Kasey Kockroach

Makes me happy that nearly any mention of the film (even from normal people who probably don’t listen to film scores otherwise) praises Powell.
https://www.instagram.com/p/C1AMGq6v032/

Makes me happy that nearly any mention of the film (even from normal people who probably don’t listen to film scores otherwise) praises Powell.
https://www.instagram.com/p/C1AMGq6v032/

Makes me happy that nearly any mention of the film (even from normal people who probably don’t listen to film scores otherwise) praises Powell.
https://www.instagram.com/p/C1AMGq6v032/

It's got everything a Powell fan craves from his scores: exciting action, great themes, wholesome moments...
 
I missed this kind of score from him so badly.

Just listened to this for the first time…
 
It’s absolutely amazing, and a contender for best score of the year. The quality of the music (orchestration, harmony, melodic invention, memorable themes, distinctive compositional voice, etc) all prove Powell to be one of the most accomplished composers working in film today.
 
No joke, I think this is one of his greatest scores (animated or live action). Is it blasphemy to say that it’s a step up from Solo (one of my favourites of his in recent times)? I had such a blast listening to this music. I was never a Powell super-fan, but this score has me excited to go back and re-evaluate his earlier animated works. I eagerly await his next projects.

Probably because he hasn’t done a great score since then.

Outside of his amazing debut score AMAZON, a lot of Alan Williams isn't that great, IMO. I mean, compositionally it's fine, but it's hampered by being synth approximations of orchestral music due to budgetary reasons. Thankfully, there are also works where this isn't much of an issue, or where it's somewhat down-scaled in favour of appealing electronic/pop composed on its own terms. This is one of those examples, an obscure documentary from 2001 with tone elements reminiscent of 80s Bøhren & Åserud.

^^
Thank you so much!
I am also having fun creating this
 
 
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Anyway,
Themes Breakdown (Part 2)
 

2. 
Mallard's Family theme, B section (maybe)
Some might say that these A & B section are its own different theme;
the reason why I classified as A & B part of one single theme because it mostly the case the 'B part' always played right after the A part. But let's see, let Powell confirm this.
 
The B section theme represents more on the 'joyful', 'happiness', 'togetherness' side of the Mallard family. This theme is perhaps the most played in the movie. It makes me think that this maybe in fact 'the main theme' of this movie.
 
First time we can hear this theme is during the opening track Bedtime Story at this particular moment (which is right after the A section like I've shown you before) until 0:21
 
 
It appears again, in second track What Else is Out There , the opening intro track. Like I've told before, this theme played during happiness/joyful montage of the intro sequence.
Hear it in this particular moment until 0:58
 
then appears again still in the same track at this moment until 1:32
^^
Really love both of these statements. That horn part, glorious!
 
 
Appears again in the next track, Join Our Migration
This is played during just basic conversation between the two kids of the Mallard family, hence this is the 'mundane' statement,
hear it below until 1:30:
 
 
Fast forward, this is the 'rejoice' statement of the theme, heard in Let's Fly track, hear it below:
^^
Just beautiful 😍
Of course, we all knew this track is played during first time the Mallards family break free and fly to their migration.
 
 
Now this is one of my favourite statement of this theme.
In the track Night Time, Day Time at this particular moment until 2:30
^^
Freaking love it! Pure classic Powell, with its up and down flute/string writing and that 'da dum' timpani.
Fun fact:
this track is played during one of the most beautiful scene in the movie, when all the Mallards having fun flying through the cloud. Honestly, it's a unique choice Powell did this scene with this kind of style, instead of grand epic style. But nevertheless, this current style works beautifully!
 
 
Fast forward,
now this is probably the 'main statement' of this theme,  heard in the track Migration Continues
hear it below:
^^
Also loving this!
It has a certain meditative quality in it.
 
 
Next, just like the A section theme, this B section theme also has its 'tragic' statement,
in the track Helicopter Attack at this particular moment until 1:22
^^
This statement is so powerful. This music plays when some members of the family are forced taken away,
Interestingly, it culminates with Elfman's Batman-ish fanfare 😄
 
 
Lastly, this one is also one of my favourite statement of this theme, in track Jamaica,
hear it at this particular moment until 0:53
^^
Pure pure beauty!😍😍😍
FYI, I am sure you'll get goosebump when you hear this in theatre (I for one also look forward to hearing this in theatre),
because the scene when this music played is quite heartwarming.
 
