Late last year we heard rumours that John Williams would return to the Harry Potter franchise to compose the final Potter film, which I wasn’t particularly writing home about. I’ve actually not been much of a Williams fan in the Potter series (“Hedwig’s Theme”, “Fawkes the Phoenix” and the Prisoner of Azkaban score notwithstanding). However, it was later announced that Alexandre Desplat would stay on for Part Two.

After all, it just makes sense to finish what you’ve started.

I wrote my review of Harry Potter and the Deathly Hallows, Part One in April. I thought Desplat’s score enhanced the film wonderfully, and I was confident that Part Two was in sensitive and capable hands. Listening to Part Two now, I can happily back that prediction.

Part Two’s promotional teaser simply reads, “It all ends”. Where there was a thread of foreboding in Part One, now the emphasis is on the finality, in every sense of the word. As I mentioned earlier, Part One ...]]> EDIT (October 2011): It’s come to my attention that I’ve been cited on the DH2 score’s Wikipedia page as a music critic. I just want to confirm that I am NOT a professional writer, just a curious and passionate fan.

Late last year we heard rumours that John Williams would return to the Harry Potter franchise to compose the final Potter film, which I wasn’t particularly writing home about. I’ve actually not been much of a Williams fan in the Potter series (“Hedwig’s Theme”, “Fawkes the Phoenix” and the Prisoner of Azkaban score notwithstanding). However, it was later announced that Alexandre Desplat would stay on for Part Two.

After all, it just makes sense to finish what you’ve started.

I wrote my review of Harry Potter and the Deathly Hallows, Part One in April. I thought Desplat’s score enhanced the film wonderfully, and I was confident that Part Two was in sensitive and capable hands. Listening to Part Two now, I can happily back that prediction.

Part Two’s promotional teaser simply reads, “It all ends”. Where there was a thread of foreboding in Part One, now the emphasis is on the finality, in every sense of the word. As I mentioned earlier, Part One is degrees above previous films in maturity and scope; Part Two certainly doesn’t erode what Part One established – in fact, it only unapologetically amplifies the epic scale, which seems uncharacteristic of Desplat at first, but he never loses grasp of the emotional complexities of the story – its pervasive themes of death, loss and renewal.

“I think the goal was to find something as gentle, as sweet, and as kind as a lullaby with a guilty touch to it. It’s a very simple melody that anyone can hum, child or adult, and we found this incredible singer, Mai, who has a very pure voice, almost like liquid gold.  So it will haunt the film and Harry all along the last episode.”

—Desplat on creating “Lily’s Theme” (Credit: The Leaky Cauldron)

The outstanding highlight must surely be “Lily’s Theme” – a new overture that much like its namesake cocoons itself around Harry. I can only describe it as indescribably, devastatingly Desplat. It’s a haunting melody, laden with fragility and tinged with sadness; it cements the tone for the rest of the film and is instantly memorable. It recurs in dramatic instances: “Snape’s Demise”, “Voldemort’s End” and most movingly, “The Resurrection Stone”, which I consider Desplat’s magnum opus in this score. It is four minutes and thirty-three seconds of sheer aural perfection. Soulful strings lull “Lily’s Theme” along, with solo vocals by Mai Fujisawa, whose voice is strikingly pure and arresting. You may know that Fujisawa is the daughter of Japanese composer, Mamoru Fujisawa (or more famously, Joe Hisaishi of Studio Ghibli fame). She has sung themes for Nausicaa, Princess Mononoke and Ponyo, but I didn’t recognise her here.

Familiar themes return from Part One – “Underworld” hints at the “The Locket”, a fitting motif for the continued hunt for Horcruxes. The “Obliviate” cue recurs in “Harry’s Sacrifice” and “Harry Surrenders” as Harry learns of his doomed fate, but welcomes it openly. New motifs are introduced during the Battle of Hogwarts – “Panic Inside Hogwarts”, “Statues”, “Battlefield” and “Courtyard Apocalypse” convey the anticipation, the thrills and the devastation of the war in sombre, lyrical fashion. Similarly, “The Grey Lady” has meandering, ghostly moments of poignancy and scintillating suspense as Harry attempts to win Helena Ravenclaw’s trust so that she will reveal to him the whereabouts of a Horcrux hidden inside Hogwarts’ walls.

