First Impressions: The SCORES of 2023

[Jay 37,346]

10 hours ago, Benhip said:

I know I’m late, but here’s my thoughts about some of the scores from the beginning of the year :

 

Better late than never!

 

10 hours ago, Benhip said:

I think I’m going to be a little more present. I’m rather new at JWFan, but I’ll try to keep posting !

 

Please do!

[JNHFan2000 2,957]

It's ok. It's synths, electric guitar, drums and some piano. There are some cool cues here, but it's too loud too much. And at almost 70 minutes, I feel the album's too long.

The thing kinda feels like a concept album in a way. Not sure how to explain it

[thestat 348]

On 19/03/2023 at 5:32 AM, KK said:

The Night Logan Woke Up by Hans Zimmer and David Fleming

 

This was a nice little surprise! Written for Xavier Dolan's new limited TV series, it evokes the old school Zimmer orchestral mystery melodrama of the like of House of Spirits (yaay woodwinds!), diffused through the more contemporary sensibilities of Max Richter and Jóhann Jóhannsson. It runs too long, as these things do, but it is refreshing detour for Zimmer and team.

 

 

Oh, I totally see the Richter comparisons here especially with The Leftovers (She Remembers in particular). It's a similar kind of homage I suppose that Tyler's 1883 is to Hostiles (not directly copying or even temp tracking but going for a similar soundscape and use of music).

 

[Thor 7,492]

10 hours ago, JNHFan2000 said:

It's ok. It's synths, electric guitar, drums and some piano. There are some cool cues here, but it's too loud too much. And at almost 70 minutes, I feel the album's too long.

 

Your description was tantalizing to me, so I checked it out, and it was indeed something up my alley. Yes, it's some 30 minutes too long, but I don't think it's too loud (at least not compared to the orchestral action adventure scores you love listening to). It's quite airy and light. However, it does lack in dynamic range.

 

 

Now HERE'S a highlight of the year. Slowmoving, poetic and intimate with - at times - religioso undertones. Not familiar with the composer, but here's a candidate for my top 10 of the year when that time comes.

[JNHFan2000 2,957]

23 hours ago, Thor said:

 

Your description was tantalizing to me, so I checked it out, and it was indeed something up my alley. Yes, it's some 30 minutes too long, but I don't think it's too loud (at least not compared to the orchestral action adventure scores you love listening to). It's quite airy and light. However, it does lack in dynamic range.

 

 

Now HERE'S a highlight of the year. Slowmoving, poetic and intimate with - at times - religioso undertones. Not familiar with the composer, but here's a candidate for my top 10 of the year when that time comes.

I just listened to this. It felt very much like an string concerto in a way. The cue "Perventin" blew me away. I don't know how to describe it, but it really grabs your attention. The rest is beautifully written and cello solos are gorgeous.

[crocodile 8,000]

 Shazam! Fury of the Gods. It is a score Quantumania should have been, the main theme even sounds like the secondary theme from Ant-Man series. It's no great art but still pleasant enough hour. It also helps the score is mixed exceptionally well in the film.

 

Karol

[JNHFan2000 2,957]

I quite enjoyed this. It's very British with some beautiful string and piano writing and some upbeat jazz cues. For the most part it's a bit "fluffy" and it doesn't really stick in the mind.

But for 48 minutes it's fun.

[JNHFan2000 2,957]

I wasn't to sure about Balfe doing this. Mostly because his name is on so many things. But this sounds terrific!

 

 

[Raiders of the SoundtrArk 2,433]

Creed III by Joseph Shirley

 

A really solid score with some great new themes, although I missed a bit Göransson and Conti's themes

[JNHFan2000 2,957]

I've never really warmed up to any of Dessner's previous scores. I always found them quite boring.

This I did really like. I don't know if Timo Andres is only a performer or if he also composed stuff. Either way the cues with the piano and the main theme are very beautiful and with just under 30 minutes the album is exactly the right length 

[JNHFan2000 2,957]

This is a blast! Fully orchestral action/adventure score with a great main theme. There small hints of Williams here in there but the rest is fully in the style of Wallace. Which I have to say I have never heard of, but if this is any indicator of his work I'll be looking out for new scores by him in the future.

[Thor 7,492]

Yes, they've been making a big fuss about it over on FSM, maybe because Wallace is Peter Hackman's client, I don't know. Either way, there are plenty of such scores being produced every year, if you look at other countries, so I'm surprised they think it's some super rare thing with an old-school 90s orchestral action score like that.

 

This isn't really a sound I gravitate towards anymore, but I gotta give him props for nailing it pretty nicely. Could possibly be in my runner-ups of the year when that time comes.