 
 
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Continue again later! 😄
 

Thank you for this! Reading about Powell love reinvigorates my film score fanaticism that I thought had died off.

Thank you for this! Reading about Powell love reinvigorates my film score fanaticism that I thought had died off.

Thank you for this! Reading about Powell love reinvigorates my film score fanaticism that I thought had died off.

Okay, so here it goes. It's going to be a long post, so I will make it into parts.
 
Here is the summary of 'my appreciation post' to Migration:
Themes Breakdown

1. Mack’s theme/Mallard's Family theme, A section (maybe)
2. Mallard's Family theme, B section (maybe) 
3. The Migration main theme
4. The Villain/Chef motif 
5. The ‘danger’ motif (maybe)
6. Delroy the parrot motif
7. Chump the pigeon motif
 
and some miscellaneous:
> 'Reminiscence Therapy'
Compilation of bits; nod to Powell's old works
> 'Powell and His Flute'
Acknowledgement to woodwind writing in this score
> 'Powell Doesn't Need to go That Hard'
Acknowledgement of how Powell went unnecessarily extra miles for a cartoon about duck
 
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Themes Breakdown (Part 1)
I will also give the context, the scene where the particular music is being played (without giving too much spoiler), so you can relate and connect more
 
1.
Mack’s theme/Mallard's Family theme, A section (maybe)
This one is quite hard to decide whether it's theme for Mack of for the whole family, as this particular theme is more often played in a scene where the whole family gathers. But Powell can confirm this later.
This theme represents more on the 'strange/negative' aspect of the family/Mack, whether it's stubborn-ness, cowardice, Karen-ness. etc
 
This theme is first heard on the very first track Bedtime Story ,hear from the beginning right until 0:08, (before the flute comes in,that's the B section theme); this theme is that 6-notes tune
 
 
 
The main statement of this theme (along with the B section) is played on the second track What Else is Out There? hear it below from the beginning; in particular the 'hum hum'part (until before 0:52, that's when the B section comes in)
^^
This track is played during the opening intro, in its full glory without much interruption from sfx.
The intro is like a montage; the 'hum hum hum' part is played during a montage when the family is during at its antics.
Where the horn-laden B section is played when the family is during at its happiest
 
 
Another statement is played during the track Open Your Eyes , played when Mack is being stubborn in regards of the need of Migration. Hear it below from the beginning until 0:32
 
 
The more 'Crazy' statement is on the track Uncle Dan, hear it in this particular moment until 1:02
 
 
One interesting application of this theme is on the track Let's Fly
This is played during the family starts flying for Migration, hear this moment until 0:45:
^^
You can hear the theme is faintly played on the background,
as if this 'cowardice aspect' is started to get left behind, to transform into more optimistic tune!
Clever!
 
Like I mentioned,
this particular theme will evolve into the general 'hero' tune for the whole group.
(actually, the transformation of this theme into a hero theme already foreshadowed way back in the first track, hear it below until 1:17)
 
 
We can already hear its transformation into a more joyful tune in the track Follow Me, But Not Too Close, hear it in this particular moment below, the choir part:
^^
You can clearly hear is has become an antithesis of the tune we heard on What Else is Out There track,
as this played when the family flies exploring the New York, as if finally starting to embrace and open themselves up.
Good job Powell!
 
