While November was a somewhat slower month than normal for film music releases, December proved to be the opposite. In fact, there were far too many scores to cover (and almost too many to even keep track of!) and four of the Golden Globes’ five nominations for best score released this month!
Among those scores and composers discussed below are Trent Reznor and Atticus Ross, with a double-bill of good scores, and Gazelle Twin with her experimental and outstanding debut Nocturne.
Have a quick read about each of these excellent scores below then be sure to give them a listen. Be sure to see what other scores you may have missed by reading past editions of this column.
Nocturne – Gazelle Twin
It’s not often that a score comes out of nowhere like a nuclear blast, but Gazelle Twin’s Nocturne did just that. She utilizes one of the most varied, eccentric sound palettes all year, from the bizarre to the familiar (the most striking of which is a warped, screaming voice). The score is haunting, unsettling, and absolutely terrifying, all without ever nearing typical horror music tropes. But it’s also incredibly listenable, a breathless 36-minute experience that can be thrown on repeat, allowing the listener to experience this nightmarish trance again and again. With a film music debut this strong, we can only hope that Gazelle Twin makes further forays into the genre.
Mank & Soul – Trent Reznor, Atticus Ross, and Jon Batiste (on Soul)
Trent Reznor and Atticus Ross have accomplished the rare feat of releasing two good scores in the same month with Mank and Soul (the latter of which also features significant contributions from Jon Batiste). With Mank, Reznor and Ross eschew their typical electronic drones and soundscapes. The duo replaces them with a bevy of 1930s and 40s musical vignettes, utilizing only period-specific instruments. It’s almost a direct rebuke to many criticisms they’ve faced over the years and an almost shocking about-face in style and sound. Interestingly, there isn’t much narrative flow or cohesion. Instead, the score functions more like a random cue generator, whisking us through the sounds of mid-century jazz.
Soul sees Reznor and Ross return to their more familiar sound while also sharing composing duties with Jon Batiste. This leads to two distinct sounds that hang in a delicate balance, whose combination and interplay are integral to the score’s effectiveness. Reznor and Ross create a lulling dreamworld of soft, murmuring electronics. Batiste, meanwhile, brings a roaring, modern jazz. The score flits between the two, a journey across reality and those realms Beyond.
Wonder Woman 1984 – Hans Zimmer
In recent years, Hans Zimmer’s style has focused more on soundscapes and droning textures. But Wonder Woman 1984 sees Zimmer back in the saddle of bombastic melody. It’s as if, rather than make the obvious choice of parroting 80s’ music for an 80s-set film, Zimmer instead returned to his style from the same era. Themes abound, as does a constant sense of adventure, energy, and triumph. It proves a foil to the grittier DC superhero scores that have marked much of the 21st century so far (many of which Zimmer also composed).
Wild Mountain Thyme – Amelia Warner (Interview)
After Amelia Warner’s debut score Mary Shelley surprised critics and listeners, many wondered how her follow-up would compare. It’s finally here: Wild Mountain Thyme. The most notable element is the Celtic folk music weaved throughout the score. However, Warner limits its use, striking a balance with the gentler melodic orchestral parts. It’s a great change of pace from more typical sounding film music and solidifies Warner as a talented and varied young film composer.
A Few Other Great Scores
Sometimes a month sees too many excellent scores to cover. December is one such month. Check a few other great releases from the month:
- Sylvie’s Love – Fabrice Lecomte
- Let Them All Talk – Thomas Newman
- News of the World – James Newton Howard
- El Verano Que Vivimos – Federico Jusid
- Jingle Jangle: A Christmas Journey – John Debney
- Ma Rainey’s Black Bottom – Branford Marsalis
