Spiel offenbar keine Lust. Er erzählt stattdessen von einem Mann, der an seinem Glauben zerbricht, die Welt würde am Ende einen Sinn ergeben. Dieser Mann ist, ausgerechnet, Jack Nicholson. (ARD, Wh.)

Hop, on est lundi, donc, oui, c'est l'heure de souhaiter au Fédiverse une excellente journée (courage, ça va le faire, en plus, la chaleur a notablement diminué 💪), mais aussi de vous partager mes notes de la semaine !

On cause bien entendu Pokopia, mais aussi The Mentalist et des nouveaux trucs comme The Magicians ou un concert de Hans Zimmer. Ca parle aussi d'écrans e-ink 👀

https://blogz.zaclys.com/irisdessine/notes-hebdos-semaine-du-1er-juin-2026

#blog #blogz #zaclys #NotesHebdo #pokopia #TheMagicians #ClanDesOtori #HansZimmer #TheMentalist #e_ink #remarkablePaperProMove #reMarkable

An organ recital with Anna Lapwood

Before we start, let’s just make this clear: This has nothing to do with anatomical dissections. The organs involved in this concert might be bigger than a muscle vehicle owned by someone said to have a small organ, but they refer to different things. Are we clear about this? This concert is totally G rated.

Forgive me, but this organism didn’t know who Anna Lapwood was before he booked his ticket to this concert. Oh, he knew she was an organist because he is organised and read the Sydney Symphony Orchestra’s guide when he was searching for concerts to subscribe to so he could book his precious film music concerts targets. There were a couple of film music pieces in her concert list, so that would do to fill up another spot. Anyway, the organ is an interesting instrument in itself, right?

It turns out that Anna Lapwood is a big star on the socials.

A damn fine pipe organist, musician and communicator.

And a huge fan of film music.

When I received an email from the orchestra telling me that four of the other pieces listed were dumped and replaced with a suite from Lord of the Rings I was suddenly really looking forward to this concert. Film music. Pipe organ. Wow!

And it was sold out too. Except for the empty seat next to me. Sorry whoever booked that. You missed out.

This wasn’t quite my first pipe organ concert. I once had the pleasure of hearing a short, but very impressive, performance at the Melbourne Town Hall prior to an orchestral concert of film music by the Melbourne Symphony Orchestra a decade or two ago.

I also have a little bit of family history with the pipe organ. One of my uncles rebuilt a small organ in the basement of his previous home in Adelaide and served as a consultant for the instrument on the set of the Australian movie Sweet Country.

I don’t think he appreciates film music though.

For a star of the socials there seemed to be quite a few in the audience approaching my uncle’s advanced age. There were plenty on the other side of the spectrum too. Even the rear stalls were filled with an excited crowd. The only empty spot was the stage, for most of the action takes place high above.

A magnificent pipe organ towers over the concert hall with pipes of shining chrome, the organist’s keyboard located on a small balcony overlooking the stage. The organ is believed to be the world’s largest mechanical tracker-action organ, meaning that the keys and the valves allowing the air to flow into the 10,244 individual pipes are mechanically linked rather than by triggering an electrical motor. However, more recently electric motors have been added to allow for the organ to be remotely controlled.

Lapwood runs out on to the empty orchestral stage in a dazzling coat that sparkles with the amazing lighting from above. She is full of energy and excitement at performing and is greeted with enthusiasm by the crowd. Then she bounds up three flights of steps and out to the balcony of the organ to begin the concert with Hans Zimmer’s Chevaliers de Sangreal from The Da Vinci Code, telling us how she transcribed the music when she was eight years old.

Prior to each piece, Lapwood not only describes the music itself and what it is about, but also what it means to her, personalising it, dedicating it to someone in the audience or elsewhere. She is plays her own arrangements, for most music is not written for a solo organ. But it is a versatile instrument with an incredible range, capable of gentle flute tones to a thunderous cacophony that even an entire orchestra cannot match.

The concert continues with Rachel Portman’s Flight and Olivia Belli’s Limina Luminis, the latter presented as describing the perspective of an astronaut from before their launch to the view of Earth from space. Both are concert pieces rather than film music, but would easily belong in the cinema.

Then we come to a suite of music from Lord of the Rings, excerpts from an organ symphony adaptation that Lapwood is writing. She attempts to describe the nature of the music and the sequence of events portrayed by the 9 individual pieces in under the 5 minutes she took in Melbourne, asking the audience to time her.

Instead we get the 6 minute extended edition.

Now, the Art of the Score are hosting a Lord of the Rings concert with the Sydney Symphony Orchestra later this year and good luck achieving better than that.

The translation of the Howard Shore’s multi-instrumental score to the organ is absolutely incredible. I especially love the Hobbit’s themes, but there is opportunity to explore the full dynamic and tonal range of the pipe organ in the suite. At certain points Lapwood sings in Elvish with a beautiful clear voice, demonstrating her many talents.

