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| Powell |
Migration: (John Powell) Seeking yet another
franchise of cute creatures to maximize feature film and spinoff
potential, Illumination and Universal concocted a family of ducks
striving for adventure in 2023's animated
Migration. The typical
duck family in New England is led by a hesitant father, Mack, who is
prodded into a more exciting lifestyle by his wife, Pam, and curious
children. With encouragement from extended family and other ducks
migrating down to Jamaica, the family sets on its journey. From herons
to pigeons, the family encounters possible friends and foes, ultimately
coming into direct battle with the latter in the form of a human chef in
New York City. That chef loses his mind chasing after the renegade
ducks, and kitchen and helicopter battles ensue. While cynics would have
been content seeing the main characters served up in a nice orange sauce
at the story's end, the protagonists of course reach their destination
in the tropics and start pondering their next adventure so that the
humans at the movie studio can earn more cash. While composer John
Powell had collaborated extensively with Illumination's founder prior to
the studio's formation, he had only written music for the young studio's
Dr. Seuss' The Lorax in 2012. Even though
Migration has
enjoyed a fair amount of theatrical success, executive opinions of the
movie were spotty until they heard Powell's score, which greatly
elevates the picture. The composer had not scored a purely silly
children's animation movie in a long time, and his output in the 2020's
tended towards more challenging dramatic topics. For Powell's
collectors,
Migration represented the first opportunity to hear
the composer's increasingly mature and superior writing style of the
late 2010's merged with the wackiness of his prolific earlier writing
for this genre. The resulting score is a qualified success, the
composer's animation methods of the 2000's and early 2010's evolved to
new levels of robust creativity. With some (but surprisingly little)
additional music supplied by his trusted assistant, Batu Sener, included
in a handful of cues, the score contains extremely accomplished
writing.
Powell's approach to
Migration may be too haphazard
for complete casual enjoyment on album, for it's a crazy and
frenetically wild ride, but listeners will be hard-pressed to find a
genre score this attractively effective in all its parts. The basic
instrumental ingredients for Powell, as well as the composer's extremely
identifiable rhythmic and melodic touches, are make it a familiar work.
An outstanding recording quality and mix for orchestra, choir, and
soloists is an enormous plus. The score is a bonanza for woodwind
enthusiasts, the composer using them to emulate various sounds of birds
and flight. Flourishing flute runs in "The Flock Arrives" denote flight
specifically, and excellent fluttering effects in the middle of "Central
Park" meander over
Solo: A Star Wars Story-like bass string
lines. Most prominently, an oboe is applied as the musical voice for
Mack as an homage to the similar usage of the instrument in Sergei
Prokofiev's "Peter and the Wolf." The instrumental creatively snowballs
from there, an African harp with a slide used for the pigeons and
herons. (Listeners will hear what sounds like a blended cimbalom or
plucked steel effect in "Heron Adventures.") Vocal applications are
aplenty, ranging from typical cooing to outright quacking. A variety of
vocal manipulations and thumping bass in "Fog World" offers a unique
moment for New York City. A rambling harpsichord appears in the Mack
theme's most prominent performances, a cute recorder offers performances
in "Follow Me, But Not Too Close," an accordion contributes to
"Hopelessness Tango," and harp and ukulele are aplenty. Powell's knack
for contemporary instrumental insertions isn't lost in
Migration
despite the work's reliance primarily on the orchestral players and
choir. Electric bass for urban coolness and modern percussion are
employed for the chasing and heist-like moments, culminating in a wild
electric guitar sequence in "Rebellion of the Winged." But Powell is
able to tone this style back when needed, the fantastic, rhythmic
acoustic guitar opening to "Migration Continues" extending the varied
sound but still reminding of the wholesome journeying moments of
The
Call of the Wild.
There are a handful of singularly impressive moments of
action in the latter half of
Migration that will remind film
music collectors of the
How to Train Your Dragon scores,
particularly in the explosive percussion and brass combinations in
"Helicopter Attack." But since this score is for a genuinely ridiculous
film, you'll also encounter a bevy of individual moments of humor as
well. Expect rapid changes in tempo and genre within the music, starting
with the frantically birdbrain "Bedtime Story" at the beginning.
Occasional rhythmic tango references simmer throughout ("Join Our
Migration," "Follow Me, But Not Too Close," and "Hopelessness Tango"),
and there's a dose of
Chicken Run marching in "He's Coming!"
