What Is The Last Score You Listened To From 2022?

[JNHFan2000 2,944]

Amd of course Thor I really like as well. But it's not used very well in the film (the other 4 play integral roles in their films I feel). Thor feels kinda slapped on at the ens in the film.

And some of the cues on the album are a bit Meh. But the action cues and the 2 suites that bookend the album are incredible. But the score overall is not as good as his other 4.

Giacchino indeed had a terrific year!! One of my favorite composers, so I'm very happy.

[Edmilson 7,395]

Aside from The Batman and Werewolf, which at least tried something different, I don't think Giacchino's year was that amazing. I thought most of his recent scores (including Spiderman) were pretty mediocre and shown he was quite tired of blockbusters. 

[publicist 4,643]

At the start you may think you're listening to a 90's Britpop album that disappeared into oblivion (that title song!), but it actually is a rather playful orchestral affair that McCreary serves up here. It has a fashionable streaming service ring to it (the musical production values seem to be a preset), but at least there are many noteworthy variations in volume and orchestration (solos, pizzicati and so on). The 'period drama television series about the life of Catherine de Medici, the 16th century Queen of France' can not be detected idiomatically by any stretch of the imagination, but who would have expected that. Compared to the would-be epic of McCreary's current 'Lord of the Rings', an improvement (especially as far as running time is concerned).

 

 

Recommended, but only if you can get along with Korzeniowski's since-decades-unvaried minimalist style - nothing has changed there since 'A Single Man' (a little Glass, a lot Nyman), but you have to pinch yourself now and then to remind yourself that it is indeed a new score.

[crocodile 7,988]

 Werewolf by Night. Very strong Giacchino presented nicely on a nice lean album.

 

Karol

[Bespin 8,480]

The Secrets of Dumbledore 

 

[Mr. Who 919]

12 minutes ago, Bespin said:

The Secrets of Dumbledore 

 

Great score! How is the booklet?

[Bespin 8,480]

2 minutes ago, Mr. Who said:

Great score! How is the booklet?

 

It's in color.

[Edmilson 7,395]

Black Adam - Lorne Balfe

 

This is the Sharknado of film scores, in a way that it's so bad it's actually... still not good, but kinda entertaining for its own stupidity. Very, very dumb score with an orchestra that was so electronically manipulated that it sounds like synths and not real people with instruments.

[publicist 4,643]

 

Not-bad thriller score from trio Wong/Rees/Crosby, which has offered several surprisingly good scores in the last years (runner-up: the swooning romantic Mat Biec). It sags in the middle, but the beginning and the end are good.

[The Illustrious Jerry 3,356]

 

What a welcome truffle this is. Nothing particularly showy, nor venturing into pastiche, just an intelligent score well-versed in the romantic stylings of the chamber Gothic voice that Hart adopts here, and cast in the mould and tradition of better days to boot, the ones when you could expect this level of no doubt serviceable artistry on a consistently workmanlike basis. One of the few "real" scores in recent memory, possibly the one I've taken to the most since Blanchard's Da 5 Bloods, making it basically chocolate in the waning months of 2022. Recommend. 

[Jay 37,319]

Daniel Pemberton - Enola Holmes 2

 

I liked this a lot!  Some catchy themes in these scores!

[Thor 7,478]

 

Despite my "comeback" recently, I'm not 100% back. Need to sort out a number of things first, including getting new speakers (I currently use a couple of Infinity PC speakers from the 90s), but anyway....it's very tempting to post in these "last score" threads again. My colleagues have been lukewarm about the film itself, but I love the score by Hadjadj -- a new acquaintance to me -- with its shimmering textures and slow, forward momentum. My kind of score.

[Jay 37,319]

Leo Birenberg & Zach Robinson - Weird: The Al Yankovic Story

 

Some of this was nice, some sounded like trailer music.  I'm sure it fits the film like a glove!

[Edmilson 7,395]

Empire of Light - Trent Resznor & Atticuss Ross (FYC)

 

Not bad, it's actually quite relaxing to listen on a chill evening. 

 

But Thomas Newman could've done something with more substance.

