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The score is great, Goransson should do the next James Bond.
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I really liked Creed — which had an incredibly rousing main theme — so I was looking forward to hearing how Göransson would handle a superhero movie. My first reaction to the score when I heard it in the film (which I loved) was that it was pretty good, with what I would later find out are talking drums for T'challa giving the score a very distinctive sound.
When I first listened to the album, I thought that there was a lot of good music there but that maybe it ran a bit too long. But when I started to re-listen, I found that the cues I was lukewarm toward the first time around were actually a lot more interesting than I had originally given them credit for, and the more I heard the Killmonger theme, the more I liked it. And I find the more heroic setting of T'Challa's theme to be something of an earworm. If you had asked me about this score a few days ago, I would have said the album is too long. Now I really like having so much of the score.
I am looking forward to Göransson's return for the sequels.
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I caught the movie again yesterday, and once again, the more I listen to this score the more I like it.
There are a lot of themes and motifs to unpack in this score. I won't lie, there is a setting of T'Challa's theme that reminds me a little of the a-ha song “Take On Me.”
Killmonger's theme is fantastic in that it can be as aggressive as the character, but also has room for heartbreaking passages, such as the scene in which he meets his father on the astral plane. The music reflects his conflicting feelings about the situation; his line in response to “Have you no tears for me?” “Everybody dies sometime, that's just life around here,” could have been played as a badass moment, or a sign of his dysfuction, but instead it is shown through filmmaking choices (the line is delivered by Eric as a child, and the music) to be a defense mechanism to the rush of feelings he was not expecting to be feeling. This was, for me, one of the most effective moments in the film, and the music manages to reflect all of these emotional reactions, helping to flesh out the character and his motivations.
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Finally saw the movie, and now I have even greater appreciation for this fine score. It seems like the end credits music was edited differently in the film than in the soundtrack release. Was it my imagination?
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Not melodic in the traditional sense, but very epic.
That's one of the things I really like about the score — while it is working with the leitmotif format, the form that the themes and motives take showcase different storytelling styles. There are so many engaging motives and themes here — the Dora Milaje chants are a lot of fun. I love how Shuri's theme emerges during the final battle — like her brother's, it is supported by brass.
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Or maybe next year as they want to ensure most sales of the physical copies go to the song album.