We then break for a twenty minute interval, before returning with some John Williams and Dual of the Fates from Star Wars: The Phantom Menace. With its battle between different sections of the orchestra and overall drama, Dual of the Fates works well with the organ. Following on is another movie set mostly in space, though not in a galaxy far, far away, and that is Interstellar, with the Cornfield Chase. Hans Zimmer heavily utilised the pipe organ in his score to Interstellar and perhaps the minimalist nature of his music is better suited to the instrument that John Williams’ classical orchestral complexity. It would be interesting to explore this further.

Luduvico Einaudi’s Experience is another minimalistic piece and it sounds wonderful, as is Lapwood’s story about performing with the composer. Eugene Gigout’s Toccata from his 10 Pieces for Organ is the oldest and most classical of the music performed tonight and it does stand out. I appreciate it for it complexity and skill, but like it the least out of all I hear tonight.

The last item on program for the night is a suite from Pirates of the Caribbean: At World’s End by Hans Zimmer. Lapwood describes it as her favourite music, the one that gives her energy, and that can certainly be heard here. I too would have picked At World’s End from that series. It is a wonderful arrangement for the organ, encompassing the playful music of Jack Sparrow, the diegetic organ playing of Davy Jones and the longing of One Day. She gets the audience to sing along the words to Hoist the Colours at the beginning, then somehow plays four separate melodies simultaneously with each hand, feet and thumbs in Drink Up Me Hearties.

But of course that’s not all. Lapwood offers the audience a choice of Test Drive from John Powell’s score to How To Train Your Dragon or No Time For Caution from Interstellar. We get both and it is perfect way to end.

Lapwood then returns to the stage for a standing ovation. And she tells us that, though many come to concert halls and recitals expecting to hear the great classical composers, it is film music that resonates most with her. I cannot help but agree with her. It is music that goes beyond decoration and technique, instead incorporating fantasy and reality. Listening to her play Lord of the Rings I am not just on a quest in Middle Earth, I’m driving through the South Island of New Zealand on our first holiday there, the music on the car CD player. Or I’m 39,000 feet in the air watching Interstellar on a flight back from Japan. Those are my stories. Others have theirs. It was a privilege to hear Anna Lapwood’s tonight, both in her words and her music.

I really enjoyed An Organ Recital With Anna Lapwood. It was a very different way to listen to the music that I love and a wonderful experience. Unfortunately, I wasn’t able to hang around and purchase a signed CD, but I will definitely be adding her performances to my collection. Organic is supposed to be good for you!

When I reach home my 17 year old kid tells me that he is familiar with Anna Lapwood online and in an amazing coincidence, I switch on the television and Sweet Country is showing on the ABC! I can’t see a pipe organ in it, maybe that’s a task for another day. I shall certainly be paying more attention now.

Hans Zimmer Says It’s a ‘Shame’ the Golden Globes Won’t Air Original Score Category: ‘Don’t Ignore’ Composers Because ‘You Don’t Have a Movie Without Them’
#Variety #News #F1TheMovie #GoldenGlobes #GoldenGlobesPreShowRecap #HansZimmer

https://variety.com/2026/awards/news/hans-zimmer-golden-globes-original-score-1236628560/

Gareth Edwards – „The Creator“ (2023)

https://nexxtpress.de/author/mediathekperlen/gareth-edwards-the-creator-2023/

Gareth Edwards – „The Creator“ (2023)

https://nexxtpress.de/author/mediathekperlen/gareth-edwards-the-creator-2023/

Gareth Edwards – „The Creator“ (2023)

https://nexxtpress.de/author/mediathekperlen/gareth-edwards-the-creator-2023/

Gareth Edwards – „The Creator“ (2023)

https://nexxtpress.de/author/mediathekperlen/gareth-edwards-the-creator-2023/

Flummox – Southern Progress Review

By Kenstrosity

Originally slated to be my main Thing You Might Have Missed feature, Tennessee avant-garde metal quintet Flummox’s fifth LP Southern Progress caught me completely off guard. Attracted to the prompt “their most obnoxious album yet,” I wasn’t sure what to expect from my first exposure to Flummox’s work. I figured it might be weird, but it’s also distinctive, fun, and infectious. Fearlessly creative, deeply detailed, lyrically cutting, and stupidly intelligent, Southern Progress rapidly became my favorite record released so far this year. It doesn’t seem likely now that anything out of the metalverse this year will surpass it.