Harry’s best friends, Ron and Hermione, finally have some off time to themselves in “In the Chamber of Secrets” in which Hermione destroys a Horcrux of her own, and is then snogged by Ron (about time!). It’s a momentous occasion for fans like me, so I’m deeply disappointed that Ron and Hermione don’t get their own theme. Ten years of angst and misunderstandings and they don’t even get a theme?! Even Harry and Cho got “The Kiss” theme! That said, their pivotal moment does use a leitmotif from Part One’s “Ron’s Speech” which I officially dub the unofficial Ron and Hermione theme. Meanwhile, lucky Neville gets two themes to himself: “Neville” and “Neville the Hero”, the latter clearly outweighing the former. It’s a quietly triumphant theme, echoing its namesake’s endearing transformation from the fumbling, somewhat dim first year to a great, brave hero in his own right, a hero whom the Sword of Gryffindor itself deems worthy of wielding it.

“This theme is crucial to the success of the story, and it would have been disrespectful and stupid for me not to use it at the crucial moments where we need to refer to these ten years of friendships that we’ve all had with these characters and kids…”

—Desplat on using “Hedwig’s Theme” (Credit: The Leaky Cauldron)

Williams’ iconic “Hedwig’s Theme” also has more prominence in Part Two. Desplat reasons that as much of the film takes place inside Hogwarts, and given that the theme is so quintessential to Harry’s childhood and connection with the school, it had to be included. It is incorporated to varying effect in “Dragon Flight”, “A New Headmaster”, ” In the Chamber of Secrets”, “The Diadem”, “Snape’s Demise”, “Harry’s Sacrifice” and “Procession”. My favourite interpretation of the theme is in “Snape’s Demise”, which curiously blends “Lily’s Theme” into it too.

Speaking of Snape, the unfolding of his mysterious past has great significance and plays a monumental part in resolving the story. Through Harry’s eyes, we discover that what we always outwardly saw as someone antagonistic, quite possibly maybe evil, was in fact the most emotionally tragic character. Severus Snape loved deeply and wholly and died for doing so. We catch glimpses of Snape’s past in “Severus and Lily”, a dreamy, ambient montage of memories, made more devastating by what we already know of Lily’s tragic end.

Indeed it is a grand ending that we’ve so anxiously waited for. I get apprehensive when Desplat tackles high-handed action scenes – they remain his weakness – but he plays a deft hand in Part Two. “The Tunnel” is just the entrée in this feast of flavours, but it’s an exhilarating starter.  “Underworld” is the most chaotic composition – multiple listenings tend to singe ears. “Gringotts”, “The Diadem” and “A New Headmaster” are deceptively simple with an initial hint of danger, with the latter opening up as Harry confronts Professor Snape at Hogwarts. “Dragon Flight” is a brilliant ride, almost childlike in its exuberance, which is much in the essence of Williams’ ‘flighty’ themes like “Fawkes the Phoenix” and “Buckbeak’s Flight” of earlier Potter films. “Broomsticks and Fire” is similar to that effect, as Ron, Harry and Hermione rush to escape the Fiendfyre that sets the entire Room of Requirement aflame.

Desplat flexes his epic, operatic muscles in the final act, when we really feel the intensity and urgency of the ultimate duel between Harry and Voldemort, which Desplat’s orchestration magnificently brings to life in “Showdown” and “Voldemort’s End”. “Showdown” is a tumult of brass and strings and thumping timpani, topped by the sweeping grandeur of the London Voices choir. Similarly, the great crescendo in “Voldemort’s End”, which meanders into the haunting whispers of “Lily’s Theme” at the end, is just breathtaking. And if that heart-stopping climax hasn’t killed us already, “A New Beginning” gently drops us back to the ground, ending on a pensive, wistful note filled with hope and promise.

As a great Harry Potter fan and a great Desplat fan, I couldn’t be more pleased with Desplat’s effort, and I am so grateful that he was given this rare opportunity to work on something so fantastic and huge as Harry Potter. Just think – we NEARLY got John Williams again (if there wasn’t a schedule clash)! I have such tremendous admiration for Desplat that it’s probably borderline obsessive – he treats music as a serious craft, he’s modest about his own work, he’s open to any creative possibility, he respects his peers in the field and as a bonus he has read and loves Harry Potter. What’s not to love about the man? I wish I could be just as dedicated and talented. It’s not a surprise that most of my favourite films have incidentally been composed by Desplat.