[Richard Penna 3,683]

Had a quick skim through Supercell and it's the type of score which I'd probably notice occasionally in the film and want to listen to the odd cue again, but as a standalone album, not really doing a whole lot for me. Just because something's orchestral/melodic/thematic doesn't mean it's a great score. The composer certainly has talent, relative to a lot of other composers though.

 

My current listening, inspired by Thor's recent encounter is Chris Bacon's 65 which I have to say I rather enjoyed - it's got Bacon's melodic touch and a very pretty long-lined theme, amongst all its electronics. Very likely to buy this actually.

 

In other news, Fenton's Wild Isles is a return to the Fenton who did Planet Earth, after Frozen Planet really didn't do anything for me. I'm still tuning to his sound, as some of it veers a little more into the 'classical' type of scoring than is entirely my taste. However I'm very keen to enjoy and support these releases as he's taken a leaf out of McCreary's book (even more in this case) and released complete episode albums. I wonder which producer finally decided to at least temporarily halt Zimmer & Co's stranglehold on the BBC's natural programming. I should note that some of what the Bleeding Fingers guys do is very good, particularly their Earth/Space tones library albums, but when given an entire series to score, they can't consistently get anywhere near Fenton's quality.

 

The only problem is that the Spotify version at least is very low in volume on the first few albums and I'm having to lower other stuff going on on my PC (YouTube, rain ASMR) to get this to an acceptable level.

[Edmilson 7,432]

I tried Supercell as well. The album starts well enough, and it's always a pleasure in the age of Balfe and Junkie to hear something melodic and orchestral. I thought I was in for a fun ride.

 

But then most of the album is just the usual boring suspense cues, which thankfully are not sound design, but still not very interesting either. I hoped this would lead to some sort of potent action climax, but it was just meh until the final cue. The only highlight was a theme that reminded me of something JW wrote for the prequels.

 

Still, this Corey Wallace guy is very talented and deserves another shot at a bigger movie. Damn, he should've scored the D&D movie! 

[Edmilson 7,432]

A pleasant listen, but not much else. It goes in one ear and comes out in the next.

 

I feel bad by not liking scores like this and Supercell that much. In theory, they're exactly what we claim we want. In Shazam's case I can see the director asking for a John Williams Superman kind of sound. But despite their good intentions, these scores are not very memorable.

[Richard Penna 3,683]

On 03/04/2023 at 11:44 PM, Edmilson said:

But then most of the album is just the usual boring suspense cues, which thankfully are not sound design, but still not very interesting either.

 

I've heard so many occasions of a sound design score doing something really interesting, effective or original where a score strictly using a traditional orchestra doesn't manage to do the same.

 

I'm saying yes, scores for big movies which use an orchestra are good, but there are moments in that score where some synth, sound design, percussion, or something other than that huge symphony orchestra, might be a better choice. If it's between scoring a scene with some generic orchestral chords that aren't doing very much, or using some other device that tries something different, I'm going for the latter most of the time.

[Mr. Who 919]

While I’m mostly an orchestra guy, I don’t really think that it matters wether a score is electronic or orchestral or a mix of both. Either it’s good or it’s not.

[JNHFan2000 2,957]

 

[JNHFan2000 2,957]

On 13/04/2023 at 11:51 PM, JNHFan2000 said:

 

I listened to the whole album today. And I have to say, I think I like it better then Dungeons & Dragons. This 80's synth/pop vibe is really cool.

[Thor 7,492]

2 hours ago, JNHFan2000 said:

I listened to the whole album today. And I have to say, I think I like it better then Dungeons & Dragons. This 80's synth/pop vibe is really cool.

 

A shame not more of the album is in the same style, though. It's really only the excellent "Puzzle Piece" that falls into that category as far as the original score material is concerned.

[JNHFan2000 2,957]

22 minutes ago, Thor said:

 

A shame not more of the album is in the same style, though. It's really only the excellent "Puzzle Piece" that falls into that category as far as the original score material is concerned.

 

There is a larger score album released.

It's 74 minutes. It's a tad too long, but there are more of those pieces like 'Puzzle Piece' from the OST on there

[JNHFan2000 2,957]

Unfortunately this is nowhere near Roque Baños' score for the 2013 film.

This is much closer to the horror scores of Joseph Bishara. Although it's slightly better then that. But it's mostly just a bunch of noise with no melody or anything.

Shame, I was actually looking forward to it.

