June 2020: Highlights

What should be one of the best months of the year for pop music is instead one of the most disappointing. Pickings were understandably slim this June: there’s not much to celebrate; clubs, concerts, and large gatherings of any kind are still verboten; and the fatigue of endless 90+ degree F humidity makes it very hard to appreciate all the sunshine we’re finally getting (at least here in the appears music lounge). That leaves very little inspiration for songwriting or incentive for labels to release jams of any kind. Nevertheless, here are some interesting releases, served for our still-responsibly-staying-at-home consideration — the rest of us can keep listening to Chromatica, I guess.

Jamal Green: Skelattack (Original Soundtrack)
(2020.06.05)

Since Danny Elfman is one of the most well-known and iconic producers of modern film soundtracks, it’s almost cliche to cite him as an inspiration, and borderline psychotic to attempt imitating his sound. Yet Jamal Green does just that for the soundtrack to the video game Skelattack. Full of all the moody atmospherics of the composer’s best horror soundtracks (and there are so many), the music is a fitting soundscape to the inherently all-ages, Tim Burton-theatrics of the game’s spoopy game play. It can all get a bit your local Michael’s Halloween arts-and-crafts aisle, but that’s always been my favorite aisle (outside of October, it’s the pen and marker one).

Cosmic Girls (WJSN): NEVERLAND
(2020.06.09)

There were plenty of girl group comebacks to go around in June — and boy bands too — TWICE, IZ*ONE, and NATURE to name a few. Hot take: All of these were miles ahead of their male counterparts, who keep flirting with ways to sound more like their predecessors, with half of the motivation. As a long-time fan, I’m inclined to think WJSN’s NEVERLAND leads the pack. Though we have yet to receive a genuine, marketed-as “summer single” from K-pop, “BUTTERFLY” soars as close to that burning sun as we might get during this pandemic summer. (But it’s only June! Surprise me!) Still, we could do worse than the pastel brushstrokes all over these breezy watercolors. There’s nothing original about the title or concept art here, a very Anne of Green Gables meets Disney Golden Age, but I get enough pleasure and imagery out of mere words like “beach towel,” “popsicle,” and “Coppertone SPF50” to understand the power of sticking to the traditional, and very safe, playbook, the kind of joy sparked by the powerful pull of word association in touch and taste, in sight and smell, and in sound.

Chloe x Halle: Ungodly Hour
(2020.06.12)

There are other artists out there who can do what Chloe x Halle do, but few who do it so earnestly. As two young women who debuted at the age of 13 and 15 respectively, we have been given the opportunity to watch them grow, smoothing out the wrinkles of identity and personality that we do. Ungodly Hour sees them now confronting some of the more complicated and unpleasant compromises of adulthood, with their signature downbeats and twinkling harmonies. There are bittersweet moments all over this album, including a youthful production that hints that as far as they’ve come, they still have a way to go; no one emerges a Homecoming-Beyonce before putting in the work of a Destiny’s Child-Beyonce. After naming The Kids Are Alright one of the top ten debuts of 2018, and spending some time with its follow-up, I’m happy to continue keeping my eye on this duo’s evolution and obvious drive not just to create something great, but to contribute something truly unique and singular to the genre.

Poppin’ Party: Breakthrough
(2020.06.24)

Like many anime and game idol-franchises before them, from Creamy Mami to the ubiquitous Oricon presence of iDOLM@STER, Poppin’ Party, the group from BanG Dream!, releases music to the public as any real-life band or idol. They are, after all, backed by real-life seiyuu like Ayaka Ohashi, who enjoy success through the mixed-media marketing strategy that easily parlays into solo careers. Because these groups are a dime a dozen now, and many up-and-coming vocalists will have gotten their start in one of these animated or virtual arenas, the music itself is instantly recognizable: upbeat, rock-driven, and lyrically focused on recurring themes of goal-setting, and the self-determination, drive, discipline, and relentless perseverance that it takes to reach them. Poppin’ Party already released one big compilation of their anthems last year, and it was fairly enjoyable. Breakthrough coasts on the same energy, but unfortunately filters out most of the personality that made Poppin’on! so memorable. This sieve-like effect, where the second round is similar enough to warrant consideration, but missing a vital essence, is nothing new for a concept that is now reaping diminishing returns with the sheer number of more-of-the-same options. It’s a genre in desperate need of some novel, revitalizing gimmick, and one that I eagerly hold out for in between high-quality, but self-congratulatory echo chambers like this.

Jessie Ware: What’s Your Pleasure?
(2020.06.26)

It’s nice to get the follow-up to Fever that we all deserve, and it’s none the worse for coming from Jessie Ware, who has released what is the best disco album of the year, and probably decade. This is actual disco, not electro-pop with some strings pinched into the production, or whatever modern K-pop tries to pass off as “disco-inspired” on occasion when it’s better off just being promoted as great pop. Ware brings a levity and seriousness to What’s Your Pleasure?, one that feels as grown-up, and uncool, music-for-adults as some of the best of the genre’s vintage origins. As someone who grew up with ABBA, I respect and admire the attention to detail and unwillingness to compromise on irony for the sake of a wider audience; Random Access Memories this is not, though de Homem-Christo and Bangalter could take some serious notes if they’re looking to craft songs that are more than just technical marvels, but beating hearts, too.

