FILMTRACKS.COM
PRINTER-FRIENDLY VIEW

Review of Migration (John Powell)

FILMTRACKS RECOMMENDS:

Buy it... if you desire one of John Powell's strongest scores for a silly animated comedy, Migration faithfully developing outstanding themes into an inspiring narrative.

Avoid it... if you have no sense of humor whatsoever, the sound effects, vocal quacking, and zany, frenetic pacing of this score expressing more than a small dose of plucky zeal.

FILMTRACKS EDITORIAL REVIEW:

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.

• Music as Written for the Film: *****
• Music as Heard on Album: ****
• Overall: ****

TRACK LISTINGS:

Total Time: 72:24

• 1. Bedtime Story (1:46) • 2. What Else is Out There? (1:50) • 3. The Flock Arrives (1:00 • 4. Join Our Migration (3:30) • 5. Open Your Eyes (1:27) • 6. Uncle Dan (1:57) • 7. Let's Fly (1:51) • 8. Heron Adventures (5:35) • 9. Night Time, Day Time (3:07) • 10. Fog World (1:36) • 11. Central Park (3:05) • 12. Chump (1:25) • 13. Follow Me, But Not Too Close (2:58) • 14. Meet Delroy (3:15) • 15. Kitchen Key Caper (2:55)

• 16. Survivor (Film Version)* (1:45) • 17. He's Coming! (1:58) • 18. The Key to Regurgitation (2:13) • 19. Migration Continues (1:50) • 20. Eye of Doga (1:50) • 21. Duck Heaven (1:52) • 22. Chef at Farm (3:55) • 23. You Need a Hug (1:48) • 24. Helicopter Attack (2:11) • 25. Hopelessness Tango (2:53) • 26. Rebellion of the Winged (3:56) • 27. Jamaica (3:56) • 28. Migration End Titles (1:59) • 29. Survivor (Full Version)* (3:03)

NOTES & QUOTES:

There exists no official packaging for this album.

Copyright © 2024, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Migration are Copyright © 2023, Back Lot Music and cannot be redistributed without the label's expressed written consent. Page created 1/13/24 (and not updated significantly since).