 

 

[Schilkeman 961]

On 29/03/2023 at 11:19 AM, JNHFan2000 said:

This is a blast! Fully orchestral action/adventure score with a great main theme. There small hints of Williams here in there but the rest is fully in the style of Wallace. Which I have to say I have never heard of, but if this is any indicator of his work I'll be looking out for new scores by him in the future.

I really enjoyed this, thanks for sharing. It's refreshing to hear someone with a working knowledge of counterpoint and orchestration that feels learned, rather than imitative. I'll be keeping an eye on him.

[Thor 7,492]

On 16/04/2023 at 10:07 AM, JNHFan2000 said:

Unfortunately this is nowhere near Roque Baños' score for the 2013 film.

This is much closer to the horror scores of Joseph Bishara. Although it's slightly better then that. But it's mostly just a bunch of noise with no melody or anything.

Shame, I was actually looking forward to it.

 

Agreed, but do check out McKeon's gorgeous score for ABSOLUTION (2015) instead.

[Thor 7,492]

On 15/04/2023 at 5:57 PM, JNHFan2000 said:

 

There is a larger score album released.

It's 74 minutes. It's a tad too long, but there are more of those pieces like 'Puzzle Piece' from the OST on there

 

Right you are! I just got around to it now, and it's muuuuuuuch better. THIS is the kind of lean, electronic style I was hoping the whole score was like. Will be one of the year's highlights, for sure. The album is too long, but I'm sure I can build a playlist out of it (and include the "Puzzle Piece" track from the regular soundtrack/songtrack).

[Under-Terrestrial 51]

First impression is: doesn't rival JNH's Peter Pan, but still brings it 

 

https://music.apple.com/nz/album/peter-pan-wendy-original-score/1683663831

 

[Tom Guernsey 2,282]

2 hours ago, Under-Terrestrial said:

First impression is: doesn't rival JNH's Peter Pan, but still brings it 

 

https://music.apple.com/nz/album/peter-pan-wendy-original-score/1683663831

 

I might have to check this out... no matter how variable the films (and they mostly fall on the disappointing side it seems!) the music for Peter Pan is usually above average - flying, pirates, fantasy and sword fights, you can't really go far wrong! Then again, his music for the Pete's Dragon live action rather underwhelmed me although his music for the first season of the Interview with the Vampire TV series was pretty good (if not quite Elliot Goldenthal good... but few composers are Elliot Goldenthal good).

[Under-Terrestrial 51]

To whom it may interest, the following lullaby by Daniel Hart in Peter Pan And Wendy (which recurs throughout the score) starts out identically to Dario Marianelli's music box theme from The Boxtrolls:

 

 

Starts at 0:33 --

 

 

[Edmilson 7,432]

Super Mario Bros by Brian Tyler

 

How come I've waited until today to listen to this? It's a lot of fun!

 

I was fearing that Tyler would make everything "big, loud and epic", and to be honest he kinda did... But not in a drab, overly-serious way like his action scores from a decade ago. Everything is very energetic and fun, kinda like a John Powell animated score. His new themes (at least what I think is his themes, I'm no expert in Nintendo music) are super fun and mesh well with the established themes.

[Jay 37,346]

Everything in the overture is his own themes, and then those recur throughout the rest of the album

 

There's a ton of cameos of existing video game melodies, but they are all fairly short for the most part, and most only appear one time (though I think the flagpole music appears twice, maybe another one or two)

[Thor 7,492]

 

I've never heard of Joseph Bologne (1745-1799) before -- the French-Caribbean classical composer who this film is about, and whose compositions appear on the soundtrack. The original compositions by Kris Bowers and Michael Abels contain some of the period's time specific stylings, but often in a more modern, minimalist, downkey way. I'm normally a sucker for these blends, and it works reasonably well here, but not terribly exciting either. It's no new RESTORATION or THE MADNESS OF KING GEORGE.

[Jurassic Shark 12,054]

1 hour ago, Thor said:

 

I've never heard of Joseph Bologne (1745-1799) before -- the French-Caribbean classical composer who this film is about, and whose compositions appear on the soundtrack. The original compositions by Kris Bowers and Michael Abels contain some of the period's time specific stylings, but often in a more modern, minimalist, downkey way. I'm normally a sucker for these blends, and it works reasonably well here, but not terribly exciting either. It's no new RESTORATION or THE MADNESS OF KING GEORGE.

 

It didn't appeal much to me either.

 

Here's (so far) my favourite movement by Saint-Georges:

 

 

[Thor 7,492]

 

The songtrack didn't do much for me, but the score album was great, albeit too long. So I whittled it down to this playlist, incorporating two tracks from the songtrack (first and last track). Now THIS is a smokin' album at 47 minutes! As it stands here, one of my favs of the year so far, in fact.

