I am still listening to as many soundtracks from 2024 as possible for the IFMCA Awards. While doing so, I am taking you along by writing about some of these scores in my Spotlight articles. Please enjoy this third one with even more highlights I encountered in 2024.
Here – Alan Silvestri
Alan Silvestri is another composer who should not need an introduction, as his work includes many iconic scores, such as the Back To The Future movies, The Avengers and Forrest Gump. He has not been writing that much in recent years. With him in his 70s, some rest is well deserved, but this also means that when he does write for a new film, I need to check out what he has written for it. The last score from his hand was for the drama film Here, a film about stories happening on a small piece of land during many different periods.
When I think about Silvestri’s music, I usually think about his action movies, but his writing for drama is also magnificent. These scores are filled with gorgeous, emotional lines, and his music for Here belongs in that category. If you want to hear what I am talking about, listen to the last track, “End Credits,” first, but I will not be surprised if you end up listening to the rest of the album afterwards as well.
De Mannenmaker – Jeffrey van Rossum
I am always happy to see a familiar name on a movie poster when I go to the movie theatre, as is the case with Jeffrey van Rossum. It looks like his career has been going quite well over the years, including his music for De Tatta’s franchise. His work that stood out to me in 2024 was his music for the comedy De Mannenmaker, about a woman who is able to convert any man into a stud before breaking up with him.
As with many Dutch scores, the music is performed by a handful of instruments, like piano, guitars, drums and other instruments, but what stands out in the score is its main theme. Not only is it a good theme, as can be heard in “1999 Nummer 1,” but it also appears as often as possible in all kinds of variations throughout the film music without getting dull. Hearing this theme in so many ways results in a fun and educational listening experience, and it makes the score a cohesive package throughout the film.
Kensuke’s Kingdom – Stuart Hancock
One of the gems I have heard in 2024 is Kensuke’s Kingdom. The film is a 2D animation movie about a young boy who makes a trip around the world on a boat with his family, but he and his dog end up on a remote island that is inhabited by a mysterious person. Stuart Hancock, an unfamiliar composer to me, was in charge of writing the score for this film, which was based on a children’s book.
I consider the music for Kensuke’s Kingdom a gem because Hancock wrote a stunning orchestral score for the film. The music is full of wonderful melodies, which are orchestrated exceptionally well and have some great thematic ideas. Outstanding examples are “The Peggy Sue,” a superb introduction to what to expect from the film music-wise, or the beautiful but also emotional “Nagasaki,” a stunning choir piece that also includes a wonderful solo by a Japanese girl. The score also concludes brilliantly with a solid “End Credits Suite.” In an interview with Cinematic Sound Radio, Hancock mentioned he felt he could write a symphony for the film, and I totally agree with that statement.