Although Part One had some great moments and wasn’t nearly as memorable, Part Two holds us captive from its tenuous beginning to its victorious end. While there is no doubt John Williams’ “Hedwig’s Theme” will ineffably define the Harry Potter franchise for years to come, Desplat has proved to be a formidable force in the success of the Deathly Hallows films, seamlessly blending emotional nuance with action-packed grandeur. He has, in short, created a satisfying and richly layered aural landscape that I will always love coming back to.

In a word: epic
Key tracks: Lily’s Theme, Courtyard Apocalypse, The Resurrection Stone, Showdown
Rating: 4.5 out of 5 stars

Next up will be my thoughts on the Harry Potter and the Deathly Hallows, Part Two film. I’ll end this post with something for you to feel nostalgic over – Alexandre Desplat conducting “A New Beginning”:

Click here to view the embedded video.

You can also listen to an interview with him here. And there is FilmTracks’ more technical and stylistic review – I agree with much of the consensus; it’s worth a read!

Tracklist

1. Lily’s Theme 2:29
2. The Tunnel 1:10
3. Underworld 5:26
4. Gringotts 2:24
5. Dragon Flight 1:45
6. Neville 1:41
7. A New Headmaster 3:26
8. Panic Inside Hogwarts 1:54
9. Statues 2:24
10. The Grey Lady 5:51
11. In the Chamber of Secrets 1:38
12. Battlefield 2:14
13. The Diadem 3:08
14. Broomsticks and Fire 1:24
15. Courtyard Apocalypse 2:00
16. Snape’s Demise 2:52
17. Severus and Lily 6:08
18. Harry’s Sacrifice 1:58
19. The Resurrection Stone 4:33
20. Harry Surrenders 1:31
21. Procession 2:08
22. Neville the Hero 2:17
23. Showdown 3:38
24. Voldemort’s End 2:44
25. A New Beginning 1:39

The roadies unveiled a giant shimmering silver nylon/spandex set prop shaped like a gramophone horn. Just a teasing prelude into what the night ahead promised. Given the physical limitations of the stage I was a bit apprehensive about how it would all turn out. But come half an hour later, boy did I have absolutely nothing to worry about, because as soon as “Voice Thing” started sighing through the airwaves and the lights flashed and the dry ice made a smoky haze, it was just one continual stream of dazzling, palpitating, hallucinogenic spectacles after another.

Almost floating out of a mist, Alison Goldfrapp drifted out onstage in a brilliant figure-hugging sequinned jumpsuit and the most mesmerising poncho apparently made of twinkling tinsel/tape, which scintillated against the breeze (spurred on by super fans), and of course her signature wild frizzy blonde hair. The familiar heaving bass of “Crystalline Green” pounded through the speakers ...]]> Last night, all was crowded on the Palace front. My uni buddies and I sidled into a space at the front, watching the opening band, Seja, perform (who was good in a mellow, Au Revoir Simone synth-pop/electronica way, if a little shaky) but we were really just  impatient for Goldfrapp.

The roadies unveiled a giant shimmering silver nylon/spandex set prop shaped like a gramophone horn. Just a teasing prelude into what the night ahead promised. Given the physical limitations of the stage I was a bit apprehensive about how it would all turn out. But come half an hour later, boy did I have absolutely nothing to worry about, because as soon as “Voice Thing” started sighing through the airwaves and the lights flashed and the dry ice made a smoky haze, it was just one continual stream of dazzling, palpitating, hallucinogenic spectacles after another.

Almost floating out of a mist, Alison Goldfrapp drifted out onstage in a brilliant figure-hugging sequinned jumpsuit and the most mesmerising poncho apparently made of twinkling tinsel/tape, which scintillated against the breeze (spurred on by super fans), and of course her signature wild frizzy blonde hair. The familiar heaving bass of “Crystalline Green” pounded through the speakers and that just set us all off into spasmodic ecstasy. This is the Goldfrapp we all know and love. Barely a sign of the folksy Seventh Tree here, just brilliant, electric 80s disco-pop and dark synth-heavy numbers. Goldfrapp covered most of her latest album, Head First, then four songs each from Black Cherry and Supernature, and “Utopia” from Felt Mountain.