[JNHFan2000 2,957]

1 hour ago, Thor said:

 

The songtrack didn't do much for me, but the score album was great, albeit too long. So I whittled it down to this playlist, incorporating two tracks from the songtrack (first and last track). Now THIS is a smokin' album at 47 minutes! As it stands here, one of my favs of the year so far, in fact.

Great I'll take your playlist for a spin. See how it is in that way

[Thor 7,492]

 

I'm just a sucker for these kinds of retro scores, incorporating elements of 60s and 70s funk, soul, jazz, psychedelia etc. Never heard of Gunn before, but one to watch from now on.

[Thor 7,492]

 

Very nice -- insert a little bit of sacral choral music, and I'm sold right away! The film looks cheesy (in its variation on the Bizet opera), but the music is earnest. Sometimes broad and sweeping, sometimes static and detached, but moves organically between the two. Program out the songs, though.

[Thor 7,492]

 

Alex Baranowski blasted on to the scene (at least for me) in 2020 with his two gorgeous scores for A CHRISTMAS CAROL and THE WINDERMERE CHILDREN. I think I even voted him 'discovery of the year' at the time. Now he's back with this very moody score -- that combines twangy and dusty blues guitars with autumny jazz (parts of it reminiscent of Pemberton's excellent MOTHERLESS BROOKLYN). It's all very well conceptualized.

[filmmusic 1,826]

 I had been disappointed by the Oscar winner Shakespeare in Love, and I haven't heard anything else from this composer, except Captain Corelli's mandolin, which I liked better if I remember correctly.

A facebook friend of mine, ardent film music fan, said this is the best film score of 2023 so far, so I've decided to listen to it.

I'm not sure about that statement, since I haven't heard many 2023 scores, but I found it quite good.

[Thor 7,492]

I'll check out that new Warbeck, filmmusic. He's always been a bit hit and miss to me, but maybe this is a hit.

 

Meanwhile:

 

 

Leanizbarrutia was a major discovery in 2021, with his wonderful score for CLARET (which clocked in at my third place of the year). Now he's back with another strong score. Not quite on the great, Delerue-ian level of CLARET, but still with some soft, wonderful, at times religious explorations.

[bruce marshall 1,315]

https://m.facebook.com/groups/95015405220/permalink/10167908096570221/

[Thor 7,492]

 

I wasn't aware Cosma, now 83, was still doing film music. Despite the unassuming cover and maybe even film itself, this is a very nice score that could only come from the hands of someone who's been around for decades. Cosma's unmistakable melodic genius, some hints of jazz in the chord progressions and orchestral colours with full dynamic range. Old-school, but good.

[GerateWohl 4,355]

9 minutes ago, Thor said:

 

I wasn't aware Cosma, now 83, was still doing film music. Despite the unassuming cover and maybe even film itself, this is a very nice score that could only come from the hands of someone who's been around for decades. Cosma's unmistakable melodic genius, some hints of jazz in the chord progressions and orchestral colours with full dynamic range. Old-school, but good.

 

The main title sounds like a rip-off from Piazzolla's Libertango.

 

[JNHFan2000 2,957]

I was really hoping for an orchestral score in the style of the 90's, but alas. That's not this. This has more in common with Paul Haslinger 3 Musketeers score than Michael Kamen's.

There are some good moments, but overall it's a bit dark and plays without really leaving a mark. I couldn't tell you if there was a main theme or not.

Maybe the 2nd film later this year brings something else, but I'm slightly disappointed.

 

[Jurassic Shark 12,054]

9 minutes ago, GerateWohl said:

 

The main title sounds like a rip-off from Piazzolla's Libertango.

 

 

Definitely.

[JNHFan2000 2,957]

For me, another score this year which fits into the "It's good, but I expected more" category. Maybe it's my expectations that are the problem, but I just don't connect with it. I can hear that it's good music and some parts I enjoy. But I found it a chore to get through the hour long album.

I was very much looking forward to this, because I love Rivera's Godless & Queen's Gambit score. Unfortunately, not a big winner for me.

 

[JNHFan2000 2,957]

And another one which doesn't fully click with me. Others might get angry with me, because I know a lot of people love this. But there's just something that doesn't work for me. I had the same problem with Fallen Order.

It's all exeptionally written, but I find it quite boring at times. The action music is strong and dense, but it doesn't really excite me. There is a lot of filler music and the more comedic parts just don't work for me.

Add to this, that I feel the album if waaay too long and that I personally (even with the help of threads) can't remember or really pick out strong themes.