NiziU: Make you happy
(2020.06.30)

The Japanese idol business has had a steady influence on K-pop long before NiziU, from Girls’ Generation on up, but it’s the sound that seems to be the main talking point with NiziU, who made their (pre-)debut this month with “Make you happy,” the type of throwaway effervescence common among debuts from Red Velvet’s “Haengbok (Happiness),” to the aforementioned SNSD’s “Dasi Mannan Segye (Into the new world).” It’s hard not to root for them when they’re following in such hallowed footsteps. The J-pop connection is a bit muddier; the group sounds heart-whole K-pop here, with the precise cut and paste choreography of their contemporaries. A Japanese word in their name and harmony-less shouts don’t a J-pop idol group make. If anything, this EP sounds a bit like early DalShabet, a “Mr. Bang Bang” send-up that makes me a little achey for a decade ago, when groups aimed to sound more like this all the time than “How Do You Like That.”

May 2020: Highlights

Gesu Kiwame no Otome.: STREAMING, CD, RECORD
(2020.05.01)

Every generation has their unifying song smith: Tetsuya Komuro and Yasutaka Nakata all had their rises, peaks, and falls, and it looks like we’ve now reached peak-Enon Kawatani. It’s marked by all the tell-tale signs: fingers in various pies, all maintaining consistency in brand and sound, numerous releases flooding the market as the torrent of genius overflows, and the beginning of ennui from an audience hitting the over-saturation point. We’re just at the beginning of that last one, goodwill is still intact: I had a blast with last year’s GENIE HIGH and while it seemed a little premature for another Gesu Kiwame no Otome. album so soon afterwards, the results aren’t at all bad. While I don’t think STREAMING, CD, RECORD has the same punch as the group’s early records, it’s by no means a total mess, especially if you already liked GENIE HIGH RHAPSODY, since this is the natural successor, and has the exact same spirit. Extensions, leftovers, whatever you want to call it, it’s pure Kawatani and while the whiff of disillusion grows ever stronger, I wager we’ll all still accept a couple more of these before complete fatigue sets in.

TOKYO GIRLS’ STYLE: Tokyo Girls Journey
(2020.05.05)

Since declaring their status as artists rather than idols, TOKYO GIRLS’ STYLE’s output has been erratic at best. After the coinciding departure of Ayano Konishi, the group lost their core fan base and with it, any consistent musical direction, flailing between mature dance-pop bops and the sort of generic idol-pop at which even B-grade idol groups would turn up their noses. With Tokyo Girls Journey, the group is back to their more grown-up sound, an EP that shoots for the best of both worlds, for example, taking very disparate parts of their iconic New Jack Swing song and feeding it through a house filter, as in the EP’s strongest track, “Bara no Kinbaku.” The following tracks are a bit more varied, with “Ever After” a pop song heavily influenced by indie, bedroom production, while “KIMI NI WOKURU” illustrates the clearest “old” TGS stripped of the fun NJS elements. There’s solid work here, but nothing that reflects where the group should be at this stage in their career, depicting neither growth, nor a path forward. Like much of their work post-Konishi, it highlights a growing disparity between what TGS was and what they could be, committing to nothing but doubt and a sense that any future releases are guaranteed DOA until Avex finally pulls the plug.

Sunna Wehrmeijer: The Music of She-Ra and the Princesses of Power
(2020.05.08)

There haven’t been any major movie releases in months and summer isn’t looking so great either, as dates are pushed back and rescheduled indefinitely, along with their soundtracks. So while we should have been moved by Harry Gregson-Williams Mulan last month and moments from comparing his brother’s Wonder Woman to Hans Zimmer’s Wonder Woman 1984, we’re instead left to forage in the C-grade muck left behind by streaming services like Hulu and Netflix. Luckily, there is one superhero outfit that has come to the rescue: Sunna Wehrmeijer’s collected works from Netflix’s original series She-Ra and the Princesses of Power, which premiered its fifth and final season this month. The series, one in a long line of reboots (and recent mahou shoujo homages like Zodiac Starforce), follows the adventures of Adora and a group of other magical princesses in a campaign against the evil Horde and their leader Lord Hordak. Anyone familiar with 90’s anime will be happy to recognize many familiar tropes, from transformation sequences to the safe black and white-level nuances of good and evil, all accompanied by a fantastic and fun soundtrack just as magical as any of its girls. The cues are at turns modern and whimsically retrospective, indulging in cheesy synths and fanfares without excluding the heroic bombast of tension and suspense on which the plot relies. The creators’ notes to Wehrmeijer’s recommended “big and epic” — but also “sparkly,” a perfect summation of the overall vibe here. Wehrmeijer’s previous work has included several shorts and other animated projects like Spirit Riding Free and Dorothy and the Wizard of Oz, but her work for She-Ra is a strategic level up, one that will hopefully open more doors for this versatile musician.