Although Powell manages to dutifully develop his primary themes
throughout, he does indulge in some creative character diversions,
including the humorous string and guitar plucking in "Chump," a blurting
saxophone for "Meet Delroy," very deep bass drum-like thumps, groaning
bass bassoon, and sitar in "Eye of Doga," and loungey ambience with sung
quacking in "Duck Heaven" after even a touch of
Lawrence of
Arabia early. Add to these moments a collection of silly sound
effects in the mix that range from bubbles popping in "Night Time, Day
Time" to a twapped wire in "Rebellion of the Winged" and an enthusiastic
toy "quack!" in "Migration End Titles." All of this infusion of energy
supports a core set of themes in
Migration that Powell maintains
intense loyalty to. These identities are among the most alluring the
composer has conjured for this type of film in a long time, though some
listeners may have difficulty distinguishing the variants that exist for
the secondary ones. With his themes, Powell was clearly aiming to
deliver not only a sense of family in a bird-like environment but also a
feeling of exhilaration that we humans feel about the concept of flight.
It is often said that themes in film music can "soar," but this score
can convincingly make the argument that it indeed supplies such soaring
melodic grace at times. More importantly, Powell confirms his ability to
modulate the emotional range of each theme to give them easy adaptation
into any situation in the story.
The themes in
Migration include a two-part identity
for the main duck family, the primary (A) phrase of the idea
representing the father, Mack, and the secondary (B) phrase answering
for his wife, Pam. A broader character theme for the family, perhaps for
the young ducklings, extends out of the B phrase of the theme for its
own wholesome moments. Powell connects all the characters with a main
theme for flying that is among the best melodic executions of his
career. Finally, a victory motif and theme for villainy (and mostly the
human chef) round out the score. Mack's theme as the A phrase of the
family identity uses playfully descending phrasing with a prominent set
of opening six notes, a figure intentionally constructed as a funny
anti-hero idea that not only shifts ever downward but then stews without
resolution to denote Mack's rather bland personality. This theme is
heard briefly in heroic form at 1:12 into "Bedtime Story" but fully
opens "What Else is Out There?" with a few pensive renditions on strings
and adopting choral puffing form at 0:39, 1:05, and 1:33 similar to
what's heard in the end credits with harpsichord in tow. The idea starts
"Open Your Eyes" on solemn clarinet and is nestled into the light comedy
at 0:24 into "Uncle Dan" before bursting on acoustic guitars at 0:50
with flair. It reveals its transformation upon being flipped into an
action motif in the latter half of "Heron Adventures" but closes the cue
softly before contributing fragments in the early suspense of "Fog
World." The melody shifts to a positive variant in "Follow Me, But Not
Too Close" as influenced by the flying theme, closes "Meet Delroy" on
solo oboe, and is plucked with hurried pacing in the opening moments of
"Kitchen Key Caper." Mack's theme is then dramatic on choir just after
the beginning of "The Key to Regurgitation," guides the suspense early
in "Eye of Doga," helps resolve the tension at the close of "Chef at
Farm," and starts "You Need a Hug" on solo clarinet in a fuller
rendition. It is massively dramatic in agony at 0:51 into "Helicopter
Attack," transitions to fiddle solo in despair at 0:42 into
"Hopelessness Tango" (but turning humorous with ethnic flair at 2:21),
conveys melodramatic suffering at 1:21 into "Rebellion of the Winged,"
and becomes a lovely extension from the secondary character theme at
0:54 into "Jamaica," where it flows into an exuberant moment at 1:34
that is the theme's brightest moment in score.
