interstellarWaterTower Music has announced the full details of the soundtrack album for Christopher Nolan’s sci-fi drama Interstellar. The album features the film’s original music composed by Hans Zimmer (The Dark KnightInception, GladiatorThe Lion King). The soundtrack will be released in two different versions on November 18, 2014:  a Star Wheel Constellation Chart Digipak featuring 16 tracks from the score and a deluxe digital-only version featuring 22 tracks. Visit Amazon to pre-order the CD version. A 28-track Illuminated Star Projection Edition with bonus content, including 30 minutes of music unavailable anywhere else will be coming out later this year (check back on this page for the full details). Interstellar starring Matthew McConaughey, Anne Hathaway, Jessica Chastain and Michael Caine will be released nationwide on November 7 by Paramount Pictures. To learn more about the film, visit the official movie website.

Here’s the album track list of the digital-only version:

1. Dreaming of the Crash (3:55)
2. Cornfield Chase (2:06)
3. Dust (5:41)
4. Day One (3:19)
5. Stay (6:52)
6. Message From Home (1:40)
7. The Wormhole (1:30)
8. Mountains (3:39)
9. Afraid of Time (2:32)
10. A Place Among the Stars (3:27).
11. Running Out (1:57)
12. I’m Going Home (5:48)
13. Coward (8:26)
14. Detach (6:42)
15. S.T.A.Y. (6:23)
16. Where We’re Going (7:41)
17. First Step (1:47)
18. Flying Drone (1:53)
19. Atmospheric Entry (1:40)
20. No Need To Come Back (4:32)
21. Imperfect Lock (6:54)
22. What Happens Now? (2:26)
23. Do Not Go Gentle Into That Good Night – Various Artists (1:39)

  1. Macejko says:

    Knowing about the love and care Hans has put into creating this score, I’m sure it wil be nothing short of extraordinary.

  2. Roger says:

    its time for that second oscar.

  3. BB says:

    “music by Hans Zimmer” … And who else? Lorne Balfe, Geoff Zanelli, Steve Jablonsky.

    The score is almost 90 minutes long, and most certainly the world he did not write himself. Tracks too long, too simple notes, harmonies too simple, I know exactly what to expect from this score.

    And the Oscar award such a limited composer made ​​it, does not mean it is good.

    I wanted Zimmer returned to composing for a full orchestra, as he did in Lion King …

    But anyway, what to expect from an arrogant German who abandoned art for money?

    • Macejko says:

      You know exactly jack sh*t. You are just repeating stuff some other idiots like you said, who also know sh*t about Hans. You think that because you happen to know about additional composers he sometimes uses (as EVERYBODY does), you have Hans all figured out? No, darling, you don’t, and everybody who actually knows the subject will tell you to go f*ck yourself.

      • BB says:

        Nervous? It’s just an opinion, your backpack. And what you know about Hans Zimmer? Do you work with him? Do you sleep with him? And as you know everyone in Hollywood, use additional composers? John Williams uses? Brian Tyler (you get tired of saying it is a traitor, but is much more efficient than Hans Zimmer) uses? Alexandre Desplat uses?

        You are very fair when it comes to Hans Zimmer. For you, Macejko everything that Remote Control does is beautiful, magnificent. You said yourself, Untold Dracula, was “one of the best scores of the year,” you have not heard Godzilla right?

        I think that anyone who does not know jack sh*t here, is you. After all, you’re the badass right? Nobody knows better than you right? S*cker

        • Macejko says:

          I sincerely cannot believe you had the guts to include Tyler on that list. You are in for a surprise – not only he uses additional composers on every single one of his scores, but he uses additional composers FROM Remote Control. How do you think he is able to fart out like a thousand scores every year? Do you think he’s some kind of composing magician? And even with all that help he is constantly using, he rarely manages to pull out a score with more going for it than just a main theme. Rarely. I only really like his AC: Black Flag score, but he worked with like 5 other dudes on that one. I kinda like his Thor as well, but more as a guilty pleasure, than as a genuine, well crafted score.
          But I don’t want this to be a hate-driven post about Tyler (please, don’t mention Beltrami, because we’ll get nowhere). You asked me about Godzilla. Decent score, but score of the year? God damn, some people are just satisfied with everything. I always thought of Desplat as a kinda go-to composer for the hipsters. He just kinda… appeared and everybody immediately came to conclusion he is the best thing that happened to the film music since John Williams stopped giving a shit. I don’t mind him, but he’s nothing special, in my opinion.
          And since you asking what do I know about Hans Zimmer (and where do I know it from) – I’m not gonna tell you, because I don’t want to live in fear that one day you might show up there and be smart. But rest assured – I’m not pulling stuff from my ass. Whether you believe me or not, I don’t really care.

          • Ds says:

            Macejko, it’s incredible, you just expressed what I’ve been thinking of Desplat for years. “Go-to composer for hipsters”. It’s exactly that.

        • BB says:

          I do includes Brian Tyler, because I’m tired of seeing you say that it uses Remotes Control in their scores. If it’s really true (think hard, because the notes that Tyler does, is nothing resembling the style of the Remote Control) I do not care because, after all, the soundtracks of Thor, TMNT, AVPR, are far superior and more efficient than anything that Hans Zimmer has done in recent years.

          You do not want to cite your sources, alright. But I am not obliged to believe in their statements and much less believe that Hans Zimmer’s musical style is innovative.

          • BB says:

            Since you do not think one of the best Godzilla 2014, so which ones are best for you?

          • Macejko says:

            Well, since you’ve asked:
            Game of Thrones S4 and Dracula Untold by Ramin Djawadi
            300: Rise of An Empire and Divergent by Junkie XL
            The Life and Times of Scrooge McDuck by Tuomas Holopainen (which is not technically a film score, but score nevertheless).
            I expect Interstellar to make the list as well, and there are many scores I haven’t listen to yet. But so far, this is what impressed me this year.