Bolbbalgan4: Sachungijib II Kkoch Bon Nabi
(2020.05.13)

There are only a handful of true “indie” groups in South Korea that are popular by more than word of mouth. I would not say Bolbbalgan4 is one of them anymore, though they do a very good impression of the “indie sound,” that is, a calculated avoidance of the artificial synths, hip-hop, and brand-name luster that comprises the typical K-pop sound. Instead, BOL4’s sound has always relied on its whisper-volume lead vocalist, and as of last month, sole member, Ahn Jiyoung. The group has released music at a steady pace, even finding some success in Japan with a re-work of their only full-length studio to date, RED PLANET. But unlike the rollicking fun of a K-pop banger that makes for an instant hit, BOL4 has always come off as a bit more cerebral, the lyrical content of their songs just as important as the sound, one that lovingly emulates, rather than cynically mimics, a 8.0 Pitchfork review. That kind of sentiment seems to water down what BOL4 does, though, and it’s more complicated than that: in a sea of bad-ass angst and chipper aegyo, BOL4 are a welcome antidote, part the-boring-bits of a proper K-pop EP and part but-respectfully-authentic passion for the acoustic singer-songwriter sound. Take “Counseling,” where Jiyoung blurts out a series of self-recriminations, doubts, and bitterness: “I have good memories / I think I was really happy once. I want to live like a child / I don’t think I am […] I think I should say sorry / I am not, I am not. I hope you’re unhappy.” The gentle setting for these jewels belie their radicalness, the warm aura making palatable what by any other means seems humorously incongruous next to her sisters on the chart who are currently chanting “I can’t talk to you / I’m a little excited oh nanananana.”

Bear McCreary: Outlander (Original Television Soundtrack: Season 5)
(2020.05.15)

Bear McCreary is a jack of all trades: Rather than fall into the genre rut that a lot of composers fall into (Abel Korzeniowski, Junkie XL), McCreary has kept his options and his horizons open: he’s composed music for horror films, but also critically-acclaimed video games, B-level motion pictures, and for the last five years, the Outlander television series, now premiering its fifth season. It’s easy to fall into a rut when you’re bound to the same themes, endlessly pouring old melodies into new bottles — what was an interesting novelty in season 1 hit its peak in season 2, when McCreary got to take the familiar sounds of the iconic Scottish Highlands and filter them through the French Baroque, a truly inspired collection of interpolations that brought a decadent brightness to the sometimes dour mists of the moors. McCreary’s work since then has remained positively steady, though unremarkable, giving the show the soundscape it desperately needs, but not necessarily wants. Season 5’s soundtrack keeps the thread going, offering more iterations of the “The Skye Boat Song” and “The Fiery Cross,” amidst the few novelties he’s allowed to offer. It’s comfortable territory for him by now, and it shows. The soundtrack is none the less for it, balancing its gentle and sometimes sweeping romantic strings with carefully construed dramatic arcs, and if I was at all able to devote the time that a series like this demands, I have no doubt I’d still enjoy it as much, but never more, than I did the first two seasons.

TXT: THE DREAM CHAPTER: ETERNITY
(2020.05.18)

Last year, BTS-labelmates TXT (TOMORROW x TOGETHER) made one of the best debuts of the year with THE DREAM CHAPTER: STAR, the perfect remedy for the surge of dark electro and tropical-house anthems pouring out of boy bands old and new alike. Its cheerful effervescence was replicated in their quick follow-up THE DREAM CHAPTER: MAGIC. This month’s ETERNITY edition mixes things up, adding a bit of funk to the group’s playbook with tracks like “Drama” and adolescent distress with “Can’t You See Me?” While the EP as a whole doesn’t hold up to its predecessors, I was pleasantly surprised to see TXT holding up strong after three mini-albums. The individual members have still failed to make any impression on me, and I think the group still has a long way to go to prove they are more than what their label can afford them to be, but it’s been fun seeing what Big Hit can come up with for their more conventional group outside of the pressures that BTS must necessarily impose upon them now.

Carly Rae Jepsen: Dedicated Side B
(2020.05.21)

It’s an understatement to point out how disappointing Carly Rae Jepsen’s Dedicated was after the magnum opus E-MO-TION. While it made my honorable mentions list, I find it hard remembering more than a handful of songs off of this album: I just never go back to it in the same way that I still do its predecessor. And just like E-MO-TION, Jepsen has released a Side B, one that finally unearths the true successor. While there’s nothing particularly groundbreaking on Dedicated Side B, it does pose one question re: the decision-making process for her albums: Jepsen now has a proven track record of coming to an album with dozens of amazing songs that never make the official cut. So what prompts an artist or record label to choose a “Julien” over a “Stay Away“? While some songs are simply evident (bright, unstoppable hooks, big-name co-producers, demographic obligations), sometimes the choices seem less focused and more optimistic, perhaps reckless. Maybe Side B is a bit more generic and lacks a big number like “Now That I Found You” or “Too Much,” but it’s everything I wanted the original to be, which is to say, it lacks the hiccups like “I’ll Be Your Girl” and “Right Words Wrong Time” that slow the original down. It’s a pitch-perfect companion, one that expands upon positively, rather than overwhelms the listener with inferior cuts. It’s nice to know that we can at least count on the Queen of Endless Pop Hits for that.