Goldfrapp’s crew were just as glitteringly attired to match; the lads in shiny, patterned (even saggy, unflattering) jumpsuits, and the female keyboardist in sexy sequinned hotpants. I could barely see the drummer or supporting bass player on the right hand side.

“Rocket”, “Train”, “Ride a White Horse”, “Shiny and Warm”, “Believer” and “Ooh La La” (and well, pretty much every song) had such fabulous intros; it sucks that we couldn’t really dance around much, being so squished as we were, but everybody was moved by the pounding bass, catchy rhythms and the seamless lighting effects, which ranged from near seizure-inducing white flashes to waves of psychedelic, vivid hues. Never did a performance turn gaudy or tacky (god, I hate that word so much now) though they certainly ventured on camp ground, but somehow Goldfrapp totally validates the kitsch value into hyper chic. Alison slurred and breathlessly teased her way through each song, swaying and reaching in that floaty, almost aggressive way of hers, and concomitantly, stamping and marching to the heavy basslines. So shameless in the glitz, and cheesy, feel good glam-pop; I felt so at home! Like SHE GETS THIS SHIT, SHE LOVES IT, TOO!

After a rapturous “Ooh La La” Alison disappeared to return for the first encore, with a gauzy, frilly top with an Elizabethan ruff (I don’t even know what to call it) but it reminded me of a saucy ragdoll. After singing the two songs, she sauntered backstage once more, this time changing into a pink and white cowboy yeti-esque jacket, to finish the show with an electrifying, stomping “Strict Machine”. I was pretty disappointed that Goldfrapp didn’t sing “Satin Chic” or even “Lovely 2 C U”, but hands down “Strict Machine” was one powerful, thrilling climax to a sensational performance from beginning to end, leaving us drifting on a total high. We left the Palace with “Oompah Radar” playing, practically trooping us out with playful, sinister ease. Overall, Goldfrapp was absolutely worth paying the $90. I’m so glad I bought the ticket (while I could still afford to). She is a fantastic performer and artist; despite her relatively modest set design and props, she was thoroughly engaging and euphoric with a rich neo-baroque theatrical sensibility. More entertainers should take notes from her.

Please come back again soon, Goldfrapp! YOU ARE HOT AND WE LOVE YOU!

I found a link to a review that features photos of Goldfrapp in pretty much the exact same ensemble of costumes. Gotta say I would love to sift through her wardrobe; so many (literally) bright gems.

This was pretty much her setlist:

Crystalline Green
I Wanna Life
You Never Know
Rocket
Head First
Number 1
Believer
Alive
Shiny and Warm
Train
Ride a White Horse
Ooh La La

Encore:
Utopia
Black Cherry

Second encore:
Strict Machine (SO EFFING AMAZING)

I’ll have my review of the film soon enough, but I thought I’d jot down my thoughts on the score now while my enthusiasm’s still this amazingly high. Once again, British composer Nicholas Hooper takes up the mantle of composing the Harry Potter films for director David Yates. I thoroughly enjoyed his interpretation of The Order of the Phoenix—really, just glad to be shot of John Williams for once—and I fully anticipated the same magical and uncoventional tone that embodied the last score. I am probably one of the few who’s absolutely adored what Hooper’s contributed to the series. Yeah, maybe I’m a nutcase. But I admire how he takes advantage of what’s at his disposal—he creates unusual musical arrangements but somehow he makes them work. He takes calculated, creative risks and I think for the most part they’re incredibly successful. It’s wonderful, really, and I couldn’t be more pleased with what he’s done in Half-Blood Prince. If only the film had highlighted this wondrous music better. Apparently Hooper may be stepping down for the Deathly Hallows films, making way for John Williams’ return. Personally am not warming to this piece of news (just yet).

We haven’t exactly had a great plate of good films this year, but I think the handful of excellent ones make up for all the constant churning of sluggish nonsense (I look at you, Beverley Hills Chihuahua).

Best Film The Dark Knight (hands down) Director, Christopher Nolan completely blows our minds away with an intelligent and action-packed sequel to the ...]]> Seems like every blog’s got to have one, but this year was certainly one to remember. So many good things and bad things, possibly more bad than good, if the media has anything to do with it. We’ve had the best Olympic Games in history (in my opinion, not that I’m biased or anything), some of the worst natural disasters in decades, with alarming frequency and devastation; a phenomenal, an emotional and historic apology to the Indigenous Australians for the wrongs of the past (but no compensation in sight hrmmm), an aggressive but inspiring race between Obama and McCain to the White House and the worst economic meltdown in decades. I feel as though that 2008 still has plenty to offer me, and yet it seemed to pass by so slowly… I wonder at that, but I’m optimistic at what lies ahead in 2009.