    • Ds says:

      Macejko is right. Obviously you didn’t do any research concerning Hans Zimmer and this particular score, before assessing such a judgement. He worked all alone on Interstellar and, as Macejko said, put a lot of love and care to make it exceptional.

      Plus, Hans is still composing for big orchestra. Just because his style changed throughout the years, does not mean it’s not good anymore or not orchestral anymore. The Dark Knight Rises was performed by a big orchestra, even if it doesn’t sound at all like The Lion King.

      And arrogant? Seriously?? I’ve never seen such a humble celebrity. He’s constantly thanking other people, collaborators, musicians, additional composers (which he always credits, whatever you think). He’s never taking the glory for himself. So please, make your research (and the imdb boards and are NOT a reliable source, especially when it comes to film music, they are full of haters and trolls who don’t know shit and write before even thinking).

      • tiago says:

        Hans Zimmer is one of my preferred composers of all time. However, I’m a bit disappointed with this new electronic path he is taking, which has began with Nolan films, like The Dark Knight and Inception. The Amazing Spider-Man 2 is one of the worst scores of the year.

        I sincerely hope that Interstellar be a nice orchestral score, but I don’t expect this anymore.

        • Macejko says:

          I don’t know, tiago, I have a feeling that orchestra alone could be a bit restrictive for the theme as broad as the universe. I certainly want the orchestra to be a basis of the score, but I think there will be a lot of experimentation with sounds (even electronic ones) included.

    • Jared K. says:

      You, BB, literally know nothing, as Hans Zimmer composes the majority of his musical scores, and has used a full orchestra (The Lone Ranger, for one recent example). Also, this is Hans’ masterpiece as he spent countless hours working on it without even knowing what the film was about. Oh, and i’d like to see you compose music that rivals the greatness of HZ.

      • Macejko says:

        Never, ever use that last sentence in any argument, or you loose by default. BB is totally entitled for his opinion, even if he can’t compose two musical notes together. Whether we agree with that opinion, that’s another matter.

  4. Robbie says:

    I am a laymen when it comes to music, so please take my opinion with a grain of salt. I think, however, that the arguement between BB and Macejko can be, literally, boiled down to this, their two different “opinions” on music. Music is very relative and is literally, like beauty, in the eye of the beholder. I think, in the end, if we respected our opinions and respected those of others, we might, at least, see their points, if not agree with them. I love Hans Zimmer, but I do not like electronic forms of music. However, having said that, I think on some of his scores he balances it well with the orchestra and makes it work, his Batman scores for an example. I also love Brian Tyler, especailly the fact that he not only composes his music, but conducts it as well. I would also like it if he would do a mellow soundtrack every once in awhile and not beat the drums so much! In this world, no one is above criticism, the sooner we all realize that the better off we all will be.

    • Macejko says:

      Well said, Robbie, and I agree. There is, however, a problem – every human being in this world believes (somewhere deep down they all do – even if they don’t admit it) that their opinion is the true and golden one. I know I do. Some people leave it at that, some feel the need to fight the ones with different opinion. And when I’m in the right mood, I totally feel that need. No pun intended 🙂

    • Ds says:

      Robbie, I agree on what you said about this argument between Macejko and BB, but you ommitted something: BB was not only giving his opinion, he was also telling “facts” that were actually totally not true. For instance, that Zimmer is an “arrogant German who abandonned art for money”. Or that he “certainly didn’t compose this score by himself”. Or that Brian Tyler doesn’t use ghost writers. This is just false information, and I can understand why Macejko got upset (because I was, too).

  5. Robbie says:

    Ds and Macejko, I agree with both your points, I was just trying to get at the crux of the matter. I see this sort of thing ALL the time and I just do not like it. I think what I am trying to do is get the arguements away from the word ‘hate’ and into the realm of ‘I disagree and here is why’. By the way, I am a recovering “my opinion is the only opinion that matters” Macejko so I get why you are passionate and had to say something.

  6. Alec says:

    well, good to see Watertower Music is continuing the god-Awful tradition of storing there CDs in f*cking envelopes instead of a jewel case

    … was the special edition of Man Of Steel a fluke?

  7. BB says:

    Jared K

    And I’d like to see you do something better instead of criticizing me, clown.

    The others, I do not see with good eyes this method of Hans Zimmer. I hear Bernstein, Herrmann, Goldsmith, Williams, Morricone, Desplat, and they are all true artists in this art. After all:

    – They have full control over all music
    – They are the ones who write the notes
    – The musical ideas come from your emotions when you see the movie
    – They conduct his orchestra

    Hans Zimmer writes in shared mode. Who ever heard of making emotions? Where we saw already share a vision? The work of writing music for films, it is the responsibility of only A COMPOSER. Emotions are one and not seven or nine or fifteen (someone said Pirates of the Caribbean?)

    About Brian Tyler:

    If he actually uses Remotes Control in their scores, so why TMNT was such a melodic score, so smooth and so well orchestrated compared to Age of Extinction (which was a tremendous crap, and had added music of “beloved” Hans )?

    • Ds says:

      Well BB, the answer is pretty simple: I feel a lot more emotion watching a movie scored by Zimmer than anything scored by your beloved Williams or Desplat. In case you didn’t get the point, each person will react differently in front of a picture or a music, and it doesn’t mean it’s good or bad.

      Williams’ music seems to have a good impact on you; fine; I’m happy for you, but it doesn’t mean Williams is good or bad, only that he’s in line with your perception of music. Zimmer’s music gives me goosebumps, please let me enjoy that and stop saying he’s bad at what he does, because it’s not true. The only truth is that you cannot connect with his music.