Terence Blanchard: Da 5 Bloods (Original Motion Picture Score)
(2020.05.29)

What was that I just said about Netflix muck? Looks like the streaming service just released the month’s, and possibly the year’s, most gorgeous original soundtrack. The film it’s attached to, Da 5 Bloods, is directed by Academy Award-winner Spike Lee and follows four Vietnam veterans who return to the country in search of their squad leader and a buried treasure. The film’s release is still two weeks away, so there’s no telling if it will live up to the promise of Blanchard’s score, but if it’s any indication, we only have amazing things to look forward to. What stands out to me is just how traditional Da 5 Bloods, is; unlike some of Blanchard’s earlier scores, like BlacKkKlansman, this one is wholly traditional, utilizing the entire breadth of an orchestra’s strings and brass to indulge in the sort of heavy, heart-tugging romance and tragedy that accompanies any high-stakes war drama. The themes are as arresting as any I’ve heard in well over a year — listen to the particular James Horner-level pathos in “MLK Assassinated” or “Rice Paddies.” I’m quite content to eat my words when a score like this passes my way, and fairly certain this will be the soundtrack to beat in the upcoming months.

Lady Gaga: Chromatica
(2020.05.29)

Several music critics will have you believing that Lady Gaga is the last true pop star on the planet, but I would like to posit that Lady Gaga is only one of the most prominent spokespersons for pop itself, the type of artist who embraces her far-reaching celebrity, wanton desire for hooks upon hooks, and brazen (and successful) pillaging of any trend that will have her at the top. Her obvious endgame is Madonna-level popularity, and she’s made absolutely no qualms about playing every trick in the book from Eurodance, to controversial music videos and collabs, to the surest-bet and safest collabs of the last 12 months. The latter points to her high-profile duets with both Ariana Grande, a pop star in her own ascendancy, and BLACKPINK, YouTube’s favorite K-pop girl-group. Critics might call Taylor Swift calculating, but every pop star has to compromise artistic freedom with commercial reach, and the very, very best of them, find the sweet middle ground, right about where you will find Chromatica nestled in among the young, fresh wildcard Future Nostalgia and the smart, fun, indie-approved Dedicated Side B. Now that the album has capitulated after a pointless delay, it’s easy to see how Gaga could have believed the global pandemic would never reach the invincible shores of Chromatica — she announced a huge stadium tour as late as the first week of March, back when festivals like Ultra Music were already calling in rain checks. But Chromatica wasn’t immune, and rather than postpone the album a year or more, Gaga let go and releaseded this huge follow-up, foregoing what was sure to be heavy rotations on the late-show circuit, clubs, and outdoor music festivals. Was the album worth the wait? Yeah, it was, and it makes the hokey visuals all the more unnecessary, the biggest superfluous hook on the entire album, one filled with monster 90’s house grooves and sizzling synths. Like a lot of pop music before it, it’s rooted in the near-past, the one just old enough to seem part-nostalgic and part-exotic to Millennials drawing from wells as deep as Amber’s “This is Your Night“‘s just audible deep-in-the-eardrums wub while out waiting in the long line to spend a night at the Roxbury, to the cool vibes of Robin S.’s “Show Me Love.” It’s more than a return to Gaga’s The Fame sound because it’s a sound that was only ever put on pause for more intimate projects like A Song is Born and Joanne that grabbed for something, anything, that would retain the spotlight after Art Pop tanked. But to be clear, Art Pop slapped, and everything in between it and Chromatica was just a strategic distraction, an elaborate show of smoke and mirrors meant to make everyone appreciate the magic of Lady Gaga once again.

Top ten original soundtracks/original scores of 2019

Like any musical microcosm, the world of film and video game scores is as niche as they come, and the fact that the music is such an integral and largely ignored part of what makes visual media work has already been documented. Is the best score one that remains unobtrusive, enhancing the visuals without taking on a solid identity of its own, or should a score cause you, at least once, to stop and think, wait, what was that? The best scores had me thinking a lot about this over the course of 2019, but I’m not the best person to answer this, especially as I continue to listen to most scores outside of their visual contexts. What makes a score satisfying for me takes place almost exclusively within the frame of the audio waves, and whether or not it stands on its own as an interesting work of music.

I was in luck: 2019 provided many scores to mull over and enjoy, without the need to spend extra time glued to a screen. There were more traditional scores, like Nathaniel Mechaly’s whimsical ode to Danny Elfman for Swoon and Martin Phipp’s The Aftermath. There were epic orchestral arrangements in the traditional style of scores of yore, from Geoff Zanelli’s Maleficent: Mistress of Evil and Hans Zimmer’s victory lap on The Lion King (the score only — I don’t care for the re-worked vocal pieces). There were modern scores for a handful of sequels, full of the kind of sound often reviled by traditionalists, like Kyle Dixon & Michael Stein’s synth-heavy work for the third season of mega-summer event Stranger Things 3, and Tyler Bates & Joel J. Richard’s even synth-heavier work on John Wick: Chapter 3 — Parabellum, neither the best of their respective franchises, but still adept at wringing something fresh out of their third rodeos.

There were also some surprises, like Hildur Gudnadottir’s brilliant and haunting work for Todd Phillips’s Joker. Having heard and hated Gudnadottir’s work for the Grammy-Award-nominated Chernobyl, my expectations pooled somewhere in the gutter for this one, so what a shock to hear how eerie and sublime (in the traditional sense of sublime — the invoking of both fear and awe), this soundtrack was. Gudnadottir captures something ruthless, dark, and delicate about this movie and its subject, without resorting to the type of horror-movie cliches that riddle so many scores. Its simplicity makes it all the more effective, and though I’m at a loss to understand how someone who made Chernobyl could have crafted something so vastly different, I hope this bodes well for the type of variety we will see from the composer in the future.

