Customer Reviews

Super 8

5 star:		(8)
4 star:		(2)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

The quality of this music is just fantastic - one of the best in recent years. Super 8 is a film that reminds many viewers of the old Spielberg films such as E.T., and the music reminds me of those classic scores by John Williams. The music perfectly captures the spirit of the movie, so anyone who enjoyed Super 8 should definitely give this soundtrack a listen.

In terms of quantity, there is a lot of music here. Normally, most film scores contain approximately 60 minutes of music. Super 8 contains nearly 78 minutes of music. This feels like its the complete score. I have seen the film twice, and all the key musical moments from the film are included on this soundtrack.

I strongly suggest purchasing this entire album, especially because the music is divided among 33 different tracks. Many tracks are under a minute, and are therefore not cost-effective for single track purchasing. But for those who don't want to purchase the whole album, I would recommend these two tracks as the essentials:
Track 1 - Super 8
Track 31 - Letting Go

Also, for those unfamiliar with the work of composer Michael Giacchino, allow me to suggest two other soundtracks which are just as great as Super 8.
Star Trek & Up

*For those looking to purchase a physical CD of the Super 8 soundtrack, it is currently scheduled to be released on August 2 (although the release date has been changed several times).

Super 8 is director J.J. Abrams' sentimental homage to Steven Spielberg. One part monster movie, one part children's fantasy, it takes inspiration from films such as E.T. and The Goonies in that it looks at a terrible event from an adult perspective, but filters it through children's eyes, so that the simple and uncomplicated central truths of that event shine through, especially the ones which the adults cannot see. It's also a loving tribute to a childhood obsessed with movies, sitting in darkened theaters, munching popcorn, dreaming of making movies one day yourself. Abrams did this, Spielberg did this, and Michael Giacchino did this too.

The film stars Joel Courtney as Joe, a young boy in 1970s small-town America who passed the time making Super 8 films with his friends during their summer vacation. Joe is emotionally distant from his father Jackson (Kyle Chandler), the chief of police in the town, following the death of his mother, but has a crush on Alice (Elle Fanning), the daughter of the man whose heavy drinking indirectly caused his mother's death. While out shooting their home movie one night, the children inadvertently witness - and record - a terrifying train wreck, and before long strange happenings begin to occur in their town. With Government agents attempting to cover things up, the children put two and two together and realize that the train crash and the unexplained deaths are connected, and set out to solve the mystery themselves.

Michael Giacchino has worked on almost every one of Abrams' works to date, both small screen and theatrical, ranging from hit TV shows like Lost, Alias and Fringe to big-screen smashes such as Star Trek, Mission Impossible III and Cloverfield. Their relationship is such that Giacchino understands Abrams' deeper meanings in his films, and such is the case with Super 8, where the film - and the score - looks at things with an unmistakable sense of child-like wonder. Written for a large symphony orchestra with an unexpected emphasis on woodwinds and harp, Giacchino's score drips with the ghosts of John Williams' 1980s Spielberg scores, in the way certain instruments are phrased, his chord progressions, and in the general "sound" of the piece as a whole. This throwback sound, which Giacchino captured so well in his early Medal of Honor scores, gives Super 8 an immediate sense of time and place which is rare for a film of this type, as well as giving it all a wonderfully nostalgic sheen for anyone whose first experience of film music was through those classic Williams scores of the period.

The centerpiece of the score is the Children's theme, which usually centers itself around Joe and his feelings, but often acts as a broad motif for the entire gang of children. First appearing in the opening "Super 8", it's a nostalgic and hopeful cue for the full orchestra, and as it develops through the score it most often accompanies Joe's moments of self-reflection and, especially, the memories of his mother. The tender piano-led performance in "Family Matters", the intimate statement for solo harp in "Model Painting", and the gentle recapitulation in "Thoughts of Mom" are all lovely, and allows the theme to make itself known without becoming obvious or maudlin.