[publicist 4,643]

 

Fluffy Pemberton pop, estalblished from part 1. His strengths are as always evident, the instrumentation is lively and catchy (Powell light), but the weaknesses too: it is rather a charming numbers revue without any dramaturgical weight or musical depth. This is certainly due to the film at hand, unfortunately, the last real proof that the guy is really good was "Motherless Brooklyn" which is now three years old.

[Thor 7,478]

Your player doesn't show, publicist, so I don't know what score you are talking about. But BRIAN AND CHARLES by Pemberton is one of the best scores of 2022, IMO, so he still does good stuff.

 

 

Speaking of composers who I've "missed", this is a great comeback by Jusid, whose last great score was TERESA in 2015. Leave it to powerful historical women to inspire the best out of him. Elegant, slow-moving, lyrical.

 

[Edit: After a second listen, it isn't THAT good, I'll have to concede. Good enough to enter my iTunes collection, but it kinda falters a bit about midway]

[publicist 4,643]

It was the second Enola Holmes movie.

[Thor 7,478]

17 minutes ago, publicist said:

It was the second Enola Holmes movie.

 

Ah. Didn't much care for the first one, neither film nor score, so I'll skip it.

[crocodile 7,988]

Bros. At first, I thought it was pretty depressing but once it got going I sort of started enjoying it.

 

Oh wait, wrong thread.

 

Karol

[Under-Terrestrial 51]

WHITE NOISE - Danny Elfman

https://twitter.com/lulamaybelle/status/1589824467949486083

 

BARDO - Bryce Dessner And Alejandro G. Inarritu

https://twitter.com/lulamaybelle/status/1589831253230235648

 

GLASS ONION - Nathan Johnson

https://twitter.com/lulamaybelle/status/1589836878144245762

 

PINOCCHIO - Alexandre Desplat

https://twitter.com/lulamaybelle/status/1589842773410467841?

 

 

[Disco Stu 15,495]

Oh wow, that Elfman White Noise clip is not what I was expecting from this score based on interviews.  It sounds fantastic.  This has just shot up my list of anticipated releases!  Let's hope the movie gets lots of awards momentum so Danny can get a nomination.

 

 

Here it is embedded for those who didn't want to click the link above

 

 

[publicist 4,643]

The Desplat sounds first depressingly familiar - his noncommittal waltz-y style - then gets engagingly emotional in the middle and then back to the less interesting stuff. Let's wait.

[JNHFan2000 2,944]

6 hours ago, Under-Terrestrial said:

WHITE NOISE - Danny Elfman

https://twitter.com/lulamaybelle/status/1589824467949486083

 

BARDO - Bryce Dessner And Alejandro G. Inarritu

https://twitter.com/lulamaybelle/status/1589831253230235648

 

GLASS ONION - Nathan Johnson

https://twitter.com/lulamaybelle/status/1589836878144245762

 

PINOCCHIO - Alexandre Desplat

https://twitter.com/lulamaybelle/status/1589842773410467841?

 

 

Do you know at what event these videos were taken?

[Jay 37,319]

[crocodile 7,988]

 God of War: Ragnarok. Not quite finished yet with the 2-hour long album but I am enjoying it. Not quite as memorable or gripping as Rings of Power but I might prefer this to the first one (which I will revisit later). In any case, a solid work all around.

 

Karol

[Thor 7,478]

 

I didn't care much for the film, alas, but I like the score. There's a static element to some tracks, but loads of details in the haunting textures. Holkenborg is very good when he gets to do slower or more explorative stuff. Certainly a highlight of 2022. Also gotta love that beautiful, beautiful running time of 38 minutes.

[JNHFan2000 2,944]

The Fabelmans

 

Wow, what a gorgeous score. It's a shame it's so short, but how I miss having new scores by Williams. There is a certain elegance and sofistication to his writing that only he can do.

Mother And Son is incredibly beautiful! And Journey Begins is just a joy from beginning to end.

 

Not sure how, but I'm even more excited about Indiana Jones 5 next year.

 

And excuse me now, while I go on a tour of his scores again🤩🥰

[crocodile 7,988]

How the Grinch Stole Christmas. A surprisingly enjoyable album expansion of what is considered to be James Horner's "lesser" family film effort. It probably helps that the score is so all over the place because any references to other Horner scores seem at least well hidden. It's the kind of thing you can only really truly enjoy towards the end of the year. There's nothing ground-breaking about it but, in context of Horner's career at that time, it is refreshingly irreverent. What truly helps is that even at its wackiest the composer manages to craft fully realised pieces that go from one point to another. That is rare enough.