Overall, I don’t think there were as many rich experiences as there were last year, but there was still strong material to sift through if you were willing to step out of your comfort zone and bury preconceived ideas about music for, say, television/serial programming, for which Netflix has been utilizing an amazing group of talent, such as Daniel Pemberton and Frederik Wiedmann. And though I wish there were more video game and anime soundtracks on here, I look forward to a day that more are made easily accessible. Until then, this list does a pretty bang-up job of underlining how eclectic and diverse the world of original scores are, and how rewarding it is to take the time to close your eyes and really listen.

Nathaniel Mechaly: Swoon // Martin Phipps: The Aftermath

Hans Zimmer: The Lion King // Craig Armstrong: Mrs. Lowry & Son

Hildur Gudnadottir: Joker //  Adam Taylor: Chilling Adventures of Sabrina, Season One

Tyler Bates & Joel J. Richard: John Wick: Chapter 3 — Parabellum // Kyle Dixon & Michael Stein: Stranger Things 3

Alexandre Desplat: Little Women // Geoff Zanelli: Maleficent: Mistress of Evil

Honorable Mentions

Cris Velasco: Dauntless, Vol. 1
Daniel Pemberton: The Dark Crystal: Age of Resistance Vol. 1
Rupert Gregson-Williams: Catch-22
Frederik Wiedmann: The Dragon Prince, Season 1
James Newton Howard: A Hidden Life

Top ten original soundtracks/original scores of 2018

A disclaimer: I am not a movie person. Nor have I really played video or other games, Tetris notwithstanding, in about fifteen years. I have nothing against any of these mediums, but I am not passionate about them, and when you have limited time to pursue avocations after a day at work and doing all of the adult things that need be done on a seemingly endless loop, your perspective on what is really and truly important to you becomes very clear. Simply put, I put my time toward what is most meaningful to me, which is music, and only occasionally watch films, and don’t play video games at all. This can be problematic for someone who adores film and video game soundtracks as much as any other of my favorite genres, but it doesn’t have to be.

In Charlie Brigden’s July installment of his monthly soundtrack roundup at The Quietus, he admits much the same, acknowledging the dissonance of enjoying a soundtrack bereft of the visual its created to enhance. “The context is obviously the film itself, so by taking the music away from that you are completely stripping it of context and relevance, right?” he asks, and concludes, no, not really. I generally agree that there seems to be two types of original scores: “On one hand, you have composers that are interested in curating an album that is musically interesting as a record, while on the other there seem to be those that put the score on album as it is and leave it at that.” It is the former, the “musically interesting as a record” scores that, as someone who watches so few films, appeals most to me. The majority of the records on this list will reflect that bias, though the latter is in no way missing. I am aware of how this might impede my ability to enjoy a record that could be perfect save the fact that I haven’t seen its corresponding film or video game.

All lists are biased, and this genre, as represented on this blog, is particularly so — I would rather “listen” to a movie then watch it. My philosophy, summed up by Brigden again, is that “[soundtracks] are a separate product, even if they are ostensibly a by-product of the film.” And like all the music I listen to, I do my very best to judge them as such, for when a score can entertain or bewitch on its own, like any other popular song removed from its music video, it is a success worth celebrating. Here are ten released in 2018, in no particular order, that deserve a party.

Humans: Dead Shack (Original Motion Picture Soundtrack)
Mostly here to fill your Stranger Things void, the soundtrack for indie-horror film Dead Shack is obviously inspired not only by John Carpenter, but by Kyle Dixon and Michael Stein’s homage to John Carpenter and other synth scores of the 1980s. Yes, we’re there now. Lots of imitators have emerged since Stranger Things became such a success, but Humans have managed to create a truly eerie and menacing vibe in this bare-boned score, where the hushed silences in between speak the loudest.

John Powell (& John Williams): Solo: A Star Wars Story (Original Soundtrack)
If you know nothing about John Williams, you can spend a whole afternoon studying the Music of Star Wars portal on Wikipedia and walk away bewildered and overwhelmed by his work on the legendary sci-fi franchise, but it’s only if you spend additional time even briefly skimming his body of work that you begin to get an understanding of the pressure someone like John Powell faced in composing Solo: A Star Wars Story. Powell, a giant in his own right, called the experience “difficult,” “nerve wracking,” and “professionally humbling” in the booklet accompanying the CD release, yet he needn’t have worried. Though Powell is mostly known for less “heavy” films (last year’s Ferdinand is a particular career-highlight for me), that doesn’t preclude him from casting a little bit of his own “witchcraft” and weaving a bit of his own “profound storytelling.” Solo offers the experience of old-school action and adventure fans expect in the canon, without ignoring all of the romance inherent in the genre. Whether the film itself reflects this same swashbuckling grandeur is up to professional film critics and anyone who has seen more than just one of the films.