 
Of course, the family will face into some tragedy in the climax;
this particular moment in the track Helicopter Attack is when this theme during its tragic statement, hear it below until 1:09 :
^^
it's played when some members of the family is being forced taken away
 
 
And finally, when the family finally reaches its final destination, this 'triumphant' statement is played in the track Jamaica, hear it in this particular moment until 1:04:
 
 
And last but not least, 
the theme in its full-fledge Hero statement, in the track Jamaica, hear it in this particular moment until 1:50:
^^
Love this moment; the orchestration reminds me of Classic Hollywood score
 
 
 
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I will continue later, it's quite exhausting creating this 😅😅.
Next, part 2

I am still waiting for Powell to give the information, like he usually always did, but having listened the score many times already (and seen the movie, not officially; as the movie still hasn’t bern released in my country), here are all the themes and motifs I have found from this score:
 
1. The Migration main theme - this theme also represents ‘freedom’
 
2. Mack’s theme/Mallard's Family theme, A section (maybe) - this theme represents more on the ‘cowardice’ or ‘Karen-ness’ of the father Mack, which will evolve into a more general ‘hero’ theme for the whole familly (as Powell explained in the interview)
 
3. Mack’s theme/Mallard's Family theme, B section (maybe) - this section represents more on the ‘soul that wants to be free’/‘the joyful part’ of the whole group. 
 
4. The Villain/Chef motif - this is not a spoiler as the Chef already portrayed as such in the trailer
 
5. The ‘danger’ motif (maybe)
 
6. Delroy the parrot motif
 
7. Chump the pigeon motif
 
And there is also a woodwind motif to represent “the alien world” aka New York, but I don’t know whether it needs to be classified into its own category due to its rarity 

True, certainly this score can't be put into the same echelon as HTTYD.
 
But as a Powell fan, I'm very happy because this score; in theme, energy, or orchestration, is similar to Powell's scores before 2010, which is enough to prove that Powell has not changed and still has his mojo, something that can't be said anymore to big composers of his caliber such as HZ, JNH, or HGW, where they seem to be 'diminishing'
 
Not only is this score similar to old works, but it still has great themes to boot; that 'Migration/Freedom theme' though, it's so catchy and special! (Anyway, I can't wait to share the theme breakdown for this, as I got all the themes and motifs already mapped out)
 
Overall, Migration is a very strong 4-star score 👍 ( as per Filmtracks rating parameter)
 

I just saw the film. It's actually pretty good. It's 80 minutes of fun, which sometimes is just okay.
 
Powell's score is honestly fantastic. There are so many moments where I thought to myself "he didn't have to go THAT hard". He just pulls out all the stops.
 
The themes are terrific and all of it is just so colourful. I can't believe a film about ducks gave me chills, but that was all thanks to Powell. It's also very well mixed. At a lot of moments upfront and really able to drive the story forward.
 
I understand why he loves doing animation so much, because what live action film these days allows him to have this much fun and do some weird stuff.
 
Just love it! There's not a wasted here in my opinion.
 
And I believe (except the 2nd part of the end credits, which are reprises) all of the music is on the album. And if there's something missing, it's not noticable

Jerry Goldsmith’s tears.

Jerry Goldsmith - Total Recall (Quartet)
 
This score came up yesterday on the forum, and I realized I hadn't actually listened to it in a while, so immediately did so.  Boy, I love it! It was one of the first Goldsmith scores I ever had/knew, and it's remained a favorite ever since.  The Quartet edition is one of the best expansions of all time.  Flows great with great sound quality.  This is one of those scores with not a wasted note.  The 77 minute main program is so satisfying!  That was all I listened to, no need to delve into OST or bonus tracks for this listen.

What can I say. Powell's spoiled me.
 

Hearing the Fallen Kingdom theme a couple times brought a smile. Earlier ribbing aside, FK’s still a fun listen. Giacchino’s action writing is really corny in a way I find endearing in a monster movie context.
My main gripe is that, compared to, say, Powell, he doesn’t intertwine his themes within the score nearly enough. Powell sees action sequences as just as much of a chance to express character or story themes as any other kind of scene, whereas Giacchino just sledgehammers away and has nothing to say.

It's one of those moments where most of us remember where we were at the time. I woke up from an SMS ticking in on my phone. It was from a rather distant acquaintance of mine that has some interest in film music, and he had woken up earlier and seen the news online. I quickly got up and rushed to the laptop to read more, in a rather shocked, half awake state of mind.

I met him in Vienna and to this day I feel sad and stupid that I had nothing better to do than asking him to sign the concert brochure. I wish I would have told him that his music was part of my childhood and youth and growing up. Then again, I’m sure he got to hear that plenty of times before…

Guess they’d better make another one! They’ll get it right eventually!