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Ready Player One & The Avengers’ Infinity War (Alan Silvestri)

Oh what a year to be an Alan Silvestri fan! We’ve had two massive, orchestral scores back to back; one of which was for a Steven Spielberg movie. Yes! Spielberg, you read that correctly. And if nothing else, there is still the fantasy-drama The Women of Marven for frequent collaborator Robert Zemeckis to come. For now, let’s focus on Ready Player One and The Avengers: Infinity War. Both are quintessential, big, bold and brash Silvestri scores. Yet, it’s got to be said that one is a lot more enjoyable than the other.

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That Good Night (Guy Farley)

Guy Farley is one of those hard-working guys (pardon the pun) whose name you hardly ever see in mainstream movies or television. Caldera records have a rich history of releasing Farley’s music that has, quite likely, slipped under anyone’s radar. And the thing is… it’s really great stuff. I’ve reviewed his Mary of Nazareth in the past, and I want to share a few thoughts on That Good Night as well as the Film Music Collection; both available from Caldera.

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A Wrinkle in Time (Ramin Djawadi)

I have to say, I have no intention of seeing A Wrinkle in Time. The story sounds a bit far-fetched and the trailer looks… let’s say unconvincing. The score is by Ramin ‘Game of Thrones‘ Djawadi, a composer of whom I’m not a big fan. We’re off to a great start, aren’t we? Having said that, I enjoyed his The Great Wall a great deal more than I thought I would; and WiT sounds promising, though still has a few issues.

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Black Panther (Ludwig Goransson)

I can’t remember* the last time I heard a score like Black Panther by Ludwig Goransson. It’s pure fun, inventiveness, stark raving bonkers at times, a bit odd but very clever and it has a killer main theme. It’s the kind of score that at first listen you don’t quite get; it almost feels as if something’s wrong, yet after a few listens all those oddities make perfect sense and the score is all the more memorable for it.


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Love, Simon (Rob Simonsen)

If you’ve read my review of Nerve, you’ll know that I liked it very, very much. Over the years I’ve become a fan of this composer’s work. His use of electronics is second to none; and I believe I’ve called him ‘king of cool’ before. So imagine my delight whilst listening to Rob Simonsen’s latest score for the coming-of-age dramady Love, Simon.

The overall sound is very similar to Nerve, so expect plenty of smooth synth sounds combined with a small string orchestra, piano and guitar. It’s every bit as cool as Nerve, but it is generally more upbeat.

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