The Newton Brothers: The Haunting of Hill House (Music from the Netflix Horror Series)
The Haunting of Hill House has received mixed reviews, dividing fans of innovative, artsy horror and viewers who like a little domestic drama with their haunted-house jump scares. Yet the soundtrack for the series finds success on all fronts. There have been a slew of critically-acclaimed horror-film soundtracks this year, from Johann Johannsson’s Mandy, all the way down to mediocre B-grade scores like The Nun (Abel Korzeniowski) and Winchester (Peter Spierig). The Haunting of Hill House finds the sweet spot in between, with haunting melodic pianos interspersed with simple atmospheric mood-setters, reflecting the tone of defeat, trauma, and nervous anticipation permeating the teleplay.

Jukio Kallio: Minit (Original Soundtrack)
There are now whole fandoms dedicated to chip-tune, so Kallio’s entry into the 8-bit world is hardly groundbreaking. But what elevates Minit is its strict adherence to melody and form, rather than simply recreating the tinny wave forms of the arcade. Songs like “Minit’s Awakening” and “Alarming Swamp” are fun-sized odysseys in themselves, capturing the fun and essence of both the video game and The Video Game. It’s a little bit moody and wholly absorbing — the jukebox genres on the second half are particularly inspired, offering near-parodic summations in easy to swallow, capsule-sized bursts, mirroring the game play itself.

James Newton Howard: The Nutcracker and the Four Realms (Original Motion Picture Soundtrack)
Probably the most traditional score aside from Powell’s Solo that you’ll find on this list, James Newton Howard’s The Nutcracker and the Four Realms is the composer’s best score of the year, in a year full of choice picks — indeed, it almost feels that the pick for this panned Disney fantasy flick is mere seconds away from becoming another panned fantasy flick, Fantastic Beasts: The Tales of Grindelwald instead. That’s because the two soundtracks share several similarities, and while Grindelwald has the distinction of not lifting pieces from Pyotr Tchaikovksy’s The Nutcracker Suite, it is exactly that which makes it instantly recognizable. But if at any moment the spoils seemed unearned (certainly any other producer might not get away so easily with the score’s not-unusual take on the material), it’s worth remembering that any holiday bauble is meant to be a shiny, glittering confection that evokes the warmth of childhood and holidays gone by. And there’s enough of all of that mixed in with the gloomier pieces, plus a fun Nutcracker 101-piano solo by Lang Lang, to make this as beautiful, and rose-colored, as any holiday memory.

Mogwai: KIN (Orignal Motion Picture Score)
Because all of the cool kids are getting original scores, why not Mogwai, who are veterans of the genre and already pretty adept at moody atmospherics? In what Stuart Berman calls “impressionistic sketches,” the band revisits career highlights and dials the tone down to an exquisite melancholy, the kind of quiet, dour ambience that demands a set of noise-canceling headphones and perhaps a hug from a loved one afterward. But it’s not all stark and starless, as touches of orchestration and synth provide a lively noise to softer piano-lead cues like “Eli’s Theme” and “Funeral Pyre.” It all makes for cold comfort; but you knew that was coming when you saw the name Mogwai.

Lady Gaga & Bradley Cooper: A Star Is Born (Soundtrack)
If you’re the type of person to get swept up in Oscar buzz, you’re already familiar with the attention being paid to A Star Is Born, the third in a line of remakes of the original 1937 film (two English-language, one Hindi). That’s a helluva lot of pressure, to share the spotlight with Judy Garland and Barbra Streisand (I’m not too worried about Shraddha Kapoor), and to craft a meaningful soundtrack to the one movie on this list that contains the largest amount of source music. But if anyone is up to that task, it’s Mother Monster, who has been laying low since 2016’s surprisingly serious, less poppy (some would say, disappointing) album Joanne. A Star Is Born folds neatly into this new era in Gaga’s career: she cut her teeth on theater and that sense of high-school drama permeates all of her work, but none so much as her work with Tony Bennett, the stepping stone off which Joanne and A Star Is Born launched. A Star Is Born gives us this, without forgetting to provide a taste of all of the Gagas: introspective Gaga, serious actress Gaga, poppy Gaga, and hard-working, dying-to-be-taken-seriously Gaga. It’s not always a successful mix, especially when Bradly Cooper adds his two cents, but its whole never begs to be more than its beautiful parts. You root for Lady Gaga not because she always succeeds, but because she always gets back up again.

Jason Graves: Moss (Original Game Soundtrack)
Jason Graves hides nothing: his YouTube channel stands as a testament to the ideal Internet, the kind where information is abundant and free, where everyone is willing to share and pass along what they know, not for pecuniary gain, but for sheer enthusiasm and passion. On top of it, he lives surrounded by a veritable zoo of adorable animals (what he calls his #AudioArk), not unlike in Moss, the pint-sized PS4 adventure game starring a cute little mouse named Quill. Graves’s gentle score for this game lends the perfect ambiance to the rich Earth tones of the world, keeping within the spirit of all the low-to-the-ground, foliage-filled perspective with its sustained flutes and hushed percussion. It’s all a bit mysterious and quiet, almost folksy at times, and though its compact sound occasionally grows, it never hits eleven like a full orchestra could. It doesn’t need to: like its hero, it proves that even the smallest among us are capable of doing big things.

