For those not in the know, Hans Zimmer is a German composer and record producer. Since the 1980s, he has composed music for over 150 films, with his works including such greats as 'The Lion King', for which he won Academy Award for Best Original Score in 1994, the 'Pirates of the Caribbean' series, 'The Thin Red Line', 'Gladiator', 'The Last Samurai', The Dark Knight Trilogy, 'Inception', and 'Interstellar'.

His latest score is to the Tom Hanks-led 'Inferno'. 'Inferno' is a mystery thriller film directed by Ron Howard and written by David Koepp, based on the 2013 novel of the same name by Dan Brown. The film is the sequel to 'The Da Vinci Code' and 'Angels & Demons', and stars Tom Hanks, reprising his role as Robert Langdon, alongside Felicity Jones, Omar Sy, Sidse Babett Knudsen, Ben Foster and Irrfan Khan.

When Langdon wakes up in an Italian hospital with amnesia, he teams up with Sienna Brooks (Felicity Jones), a doctor he hopes will help him recover his memories. Together, they race across Europe and against the clock to stop a madman from unleashing a global virus that would wipe out half of the world’s population.

To begin, you should know that Hans Zimmer has worked with director Ron Howard six times before, and he’s been responsible for so many cool and unusual scores over the past few decades that he’s a bit of a musical chameleon. That said, here on 'Inferno' he does seem to be retreading the waters he sonically created for 'Inception'. In much the same way he included en masse of loud percussive beats and electronic syncopated rhythms in 'Inception, he has definitely brought them here on 'Inferno' also.

Not that that is a bad thing, by any stretch of the imagination. No, for as much as the vast majority of the 17 tracks do follow that brilliant line of musical thought, his work on the previous two movies within this cinematic trilogy also come to the fore. Which is great, because they should. They should be there to make you feel like you're back there with Langdon, fighting the good fight, chasing the bad man, so to speak.

As you come toward the final five tracks, it's then that the subjective, thoughtful Zimmer awakens to create new lines of musical communication between us, the listener, and Langdon, the man in search of Satan's destructive work. "Beauty Awakens the Soul to Act" is brilliant, simply put, and includes more traditional symphonic sounds; which I personally love to hear from this composer. The garish pairing of both "Elizabeth" "The Logic of Tyrants" is masterful, but the traditionalist in you will adore the closing pairing of both "Life Must Have Its Mysteries" and "Our Own Hell On Earth".