 

The Fabelmans. It's an odd score to rate because it goes so much against what the majority of us want or expect from Spielberg/Williams collaboration. It is nevertheless a finely crafted piece of work far exceeding most other composers' capabilities. It is actually pretty refreshing to get a chamber-sized score from Williams, and as elegant one at that. I just wish there was more of it because the album is over before I can fully absorb it.

 

Black Panther: Wakanda Forever. This is another score that goes against the expectations. Instead of increasing the presence of the orchestra Gorannsson decides to make the soundscape even harsher. It doesn't make for a heart-warming listen like its predecessor but there's no denying it is completely appropriate for this more introspective and darker Marvel movie dealing with loss and identity crisis. The old themes are used relatively sparingly and many of them feel stripped-down of their glory and/or deconstructed. It's not necessarily what I wanted but I appreciate the craft that went into this. I also like the integration of songs into the underscore.

 

Karol

[JNHFan2000 2,944]

The 13 Lords Of The Shogun Vol. 1, 2 & 3 - Evan Call

 

This is a score to one of those big historical tv series from Japan. This is magnificent music. Big orchestral, thematic with choir, soloists and terrific orchestrations.

Never heard anything of Call before but this is truly great. The 3 volumes came out throughout the year, with the final one releasing last wednesday.

 

Together they are almost 4 hours, but I didn't feel bored or disinterested once. This is very strong music consistently and each volume has it's out standouts.

There is wonderful rousing fanfare music, action music, beautiful solos by cellos, pianos and Japanese instruments.

 

This is another score which puts another win on the side of TV scores this year. TV scores have truly been terrific this year, with some far outpassing their film score counterparts. And I feel this might be one of the strongest.

Just start with Volume 1 and go from there. Highly recommended!

[publicist 4,643]

 

Devoted fans of 'classic' narrative Hollywood may turn away, but Goransson's second Black Panther outing is actually more interesting than the first. The fusion of ethnic music styles, vocals and percussion, with the (occasional) demands of action film scoring makes for an eclectic but engaging listen.

 

And eclecticism is the motto of the day: like Zimmer's 'Power of One', 'Lion King' (partly) or 'Black Hawk Dawn' (i even spotted some of Marco Beltrami's 'Soul Surfer' Maori vocalizing), Goransson uses the movie more as a springboard for ethno-musical world-building than for addressing specific narrative developments, and even when those turn up, they are the weakest part of the score.

 

The result is too long (rule of thumb here: the longer the cue, the lesser it is), but when the gazillions of elements coalesce into their own kind of pop (like in 'Wakanda Forever' or 'Vengeance has consumed us), the score sizzles. And for a Marvel sequel score, that's quite a feat. 

 

[Jay 37,319]

Bear McCreary - God of War: Ragnarok

 

I have mixed feelings about this one! On the one hand, I can tell there's a lot of good stuff in here I'll enjoy some day.  On the other hand, it's all SOOO MUCH, and also so similar to Rings of Power, I just couldn't get myself to be able to properly enjoy it. I'm sure when playing the game and these big heavy pieces are more spread out and tied to exciting progress it's amazing, but on album it's just a LOT Of huge orchestral bombast to take in back to back to back.  The Rings of Power albums all have a nice blend of the big stuff with the suspense and mystery stuff.  I'll check it out again some day - maybe after I finally play the games

[filmmusic 1,823]

Listening to Korzeniowski's Emily at spotify.

It's quite good. Much better than Till I would say.

I think it's Oscar nomination worthy material.

 

[Jay 37,319]

I'm looking back at the first page of this thread when we were discussing scores from 2022 we were looking forward to

 

ALL 3 of the major video game scores I was really looking forward to - Earthblade by Lena Raine, Hollow Knight Silksong by Christopher Larkin, and Zelda Tears of the Kingdom -  ALL got revealed to be not coming out in 2022 after all, so will all be 2023 (or later) scores.  Big bummer x3 for me there!

