Another month of 2021 rolls by filled with excellent scores from a variety of genres. One of the highlights is Buckley’s Chance by the excellent Christopher Gordon (which I’ve seen more than one person call the score of the year so far). Although it released in June, I only discovered this score in September, which shows just how tough it can be to stay on top of everything. That said, if you think I’ve missed any scores from this month (or any past months), leave a comment or get in touch and I’ll check them out!
As has been the trend for this year, there have simply been too many excellent scores for me to do even these brief writeups on (not to mention the difficulty it trying to keep track of them all!). The upside, of course, is there’s a ton of great music! Make sure to scroll to the end of this article for a list of even more June scores to check out!
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. In addition, make sure to listen to my podcast episode where I give a quick rundown of some of the most notable scores of April, May, and June (in case you prefer audio or want a broader survey).
Censor – Emilie Levienaise-Farrouch (Interview)
Censor was an indie horror darling upon release and has recently been receiving a second wave of support from UK critics. One of the film’s most talked about aspects was Emilie Levienaise-Farrouch’s score. The most striking aspect of the score is the Giallo and John Carpenter influences; a barrage of stabbing piano that punctuates every so often. But it is also deeply atmospheric, as if it’s a cold wind at your back or a collection of distant mutterings. Censor is an exciting, encouraging release from Levienaise-Farrouch and positions the young composer as one to watch.
Buckley’s Chance – Christopher Gordon
It seems like I say this every several months, but Christopher Gordon’s score for Buckley’s Chance is the kind you don’t hear often anymore. Gordon gives us an ambitious score that sounds BIG – the tension, the excitement, the themes. It is a sweeping, enthralling adventure. You’d be forgiven for thinking this was the music to a new space opera. Instead, it’s a rather small scope story following a boy in the outback. Gordon’s score gives it life, scale, and a sense of importance. It’s a shame, however, that the film had a poor critical and box office reception, ensuring the music won’t reach the audience it deserves. Considering Gordon’s applauded score for Master and Commander: The Far Side of the World and works as a conductor on numerous high-profile films, one wonders how and why he isn’t scoring higher profile films.
False Positive – Yair Elazar Glotman & Lucy Railton (Interview)
Those familiar with Jóhann Jóhannsson’s Last and First Men may recall the film’s co-composer, Yair Elazar Glotman. Glotman returns with a new co-composer, Lucy Railton, with False Positive. Together they create a dynamic, rumbling drone of contrabass and cello that liquifies your insides. Those looking for themes and melody will surely hate this score, but those interested in tone, texture, and experimentation will find it a grisly delight.
Luca – Dan Romer
It seemed like a big career setback for Dan Romer when Hans Zimmer replaced him on the (still) upcoming No Time to Die. But Romer bounced back with Pixar’s Luca. It’s an absolutely delightful score, showing a clear evolution from Romer’s work on Beasts of the Southern Wild and Wendy. The Mediterranean-inspired music is full of thematic complexity, igniting a sense of swelling hope and childlike imagination.
Peter Rabbit 2: The Runaway – Dominic Lewis (Interview)
Outside of certain studios, I tend to have low expectations for scores in kid-focused animated films. Dominic Lewis’s score for Peter Rabbit 2: The Runaway should put that to rest. Lewis gives a dynamic, layered orchestral score that manages to be genuine in both its seriousness and playfulness, with a constant energy throughout. His music is never condescending to his child audience, instead treating them with a welcome and deserved respect. This is how you score family films.
A Few More Scores
As sometimes happens, too many good scores released in June for me to cover! Check the rest of them out:
- Edge of the World – Will Bates
- We Don’t Deserve Dogs – Blake Ewing
- Security – Andrea Farri
- Better Days – Varqa Buehrer
- Children of the Enemy – Lisa Nordstrom
- Lansky – Max Aruj
- Non-Citizens – Leon Gurvitch
- The Reason I Jump – Nainita Desai