Maybe it has too do with me not playing the games that I can't connect with it.

 

 

[Tom Guernsey 2,282]

The Little Mermaid - Alan Menken (possibly mild spoilers... although let's face it, it's a remake of a film from - checks notes - 34 years ago, do you feel old yet?).

 

I'm contractually obliged to start with a complaint - 40 bloody minutes?! Seriously Disney?! You cheap bastards* - this is shorter than the already fairly short OST for the original movie. So yeah, if you're in it for Alan Menken's underscore, you're largely out of luck (4ish scores tracks - some of which are fragments/reprises of songs mixed with score), although they suggest quite a decent "reimagining" (to use the current favourite term for remakes) of the original. To be fair, the original score always sounded a bit thin (not sure if it was a very small orchestra) so it'll be nice to (hopefully) hear some of it fleshed out a bit more for the remake.

 

The new versions of the songs are largely great, Halle Bailey is superb as Ariel, belting it out rather mot than Jodi Benson's slightly gentler take, but her version of Part of Your World is terrific. Under the Sea is broadly the same as the original, just a slightly updated arrangement, but all the marvellously silly fish/music puns are all present and correct. Melissa McCarthy doesn't quite have the same Bea Arthur after a packet of fags (American: cigarettes) voice as Pat Carroll, but her take on Poor Unfortunate Souls is delicious.

 

Of the original songs, the slightly silly Daughters of Triton has been ditched (not a great loss in fairness) but there's a trio of new songs. Wild Uncharted Waters is for Prince Eric and gives him his own yearning song to match Part of Your World and For the First Time as Ariel adjusts to life on land is a lot of fun, even if sounds a bit like an amalgam of a few Menken songs (a hint of some second songs from BATB, the tone of Tangled and a swaying motif from That's How You Know from Enchanted). The Scuttlebutt will probably be the most divisive as it's the most obviously Lin-Manual Miranda influenced, even though he's only on lyrics duties. I doubt this song would exist in remotely this form had anyone else written the new lyrics. Basically it's fun, kid friendly rapping, so Menken is more or less reduced to a couple of musical hooks and the rest is pure LMM and doesn't really fit tonally with the rest of the songs.

 

I mean, it's as unnecessary as the other live action remakes, but 2 of the 3 new songs fit easily alongside the originals and the versions of the original songs are great. This now means we now have 3 Menken musicals with an original animated version, a stage version many new songs and a live action remake with different new songs. Nice to have a choice, huh?!

 

*there appears to be some kind of special edition pending, but contents as yet unknown. Here's hoping it contains the balance of the underscore like the Beauty and the Beast remake special edition.

[Knight of Ren 789]

I feel both Fallen Order and Survivor are scores that require several listens to fully appreciate the complex thematic writing, but it's true that it can get a bit exhausting, since both scores amount to about 7 hours, and without the context of the games, some tracks feel a bit "boring" or less interesting. But there's some really great stuff hidden in there.

 

I stumbled upon this score by chance and was pleasantly surprised by it. I've never heard of Dario Vero, but his score for this animated film reminded me a bit of James Newton Howard's efforts for children/fantasy films, even if not on the same level. The album presentation it's perhaps a bit too long, and is damaged by some shorter, mickey-mousing cues, but there are also some strong orchestral and choral passages and there are some great motifs developed through. It's nothing too revolutionary but it works surprisingly well and was a nice little discovery which I recommend to anyone that is a fan of fantasy / orchestral music, with some great presence of female vocals in the main theme.

 

The suite at the end is a great summary of some of best ideas of the score.

 

[JNHFan2000 2,957]

4 hours ago, Knight of Ren said:

 

 

I stumbled upon this score by chance and was pleasantly surprised by it. I've never heard of Dario Vero, but his score for this animated film reminded me a bit of James Newton Howard's efforts for children/fantasy films, even if not on the same level. The album presentation it's perhaps a bit too long, and is damaged by some shorter, mickey-mousing cues, but there are also some strong orchestral and choral passages and there are some great motifs developed through. It's nothing too revolutionary but it works surprisingly well and was a nice little discovery which I recommend to anyone that is a fan of fantasy / orchestral music, with some great presence of female vocals in the main theme.

 

The suite at the end is a great summary of some of best ideas of the score.

 

 

Parts of this reminded me a bit of Gareth Comer's Ori scores.

It's nice, but indeed too long and the suite is a good way to hear the entire score.

[LSH 968]

1 hour ago, JNHFan2000 said:

 

Parts of this reminded me a bit of Gareth Comer's Ori scores.

 

I couldn't think of what it reminded me of... and this is it.