 

The Fabelmans didn't meet my expectations.  Obi-Wan had an awesome theme and Ross cues, but boring Holt cues.  Don't Worry Darling was an interesting experiment, but not a score that has led to a desire for repeated listens.  I never ever checked out the OSTs for Death on the Nile, Fantastic Beasts 3, or Dr Strange 2.  I guess I should, certainly for Dr Strange

 

I ended up liking Giacchino's scores this year - Werewolf By Night and The Batman the most, then Jurassic World 3 (not as good as the first two, though), then Ligthyear, then Thor 4 was actually only OK.  Next Goal Wins is pushed back to next year.  Enola Holmes 2 was pretty good I guess, See How They Run was OK.

 

By far the score I enjoyed the most was the one I wasn't even anticipating to start the year - Rings of Power by Bear McCreary.  Boy I loved that alot for a month or 2, but admittedly haven't listened to it in a while now.

 

I guess there's still plenty of 2022 scores I haven't heard yet that could improve the year for me.

 

Pinnocchio by Desplat, White Noise by Elfman, Knives Out 2 by Johnson, probably some more I'm forgetting.  I'll take recommendations lol

[Raiders of the SoundtrArk 2,429]

There's Wakanda Forever which is terrific IMO

And about scores from the begining of the year, Batu Sener's Ice Age which was a lot of fun and as well as Only Murders in the Building: Season 2 and the very best I think: The Orville: New Horizons (although there is still no release for that one)

[Jay 37,319]

Oh man, I can't believe I forgot to mention The Orville Season 3 - those scores were AMAZING in the episodes, but sadly since we can't hear them outside of that it's easy to forget I suppose.

I really should listen to the Wakanda Forever score album, but I didn't like the first film's score album the 1 time I listened to it.  Then again maybe I'd like it more now that I love the Mando scores so much.

 

I listened to Batu's Ice Age album and it didn't do much for me.

 

I suppose I should check out the Only Murders score albums

[Raiders of the SoundtrArk 2,429]

Wakanda Forever is completely different from the first one, far less orchestral and more intimate and it has a far better flow I found. It definitly worth one or two listening.

 

Only Murders scores are too be fair a bit repetitive, really crafted around the main theme but with lot of really nice variations

 

Another show which had a really good score was Moon Knight

[Jay 37,319]

I listened to that and didn't care for it

[JNHFan2000 2,944]

Other scores still to come I'm most looking forward to

 

Disnechanted - Menken (friday)

Willow - Newton Howard & Rodzinski

Wednesday - Elfman

Pinocchio - Desplat

Glass Onion - Johnson

The Witcher: Blood Origin - McCreary

 

And of course still hoping for The Orville S3 album before the end of the year. One which I still don't get even got a digital release.

[Jay 37,319]

McCreary is scoring The Witcher now?  That man never sleeps!

[Faleel 5,340]

1 minute ago, Jay said:

McCreary is scoring The Witcher now?  That man never sleeps!

It's some kind of prequel thingy

[JNHFan2000 2,944]

8 hours ago, Jay said:

McCreary is scoring The Witcher now?  That man never sleeps!

Yes, it's the prequel series with Michelle Yeoh.

He's been attached to it for quite a long time.

I believe the series has been done for a while but Netflix just waited with release till the end of the year.

[Under-Terrestrial 51]

https://music.apple.com/nz/album/she-said-original-motion-picture-score/1653879972

[JNHFan2000 2,944]

A lot of new scores are released tomorrow:

The Son - Hans Zimmer
Devotion - Chanda Dancy
The Menu - Colin Stetson
White Noise - Danny Elfman
Slumberland - Pinar Toprak
Spirited - Dominic Lewis (also song album)
Zootopia+ - Mick Giacchino & Curtis Green
She Said - Nicholas Brotell
Our Universe - Anne Nikitin & Jessica Jones

The Swimmers - Steven Price

Bones & All - Trent Reznor & Atticus Ross

1899 - Ben Frost

Disenchanted - Alan Menken (song album. Score suite. Hoping for a full score release)

[Under-Terrestrial 51]

Ahh! Thank you, iTunes New Zealand!!!

[Jay 37,319]

Wow this is the most exciting New Music Friday in a long while!

[Drawgoon 100]

Korzeniowski | Emily

 

It is good to hear an introspective score for a change. I like the cues where Piano takes the lead, like "Boundless" and "Through the Sheets". The opening cue (and its reprise in "O Night and Stars!") are also great. For some reason I almost expected something from JNH's The Village to follow that violin.