Southern Progress embodies a rhizomic system of inspirations and influences that, when harnessed by Flummox’s wacky brains, emerges from the soil as something wholly unique in style, sound, and intent. My best attempt to contextualize this material would involve names from the progsphere like Fair to Midland, Native Construct, Pink Floyd, early Queen, and Mike Patton; purveyors of the extreme such as Strapping Young Lad and Slugdge; avant-garde touchstones like Mr. Bungle, Igorrr, and Diablo Swing Orchestra; genre-jumpers such as King Gizzard and the Lizard Wizard; and even cinematic composers like Danny Elfman and Hans Zimmer.1 Ultimately, though, there is no comfortable comparison. Flummox are a singular entity of weird, wild, theatrical metal capable of nailing every bizarre idea they throw at me, such that in less than a week, I had a majority portion of Southern Progress’ 57-minute runtime pinned to my psyche. All the while, its candid exposition of the queer and genderfluid experience in the Bible Belt (“Southern Progress”) struck a chord so rarely plucked by music on this sphere, and its inspired exploration of the neurodivergent experience as one of its parallel plot lines (“Executive Dysfunction”) gave me an easy avenue to resonate even more deeply with its voice.

The tricky reality of Southern Progress is that 750 words is woefully insufficient to encompass all that Flummox achieves, but its primary triumph is in universal songwriting excellence. Music like this marks a once-in-a-blue-moon occasion—and an ambitious undertaking—but Flummox makes it look effortless as they balance the beauty of melodious, theatrical compositions with the livid, frothing rabidity of searing, off-kilter riffs, thunderous rhythms, and revolutionary attitude (“Southern Progress,” “Femto’s Theme,” “Long Pork,” “Executive Dysfunction”). While these elements are familiar to anyone with experience in the metalverse, their twisted forms instead leave a vivid impression of something altogether more eccentric and uncanny (“Southern Progress,” “Nesting Doll,” “Locust Eater,” “Coyote Gospel”). Well-defined structures and concrete themes play their part in making sure these warped representations stick. Presenting every unhinged idea, cynical line, and explosive outburst inside a digestible package makes Southern Progress somehow even stranger and more enthralling for its deceiving accessibility (“What We’re In For…,” “Always Something Going Down,” “Siren Shock,” “Flumlindalë”).

In spite of its unquestionable adoption of metallic methods, Southern Progress is an intensely theatrical affair unfit for the genrephobic, but is nonetheless something everyone should experience at least once. Challenging in a different way than Imperial Triumphant or other known creators of what certain pundits call “not music,” Flummox is similarly fearless in their exploration of style and technique, and equally meticulous in application and execution. To that end, Southern Progress’ music is mutated and maniacal, but grounded through several root elements: emotional depth, societal awareness, thoughtful critiques, and artistic integrity. More than just a vehicle for that cogent societal commentary, the potent passion that each member of Flummox hemorrhaged into Southern Progress is unmatched by all except the unfuckwithable technical quality of their writing and performances. The fact that this intangible factor boasts such strong presence inside of, and coalesces so harmoniously with, the tangible product proves that Flummox’s dedication, attention to detail, and intentional artistry contributes meaningful substance and significance not just to Southern Progress on its own, but also to the greater body of metal as we know it today.

It is for this reason that Flummox’s Southern Progress isn’t just an excellent album, but also an important one. Aside from its high artistic merit, Southern Progress is a timely and fierce challenge against the dehumanization of queer, gender-nonconforming, and even neurodivergent communities across the American South—and, by extension, the country—especially by organized religious (read: Christian) entities. But it’s also a celebration, a triumphant expression of pride and love and resilience that only comes from openly and unashamedly discovering, struggling with, and ultimately embodying all that you are in spirit, body, and mind. Everyone deserves to know this feeling without fear of stigmatization, fetishization, violence, or isolation. Southern Progress is an unorthodox and fun, but wildly effective, advocate for that cause.

Rating: Excellent!2
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Needlejuice Records
Websites: flummoxed.bandcamp.com | facebook.com/flummoxband
Releases Worldwide: April 11th, 2025

Show 2 footnotes

1. Specifically, Zimmer’s work for Rango’s OST. ↩
2. You should expect to see me within a year or so, Contrite and ashamed that I didn’t award this the coveted Iconic score! ↩

#2025 #45 #AmericanMetal #Apr25 #AvantGarde #BlackMetal #DannyElfman #DeathMetal #DiabloSwingOrchestra #ExperimentalMetal #FairToMidland #Flummox #FolkMetal #Gospel #HansZimmer #Igorrr #ImperialTriumphant #KingGizzardAndTheLizardWizard #MelodicMetal #MikePatton #MrBungle #NativeConstruct #NeedlejuiceRecords #PinkFloyd #ProgressiveMetal #Queen #Review #Reviews #Slugdge #SouthernProgress #StrappingYoungLad

"They took the credit for your second symphony
Rewritten by machine on new technology
And now I understand the problems you could see"

- kind of hits different nowadays, doesn't it?

Check below for one of the best pop songs ever AND bonus baby Hans Zimmer trying not to laugh into camera:

https://youtu.be/W8r-tXRLazs

#Buggles #VideoKilledTheRadioStar #TrevorHorn #GeoffDownes #HansZimmer #DebiDoss #LindaJardim