Lena Raine: Celeste (Original Soundtrack)
Something hauntingly vague, though familiar, runs throughout Raine’s soundtrack to the Celeste video game. Tinkling piano notes like skipped stones pepper ice-cold synths, and minimal melodies do little more than evoke atmosphere, like many a bedroom-DJ before her. Yet Raine wrings genuine pathos from each number, their lengths varying from sips of hot cocoa to an indulgent evening by the fire. Not all video games are either epic symphonic suites or chip-tune beeps, but somewhere in between, somewhere as yet unexplored. Here, Lena Raine investigates this territory with a sensitive, shy reserve, but a big warm heart.

Marc Shaiman: Mary Poppins Returns (Original Motion Picture Soundtrack)
Despite the endless number of remakes now being churned out by the fistful, it’s hard not to get swept up in the excitement. After all, this is where Disney excels: marketing, advertising, selling substandard, cheap products made to look and feel like luxury experiences (or maybe last year’s cynical Fantasyland: How America Went Haywire, A 500-Year History by Kurt Andersen has made any reader just a bit more suspicious). On top of it, this is a reboot of one of the most beloved movie musicals of all time — is it possible even theater-darling Lin-Manuel Miranda, Emily Blunt, and Meryl Streep can’t save such a vehicle? Irrelevant to our interests: the soundtrack, released ahead of the movie , is an experience all its own. There’s a reason Miranda cautioned moviegoers against spoilers: the soundtrack leads you, scene by scene, through the plot’s highlights, all the time indulging in the campy, clever, wink-wink humor of vaudeville inherent in classic Broadway musicals. Shaiman waves that magic Disney wand over the entire production, making the entire affair feel like notes left behind in Tinkerbell’s fairy dust — you’re not quite sure if this is as good as it sounds, or if there is some Fantasia-level of sorcery at work. Certainly it’s difficult to find any producer outside of this brand indulging in such a traditional sound, especially one that forces you into a nostalgic haze whenever the music quotes sections of the original score. It’s an immense sound, a rich, mammoth experience you can only get from a full orchestra, one with the ability to envelope you, to transport you, and to return you just a little bit starry-eyed, and just a little bit less disillusioned.

Honorable Mentions

Thomas Adès: Colette (Original Motion Picture Soundtrack)
Brian Tyler: Crazy Rich Asians (Original Motion Picture Score)
Christopher Larkin: Hollow Knight: Gods & Nightmares
Mark McKenzie: Max and Me (Original Motion Picture Soundtrack)
Rupert Gregson-Williams: Aquaman (Original Motion Picture Soundtrack)

Top ten remastered/reissued albums of 2018

Every year the new releases keep piling up, and not far behind them is a long stretch of music history, staying fresh in memories with the sheer number of remasters and re-releases that grace our ears each year. With glossy new packaging and technological studio wizardry polishing up those dusty old master tapes, it’s easy to make the old look and sound just as fresh and exciting as any debut artist, with an added bonus: there’s no work involved in learning to love what is already familiar and comfortable, just a chance to re-appreciate a classic. Here are ten albums, in no particular order, that were remastered and/or re-released this year, across genre and language, that sound just as good as we remember, and now, even better.

Metallica: …And Justice for All [1988]
Metallica has been busy remastering their back catalog in chronological order, and in several formats that range from bank-breaking deluxe LP boxes to gate-fold digipaks sold for $5 apiece at Walmart. …And Justice for All is their latest, though anyone hoping for a louder bass line in the mix will be disappointed. However, …And Justice for All‘s infamous sound mixing is part of band lore, and to tinker with it to the extent that the entire soundscape would have changed would have fundamentally stripped the album of everything it is: the story of a band in turmoil, working through grief the only way they knew how; the last of an era. Of course, these backstory bits are fun, but unnecessary for enjoyment. What you’ll get here is the album exactly as it was released in 1988, just cleaner, louder, and with none of the surprises. Let’s hope we get a stateside remaster of the Black Album next.

Various Artists: Katamari Damacy (Original Video Game Soundtrack) [2004]
One of the most delightful video game soundtracks of its time, Katamari Damacy remains a beloved favorite of both gamers and J-pop enthusiasts alike. All of the jazzy, J-pop numbers, as well as iconic theme music are present on this gorgeous re-release, pressed onto vinyl by Mondo for the U.S. for the first time. First pressings that came in a glossy gate-fold on colored and swirled vinyl sold out quickly, but alternate second pressings continue to breathe new life into this masterpiece of game music.

Garbage: Version 2.0 [1998]
One of the definitive bands of the 90s finally got their due this year in a 20th anniversary remaster of their Grammy-nominated second album Version 2.0. Containing the band’s most popular songs, the album was an instant classic that catapulted the band into stratospheric fame beyond what even their debut effort could have foretold. Everything from “I’m Paranoid” to “Push It” sounds crisp on this 2-disk/3-LP set that also contains all of the era’s B-sides.