We haven’t exactly had a great plate of good films this year, but I think the handful of excellent ones make up for all the constant churning of sluggish nonsense (I look at you, Beverley Hills Chihuahua).

Best Film
The Dark Knight (hands down)
Director, Christopher Nolan completely blows our minds away with an intelligent and action-packed sequel to the dark and soulful Batman Begins with superlative performances from all actors, most notably the late Heath Ledger as psychopath villain The Joker.

Honourable Mentions

• The Painted Veil
• Wall-E
• The Band’s Visit
• Sweeney Todd: Demon Barber of Fleet Street
• Persepolis
• Kung Fu Panda
• Lars and the Real Girl
• Iron Man
• Hellboy II

The music scene has been topsy-turvy; I have pretty much tuned out of the so-called ‘Top 20′ charts and discovered new and exciting artists for myself. Far more satisfying and less grating on the nerves.

Best Album
Viva La Vida – Coldplay
I’m just so glad I enjoyed this album a lot better than the sluggish X&Y. It had a surprisingly soulful and transcendental mood, evoking images of cloudy days, sunkissed memories and ethereal cathedrals.

Honourable Mentions:

• Safe Trip Home – Dido
• Rainism – Rain
• The Story of Us – Ibadi
• Heavy Rotation – Anastacia

Best soundtracks:

• The Dark Knight – Hans Zimmer and James Newton Howard
• Kung-Fu Panda – Hans Zimmer and John Powell
• Wall-E – Thomas Newman
• Twilight – Carter Burwell
• The Curious Case of Benjamin Button – Alexandre Desplat

Normally in a year I aim to read 100 books, but I don’t think I managed to reach that goal this year. I blame uni and work. Still, I’ve discovered a lot of new authors to be on the look-out for.

Best Book
Addition – Toni Jordan
It’s essentially chick-lit in terms of formula, but it’s a lot more than that, I feel. It’s made in Melbourne, which is rare, hence the extra love from me, and it’s embarrassingly addictive. I read most of it in one sitting in Borders. And I borrowed the book from uni library, before buying it from a second-hand shop soon after.

Honourable Mentions:

• The Long Halloween – Jeph Loeb, Tim Sale
• The Painted Veil – W. Somerset Maugham
• Growing Up Asian in Australia – Anthology, ed. Alice Pung
• The Great Gatsby—a graphic adaptation by Nikki Greenberg – F. Scott Fitzgerald
• Lost in a Good Book – Jasper Fforde
• Midnight Rising – Lara Adrian
• Let the Night Begin – Kathryn Smith
• A Great and Terrible Beauty – Libba Bray
• Fearless Fourteen – Janet Evanovich
• Mr. Darcy’s Diary – Maya Slater
• The Tales of Beedle the Bard – J.K. Rowling

Best TV Show

Doctor Who (series 4)
This show never seems to lose its vivacious energy and geeky eagerness. Catherine Tate proves she’s a fine, feisty companion to David Tennant’s Doctor. Am just saddened that she never lived to remember all the good times she had with him. The most recent Christmas special, “The Next Doctor”, guest starring David Morrissey, was fabulous! Even though it bordered on melodrama (thus hilarity) it gets away with it quite easily. Why? Simply because the actors are just so into it and having so much fun! Am saddened to see Tennant goodbyeing the Doctor but better to leave now than find yourself waning…

Honourable mentions:

• Mad Men
• House
• Lost in Austen
• Sense and Sensibility

Also saw Australia yesterday.

I liked it overall, most likely ’cause I didn’t have great expectations, although I am partial to a sweeping, war epic (when it’s good, and this is quite good). Luhrmann’s really tried to pay tribute to the colonial Australian vernacular, perhaps to its downfall. It’s really, really long. But Hugh Jackman is hot. REALLY hot. And that should justify a viewing, at the very least!

