2016 has been a pretty fantastic year for film music and here are what we consider the best of the lot, in no order of quality…
By Charlie Brigden
ABULELE – Frank Ilfman
A darker take on E.T., with spectacular melodies from Ilfman, one of the best contemporary composers around.
HIGH RISE – Clint Mansell
As dystopian as the film’s concept, Mansell combines orchestra and moog to score a deterioration of society and it’s a spectacular work. Review.
JACKIE – Mica Levi
Levi takes the bones of UNDER THE SKIN and fashions them into something equally powerful, an exploration of grief and identity. Review.
KUBO AND THE TWO STRINGS – Dario Marianelli
A stunning and bold orchestral score matching the fearless innovation of Laika, with shades of absolute beauty.
LAMB – Daniel Belardinelli
A lovely tender score, introspective and searching from a real talent of a composer. Review.
MOONLIGHT – Nicholas Britell
Fantastic look at three time periods and the way that changes musically, a brilliant character study score.
THE NEON DEMON – Cliff Martinez
Electronica doesn’t get much betterer, with Martinez building on the work in DRIVE and ONLY GOD FORGIVES and beating both of those into the ground. Review.
ROGUE ONE: A STAR WARS STORY – Michael Giacchino
Giacchino was on a hiding to nothing, but he deftly weaved themes from the original trilogy while creating memorable motifs of his own and a truly enjoyable score. Review.
SYNCHRONICITY – Ben Lovett
Ben Lovett’s synth masterwork has shades of Vangelis and co, but develops from that to become its own beautiful thing. Review.
THE WITCH – Mark Korven
A small and intimate score with the use of older instruments which like the movie it belongs to is both terrifying and truly brilliant.