While August may have slowed down in terms of film scores, September picks up the pace (and, as of this writing, each subsequent month keeps or exceeds that pace). As always, 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 September 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 July, August, and September (in case you prefer audio or want a broader survey).
Dune and The Dune Sketchbook – Hans Zimmer
Hans Zimmer burst September open with two related releases: Dune and The Dune Sketchbook. Dune was certainly one of (if not the) most anticipated scores of the year, in part because of Zimmer’s own hype. For months, he touted the abstract nature of the score, the level of experimentation, and the number of instruments and synthesizer modules specially commissioned for the project. It was as if Zimmer were going to the ends of the earth to bring this dream project of his to life.
Although he normally releases sketchbooks well after a score’s release, Dune’s came first. And with it, his many promises seemed fulfilled. This dense, 100-minute odyssey is filled with exciting concepts and experimentations, the creation of many alien planets and their inhabitants; societies, cultures, and technologies so utterly different from our own brought to life. And with this, a mystery of how they would truly unfold. After all, the Sketchbook is, as its name suggests, a prelude to the final score.
In comparison, and at first glance, Dune feels deflating. The risks and unorthodoxy of the Sketchbook feel absent, largely replaced by brooding drones and an omnipresent theme. But they are present, simply burrowed beneath the surface (along with a multitude of sub-themes and motifs that were easy to miss). Although it has drawn a multitude of detractors – often complaining that it is too loud, too stagnant, too droning – Dune ends up being one of the more interesting Zimmer scores in recent years that also serves to force him out of his recent comfort zones.
Blue Bayou – Roger Suen (Review)
Roger Suen has seemingly been toiling away, often unnoticed, for several years. Not only does he have some very good scores under his belt, like Ms. Purple, and Gook, but he’s composed additional music for major projects like The Shape of Water and Red Notice. Blue Bayou will hopefully be his coming out. Suen adopts a sweaty, sticky jazz punctured by frantic guitar and yearning ethereal moments. Together they push us into a pit of beautiful melancholy, with each handhold of normalcy crumbling at the faintest touch as the light of hope slowly fades. We fall further and further, and as those last notes cry out, the light finally disappears.
Prisoners of the Ghostland – Joseph Trapanese
Perhaps the most eclectic score of the year is Joseph Trapanese’s Prisoners of the Ghostland. A quick peek at the film’s trailer makes clear that it’s a mélange of influences. With elements like elegant piano and synth nestled within neo-western and Japanese undertones, Trapanese follows suit. The musical absurdity is part of its charm, and it’s hard not to get swept up in each unexpected twist. Prisoners of the Ghostland is a wild experience, gleeful in seeing just how strange things can get.
Shang Chi and the Legend of the Ten Rings – Joel P. West
I was curious to see how Joel P. West would make the jump from scoring indie films to a blockbuster like Shang Chi and the Legend of the Ten Rings. He surpassed all expectations. West utilizes a number of themes and motifs that deftly evolve and intertwine, while balancing a torrent of tension and action that never bleeds into excess. The most exciting aspect, though, is his tasteful inclusion of Hong Kong film music elements. They give the score a unique, immediately recognizable identity so often absent from other Marvel scores.
A Few More Scores
As sometimes happens, too many good scores released in September for me to cover! Check the rest of them out:
- Amy Tan: Unintended Memoir – Kathryn Bostic
- Malignant – Joseph Bishara
- Worth – Nico Muhly
- 9 jours a Raqqa – Ibrahim Maalouf
- The Card Counter – Robert Levon Been
- My Best Friend Anne Frank – Merlijn Snitker
- Delicieux – Christophe Julien
- Joe Bell – Antonio Pinto
- Margrete – Queen of The North – Jon Ekstrand
- Nightbooks – Michael Abels (Interview)
- The Nowhere Inn – St. Vincent
- Really Love – Khari Mateen
- Jazz Selections: Music From and Inspired by Soul – Jon Batiste
- The Starling – Benjamin Wallfisch
- Claret – Óscar Martín Leanizbarrutia