Rating: 3 out of 5 stars

If someone new were in your car, what song on your player would you be quickest to skip out of embarrassment: Probably the Harry Potter soundtrack/s or Pussycat Dolls or something like that. Nah, I like whatever sounds good–and if my fellow passengers can’t get over that, then they fear my wrath! What song or songs is/are most “atypical” on your player? Hard rock music? Heavily manufactured so-called pop music? I dunno—I don’t consider my player to have much “atypical” content. I’m an eclectic kind of gal.

What song(s) on your player turns you on? Hmmm. (Nearly) anything that Alex from Clazziquai Project sings. Probably “Last Tango” from the “Love Child of the Century” album. He has one of the sexiest crooning voices ever.

If you wanted to get a member of the opposite sex in the mood, what song would you program to come on when they are in the car? OMG. Hopefully I wouldn’t need to “program” a song just to get a guy interested in me… I’d imagine my irresistible wit, charm and beauty would ensnare my male conquest. Yeesh. I dunno, maybe something by Kylie or Goldfrapp or Christina Aguilera’s “Candyman”. Some slow jazz/bluesy song or ...]]> Stole this meme off someone’s blog!

If someone new were in your car, what song on your player would you be quickest to skip out of embarrassment:
Probably the Harry Potter soundtrack/s or Pussycat Dolls or something like that. Nah, I like whatever sounds good–and if my fellow passengers can’t get over that, then they fear my wrath!

What song or songs is/are most “atypical” on your player?
Hard rock music? Heavily manufactured so-called pop music? I dunno—I don’t consider my player to have much “atypical” content. I’m an eclectic kind of gal.

What song(s) on your player turns you on?
Hmmm. (Nearly) anything that Alex from Clazziquai Project sings. Probably “Last Tango” from the “Love Child of the Century” album. He has one of the sexiest crooning voices ever.

If you wanted to get a member of the opposite sex in the mood, what song would you program to come on when they are in the car?
OMG. Hopefully I wouldn’t need to “program” a song just to get a guy interested in me… I’d imagine my irresistible wit, charm and beauty would ensnare my male conquest. Yeesh. I dunno, maybe something by Kylie or Goldfrapp or Christina Aguilera’s “Candyman”. Some slow jazz/bluesy song or underground electronica with smoky female vocals. Yeah, could totally go to town with that blaring in the car.

What is the longest song on your player?
Masanori Morita Remix – Clazziquai Project (25:09)

What do you think is the silliest song on your player?
Probably the Monty Python soundtrack/s and Mr G’s “Naughty Girl”.

What did you most recently add to your player?
“You and Me”, sung by Sarah Brightman and Liu Huan, at the Beijing 2008 Opening Ceremony.

What did you most recently delete?
Any doubles.

What is your favorite song on your player that is from a movie?
iTunes says I have played the Speed Racer movie theme song the most, but the song after that is my latest favourite, “Agent of Chaos”, from The Dark Knight score. Bloody awesome stuff!

Is there a song on your player that is only there for someone else’s benefit?
Nope! My PC’s iTunes has a lot of old school Chinese songs that I downloaded for my dad though.

What song or artist do you find yourself skipping most frequently and therefore should probably delete?
It really depends what mood I’m in—sometimes I’ll skip a favourite song simply because I want to hear something different. I mean, I wouldn’t put in an album I loathe in the first place!

Without cheating, start your player and list the first 10 songs that come up in random play.
Ease Your Feet in the Sea – Belle and Sebastian
About Fun – Psapp
Lusting Dies – Patrick Doyle (Great Expectations)
LOVE ME, HATE THE GAME – m-flo loves Chan, Thaitanium, Edison Chen, Ryohei
Vogon Command Centre – Joby Talbot (Hitchhiker’s Guide to the Galaxy)
Death and all his Friends – Coldplay
Wish – Yuna Ito
Orange County Girl – Gwen Stefani
Destiny’s Path – John Williams (Memoirs of a Geisha)
La noyée – Yann Tiersen (Amélie)

Hehe, finally, I update with reviews! Just as The Dark Knight surpassed all expectations, so too has its music score—a remarkable creative achievement from the collaboration between two of Hollywood’s A-list composers, Hans Zimmer (Gladiator, The Last Samurai, The Da Vinci Code) and James Newton Howard (The Village, Blood Diamond, Signs). Where Batman Begins set the tone and atmosphere of Nolan’s universe, The Dark Knight is its moodier, madder and gutsy evolution. There are fourteen tracks on the official soundtrack, with a regular CD edition, a limited CD edition and an LP.