Dune
An organic and systems-based approach to expansive musical world-building.
Dune survived its David Lynch detour because Herbert’s timeless story imagined a distant future which refused technology. The narrative was not carried by a 1960s perception of ‘modern’ technology, destined to age like rotten cheese. Instead it was built on enduring themes of power, politics, religion and meditation.
Hans Zimmer’s Inception soundtrack was the first album I bought on iTunes, I’m a big fan, but he took a different approach than I would have done with Dune. I can’t criticise his innovation with this soundtrack, but to me, it sounded intentionally recognisable. A sound that emphasised the story’s uncharted, unfamiliar nature became the focus of my own rescore.
Rather than leaning on established blockbuster sonics, my rescore imagines Dune through a sonic language grounded in organic sound and system-driven processes, with contemporary elements providing a subtle sci-fi edge.
Human Systems
For me, Kelly Moran’s algorithmic methods of playing a piano provide that computerised feel, with a human soul. She performs all the elements herself, setting out rules and limitations as to how she can play. Layered on top of each other, the recordings combine to build this impossibly dense web of material, each thread moving slightly out of sync, creating subtle tensions and unexpected harmonies. The resulting sound resists any single emotional reading: monumental, motivating, while at the same time fragile and contemplative. This ceremonial complexity resonates with the rich framework of social dynamics within Dune. Moran’s commitment to performing with these self-imposed mathematical restrictions feels appropriately Mentat-coded, but thankfully world domination and power don’t seem to be at the forefront of her mind… for now.
Texture & Tension
Hans Zimmer built these oppressive textures to mimic the relentless desert and constant political tension. Layered in are these subtle pulsing percussive sounds which are some of my favourite parts of his soundtrack, abstracted percussion that sits much deeper inside your body. Leaning more into that drone sound throughout would’ve helped strengthen that effect.
Artists like Alessandro Cortini (former member of Trent Reznor’s Nine Inch Nails) provide great examples of oppressive and repetitive drone music, which build a heavy, suffocating tension. Tracks such as SEMPRE and VERDE hold that same Arrakis energy of Zimmer’s best moments, with careful layering and delayering of textures.
For lower energy, more introspective moments, Abul Mogard’s expansive drone productions provide so much depth in such a stripped back composition. The undulations of ‘Quiet Dreams’ transport you to the desert planet, each rise in pitch taking you over the next horizon before delving back into the never-ending oppression of the cruel landscape. It’s a sound that barely advances, but somehow deepens.
Alien World-Building
Whenever I’ve spoken to people about Hans Zimmer’s Dune soundtrack, they always mention the iconic vocal chant. It’s an incredible piece of sonic branding, so simple and natural, but so clearly aligned with Dune. It transports you to the communities of Arrakis’ native population, and is supported by Zimmer’s use of non-western instruments and musical theory.
This alien sonic world-building could’ve been expanded with work like Tim Hecker’s 2023 album ‘No High’, which soundtracked a lot of my mornings spent reading the Dune series. Anxiety-ridden strings and rich static-filled pads and drone sounds layer to create this pulsing otherworldly noise that feels just grounded enough to match the anti-tech nature of Dune. Introducing Colin Stetson’s saxophone on ‘Monotony II’ helps form this mantric, hypnotic sound through its abstraction and layering. It locks you in this psychological loop, mirroring the indoctrination and pressure that define Paul’s journey throughout the series. Like Moran’s piano, it’s a human-formed sound that imagines the future without relying on futurism.
P.S. Watch this interview with Colin Stetson for insight into his approach and commitment to his art: ‘for me the pain has always been ultimately very satisfying’.