 

The album as a whole though is some of the least film-music sounding compilations I've heard. It almost sounds like a concept album, if not a classical one.

[Thor 7,478]

Yes, it's been an onslaught of new releases now. Starting off with this:

 

 

Very nice! This is the kind of Zimmer I gravitate towards these days, rather than the big and epic stuff. Slower, more textural, explorative stuff. Between this and THE SURVIVOR, he''s had a strong year.

[Knight of Ren 787]

Emily - Abel Korzeniowski

 

It's always great to hear Korzeniowski in his fully orchestral mode, and this soundtrack it's a great representation of his overall style, with gorgeous orchestral passages of inmense beauty, being a particular highlight the use of a violin solo in some cues, which partially reminded me of The Village by James Newton Howard, which is one of my favorite scores ever.

 

It's a pleasant soundtrack, with beautiful melodies, fully orchestral, and while it might offer anything completely new, as I said, it's always nice to hear Korzeniowski in his purely orchestral style because he does it so well!

 

The Wonder - Matthew Herbert

The movie was recently released on Netflix and I went into it knowing nothing about it, which made me enjoy it even more. It's a really strong movie with great performances and beautiful cinematography, and I really enjoyed the score and how it works in context, enhacing the atmosphere and emotions of many of the scenes. The standalone listening experience is not entirely satisfactory, because the music is essential to what is happening on-screen, so I definitely recommend experiencing it first in context.

 

Anyhow, I felt compelled to do a little suite highlighting the best parts of the score, which for me it's one of the most interesting ones of the year, especially in how it complements the movie and gives it a personality of its own, which sometimes seems missing from many new scores nowadays.

 

 

 

 

[crocodile 7,988]

 White Noise by Danny Elfman. I'm really enjoying this one. I love the blend of electronics with the acoustic elements. While not as instantly catchy, it's quite mature and refined Elfman. Good stuff.

 

Karol

[publicist 4,643]

https://open.spotify.com/album/1w3u4kuJ8SzccCpuiWMNMi?si=CVh3PGGwQlmuJ82qOrrxGg

 

Pretty good Netflix-Elfman for a mystery drama by Noah Baumbach - a novel adaptation (from the mid-80's) that vacillates between marriage drama, disaster movie, action cracker and paranoia study (the translation from book to movie didn't fly with many critics). The music is really good and in Elfman's somewhat more reflective and measured late style. The 'genre bender' described above can also be made out in the music, but here it has a rather invigorating effect. Next to the usual choir-and-wonder stuff it is especially the 'relationship' scoring where Elfman's reflective writing adds (longer string-and-woodwind cues like 'Duel Lecture' or 'Terribly Sad Moment' may not be musically that exciting, but you can tell there's not a wasted note which is usually sign of someone who really knows what he's doing).

 

 

 

'The Son' is supposed to be written by Hans Zimmer, but truth to be told, it's completely empty of any of his (or anyone else's) characteristics - it's 20 minutes of wafting (it could be used as background for hospital recovery rooms without offending too many). 

 

I will point out brevity as a surprising addition for this (maybe) last addition to the Spielberg/Williams catalogue. Taking a backseat to Spielberg's mother's piano fixation (she was a rather virtuoso pianist with  talent), Williams contributes not much more than the occasional sweet, sometimes rhapsodic editorial comment.

 

There is an underdeveloped (due to its shortness) sense of poignant depth in the scoring of the scenes relating to, i guess, the mother (Mitzi's Dance, Reverie, Reflections, The Letter) - either the movie afforded Williams not more space to musically explore it or Spielberg just didn't want to make a divorce drama, take your pick. 

 

But with all this out of the way, all you really need to 'get' 'The Fabelman's is the ultimate 'Journey Begins' cue, which encapsulates in Williams's elegant style not only a summation of his own themes plus a short bouncy introduction that surely is to be read as kind of ironic comment on his collaboration with Spielberg (the movie ends right when the kid leaves for Hollywood), but also a short excerpt of a Haydn sonata. Knowing Willliams deep affection for Haydn, Bach & Co., i think the recordings of the classical cues to be worked into the movie might have secured his personal satisfaction in this project (when he says his goal is to preserve the music of the ages, i believe him).