Megadeth: Killing Is My Business… and Business Is Good!: The Final Kill [1985]
This is not the first time Killing Is My Business has been remastered — most of Megadeth’s albums were re-released in 2004, along with a couple of anniversary editions following. The original remastered Killing, ca. 2002, censored the cover of “These Boots Are Made for Walking,” due to copyright claims, but it reappears here with rerecorded vocals and its original lyrics intact. In fact, many of the songs have parts that seem rerecorded. Purists claims this sullies the original release, and the whole point of remasters in general, but the trade-off is that it allows Mark Lewis to massage an impeccably modern, crystal-clear sheen out of what once sounded closer to a description Patricia Lockwood made about her own father’s guitar playing: “like a whole band dying in a plane crash in 1972.” Whether or not Killing was ever meant to sound so clean or if that messiness was part of its charm, and no matter which side you fall on the loudness wars, the spirit of Megadeth’s debut studio album has been preserved. One hopes this is as truly “final” as the subtitle implies and Mustaine can rest satisfied with this mix that includes several bonus live tracks and demos.

Red Velvet: The Perfect Red Velvet – The 2nd Album Repackage [2017]
The Perfect Red was an appears Top Ten Album last year, and like most K-pop albums, quickly received a re-release two months later to make a couple of extra bucks with the addition of new songs “Bad Boy,” and “All Right.” But just because the new songs and hyperbolic title don’t do much to enhance an already seamless record, you shouldn’t pass up the opportunity to enjoy this K-pop gem all over again.

Alan Menken: Walt Disney Records The Legacy Collection: Beauty and the Beast [1991]
Walt Disney’s Legacy Collection had been re-releasing soundtracks on an anniversary schedule, but have slowed down considerably since 2015, with only one release in 2017 and one for 2018, this gorgeously reproduced 2-disk edition of the 1991 film soundtrack to Beauty and the Beast. Unlike the 2001 special edition, this one also includes previously unreleased material and demos from masterminds Alan Menken and Howard Ashman that provide a window into how subtle changes in lyrics, vocalists, and tempos can change a piece entirely. I’m not sure how “remastered” these tracks are, since many of them don’t sound too much different than those included on the 2001 edition, (though I am assured by experts more knowledgeable than me, that it is indeed much better) all of the original cues remain as sumptuous and sweeping as they first appeared, and anyone familiar with the film can clearly envisage the visuals with the album’s chronological track-sequencing. While Beauty and the Beast is not my personal favorite Menken/Disney soundtrack, it is without a doubt one of the finest, most timeless pieces of music set to a Disney film ever, and can now be fully appreciated with additional liner notes, nicely thick packaging, and stunning gouache artwork by Lorelay Bove that mimics that of the great Retta Scott Worcester. Aladdin next?

The Beatles: The Beatles [1968]
There is no new ground to cover here, considering this is one of the most iconic rock albums of all time, famous not just for its music but for the story of a legendary band on its last legs. Cracks and all, this album is track-for-track the definitive distillation of two of the Western world’s best songwriters, and their equally talented friends (what were their names again?). This 50th anniversary remaster, a further expansion of the Beatles’ 2009 re-release series, comes in several iterations with varying degrees of bonus material that will leave fans occupied for weeks.

Alan Silvestri: The Mummy Returns (Original Motion Picture Soundtrack) [2001]
Intrada continues to do the Lord’s work with their remastering of the action-adventure saga The Mummy Returns, starring Brendan Fraser and Rachel Weisz, the sequel to The Mummy. While Jerry Goldsmith laid fine groundwork with the original (also remastered by Intrada this year), Silvestri’s score really gives a sense of power, with varying tempos, obligatory swelling violins, and rollicking percussion, working within the film’s very smart ode to classic action-adventure films like Raiders of the Lost Ark. Silvestri’s work is in its own league, and though opinions on this will vary, his continuation and expansion of Goldsmith’s score is, in a sense, closer in spirit to the thematic elements of the swashbuckling visuals. Both soundtracks were remastered from the original sessions, and include bonus material left out on the hasty original releases.

BAND-MAID: MAID IN JAPAN [2014]
MAID IN JAPAN is the J-rock group’s debut album that made all the impact of a forcefully lobbed cotton ball. Due to the limited press of its initial run, the album sold out quickly, leaving a legion of new fans without access to it. The album was re-released in new packaging this year alongside their new album WORLD DOMINATION. This coincided release really emphasized how much the band has evolved and grown in as little as four years, with the sophistication and ease of WD contrasting nicely with the simpler, but no less passionate MIJ. It’s a nice little time capsule of a band on the verge of figuring out just what kind of band they wanted to be.

Iron Maiden: The Number of the Beast [1982]
Iron Maiden are going a second round with remasters, the first being in 1998 (although these digital remasters are the same as those available on the vinyl editions released in 2015). For all the purists who hated the edits of the 1998 versions, these have preserved the mixes of the original vinyl releases. So far, their first four albums have been released, and you can take your pick at any one of these foundational NWOBHM releases, though I’m partial to The Number of the Beast, which includes the band’s first appearance with Bruce Dickinson on vocals, and a personal favorite song. Though there’s no new bonus material here (unless you’re into Eddie figurines), it’s never a bad time to get a louder Maiden CD into your collection.

Honorable Mentions

Guns ‘N Roses: Appetite for Destruction [1987]
John Willians: Harry Potter: The John Williams Soundtrack Collection [2001-2004]
Ramones: Rocket to Russia [1977]
Pet Shop Boys: Please [1986]
Def Leppard: The Collection: Volume One [1980-1987]