The main theme for Mack in
Migration is reprised
as an elongated version of "What Else is Out There?" at 0:22, 0:48,
1:14, and 1:43 into "Migration End Titles," using the same cute choral
puffing. This presentation also features Pam's B phrase of that family
theme. This idea is useful for Powell because it can be briefly quoted
everywhere in its initial five-note phrase, though listeners may find
its most notable incarnations exploring its full extent on brass. This
theme for Pam and her more adventurous spirit is teased on celeste at
the very start of "Bedtime Story" and flutes thereafter, moving on to
melodramatic solo string and melancholy choir at 1:19. It serves in Mack
theme interlude duty at 0:51 and 1:19 into "What Else is Out There?" and
extends out of the flying theme in "The Flock Arrives." The initial five
notes heavily guide a secondary melody early and late in "Join Our
Migration" before again resuming as an interlude to the family theme's A
phrase at 1:01 into "Uncle Dan." At 1:58 and thereafter into "Night
Time, Day Time," the B phrase provides a hyper, fun moment of
propulsion, and it resolves the flying theme at the end of "The Key to
Regurgitation." It interrupts the quacked singing in "Duck Heaven,"
valiantly triumphs late in the frantic action of "Chef at Farm," follows
a huge dramatic moment for the A Phrase at 1:09 into "Helicopter
Attack," and punctuates the fight at 0:57 into "Rebellion of the
Winged." By that late cue, the B phrase punctuates the fight at 0:57 and
evolves into a repeating fanfare at 1:41. It returns to interlude duties
for the A phrase in the middle of "Jamaica," where it also provides a
pretty piano moment with oboe at 2:46 and closes the cue on cellos. The
same role for the theme from "What Else is Out There?" is reprised at
0:34, 1:01, and 1:29 into "Migration End Titles" on horns. Out of this
family theme's B phrase extends a character sub-theme that is the
prettiest identity of the score. The B phrase's initial five notes
clearly guide this melody early and late in "Join Our Migration." It is
poignant at 1:06 into "Open Your Eyes" on solo piano, mixes wonderfully
with the flying material in the middle of "Let's Fly," and teases early
in "Central Park." Cellos carry it at 2:13 into "Follow Me, But Not Too
Close" before moving on to nice brass layers for idea. It explodes with
lively, contemporary flavor, including ukulele, during "Migration
Continues," pleasantly bubbles along at 1:19 into "You Need a Hug," and
supplies pretty relief at the start of "Jamaica," including a solo
string and choral moment.
Despite the strength of those themes in
Migration, however, nothing competes with Powell's flying theme,
which overlaps with the family theme's B phrase in parts and utilizes
James Horner-like dramatic progressions to become the clear winner in
the score. It previews exuberance at 0:23 into "Bedtime Story" and a
partial full-blown statement at 0:36, building to its first major moment
at 0:14 into "The Flock Arrives." This inspiring idea enjoys a wholesome
string passage at 2:10 into "Join Our Migration" (before literally
deflating on brass for humor) and ponders whimsically on oboe at 2:46.
The flying theme then yields wholesome, optimistic ensemble hope at 0:34
into "Open Your Eyes," lends a lightly wonderous conclusion at 1:32 into
"Uncle Dan," builds momentum for woodwinds and harp at the outset of
"Let's Fly," and melds with other themes to open "Night Time, Day Time"
on oboe, its dramatic chords returning only for the ensemble at 1:36.
Taking a more restrained route in the first half of "Meet Delroy," a
whiny violin and harp solo develops into a more compelling performance.
A slight moment for oboe awaits the flying theme at 1:03 into "Kitchen
Key Caper," though it overflows again with brass and string majesty at
0:20 into "The Key to Regurgitation," guiding the rest of that cue. The
idea is sadly resigned at 1:14 into "Hopelessness Tango" but rebuilds
hope thereafter, culminating in roaring victory with wild snare at 2:36
into "Rebellion of the Winged" and a more wholesome passage again on
strings and tambourine at 3:14. It adopts a hip personality at 2:09 into
"Jamaica" for good cheer, returning in chords only for a momentous
orchestral sidebar at 2:29 and then flourishing with flute-flying
optimism and ensemble goodness at 3:20. A related victory motif borrows
pieces from other themes at 1:03 into "Let's Fly" with flutes wildly
aloft (light metallic percussion is a little too distant here), and
similar material explodes in the latter half of "Fog World." The same
spirit rises above the conflict at 2:19 into "Rebellion of the Winged."
The villain motif for the chef is anchored by a quick set of three notes
with the second ascending, and it's sprinkled throughout the score's
latter half. Heard late in "Meet Delroy" and massive towards the end of
"Kitchen Key Caper," the motif includes brassy action in "Chef at Farm"
that is another holdover from
Solo: A Star Wars Story. Overall,
this collection of themes, along with Powell's outstanding instrumental
creativity and rhythmic propulsion, reaffirm the composer's continued
ascent in the genre. It can be a frenetically challenging experience on
album at times, but it is the tonic for any disappointment with the
concurrent
Chicken Run: Dawn of the Nugget, quacking and all.
@Amazon.com: CD or
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- Music as Written for the Film: *****
- Music as Heard on Album: ****
- Overall: ****
| Bias Check: |
For John Powell reviews at Filmtracks, the average editorial rating is 3.28
(in 50 reviews)
and the average viewer rating is 3.15
(in 50,037 votes). The maximum rating is 5 stars.
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