Several secondary themes act as leitmotifs for different aspects of the story. There's a recurring motif for the budding relationship between Joe and Alice; it first appears with timid hesitancy in "Acting Chops", and later plays with a light-hearted fluidity in "We'll Fix It Post-Haste". The monster gets a motif of his own - a growling four note piece - which first appears in "Aftermath Class" and which goes on to accompany the monster's many rampages through dark and vivid action material in cues such as "Circle Gets the Cubs" and "Breen There Ate That". A lot of the suspense material that also follows the monster around involves high string sustains and tumbling, slithering woodwind effects, creating a creepy atmosphere of dark unease. However, as the score progresses, the monster motif starts appearing everywhere, hovering in the background, as the search for the creature intensifies. Listen for it, for example, played on searching strings and harps at the end of "Neighborhood Watch - Fail", on rumbling low pianos at the beginning of "The Evacuation of Lillian", and with an almost breathless nobility during the spectacular "The Siege of Lillian".

The final thematic idea is a staccato militaristic motif for the Army-types that invade the little town, whose unwillingness to reveal information about the monster and its origins raise the suspicions of the gang in the first place. Usually played on fluttering muted brasses, the Military motif actually seems to be rooted in Giacchino's early video game scores such as Medal of Honor and Secret Weapons Over Normandy, further elaborating on the Williams similarities. Following brief snippets in cues such as "Gas and Go", "Radio Haze" and towards the end of "Thoughts of Mom", its centerpiece performances come in the aforementioned "The Evacuation of Lillian" and "Lambs on the Lam", two of the barnstorming highlights of the score.

Throughout the score Giacchino cleverly blends these four themes together to create a sensible and intelligent progression of the ideas, often playing them off against each other in unusual and unexpected combinations. "Thoughts of Cubism", for example, has the Children's theme on piano playing off the Monster motif on woodwinds, allowing the conversation in Joe's bedroom to foreshadow the events to come. The lovely pairing of "Mom's Necklace" and "Alice Projects on Joe" both combine the Children's theme with the Joe & Alice love theme in a sentimental and graceful arrangement for harp and strings. "Woodward Bites It", "A Truckload of Trouble", and the vicious-sounding "World's Worst Field Trip" pit performances of the Monster motif against ragged, dangerous-sounding statements of the Military motif to excellent effect. Best of all, the middle section of "Neighborhood Watch - Fail" actually sees the Children's theme and the Joe & Alice love theme play in simultaneous counterpoint to each other in a panicky way, illustrating the increasing danger in which the children find themselves.

The 20-minute finale, comprising "Creature Comforts", "Letting Go" and the "Super 8 Suite", stands as some of the most emotionally charged and conventionally beautiful music Giacchino has ever written for film, presenting large and powerful statements of both the Children's theme and the Joe & Alice love theme for the entire orchestra. The uneasy atmosphere of "Creature Comforts", in which Joe's theme and the Monster motif reach their zenith via some dark and ominous orchestral rumblings, thunderous action moments and dissonant effects, allow the thematic power of the final two cues to really shine. The astonishing statement of the Joe & Alice theme towards the end of "Letting Go", as well as the subsequent counterpointed performance of the two themes together, is goosebump-inducing stuff that clearly aspires to emulate the operatic finale of E.T.

The more I listen to Super 8, the more I think that this score is one of the most impressive cinematic works of Michael Giacchino's career. While his TV score for Lost had the leitmotivic complexity to end all, and while his Oscar-winning score for Up had buckets of emotional pathos, and while scores like Star Trek had a great deal of action music power and resonance, Super 8 is the first of his scores to combine all three elements together into a satisfying whole that has worked personally for me as a standalone listening experience. This, combined with the obvious inspiration he took from the story and its deeper meanings, as well as the clear and intentional illusions to the classic work of John Williams, makes Super 8 a winner.

Star Trek left me wanting in terms of an emotional component to the score. It was competent but almost rote. It didn't carry me away or touch me. That's why I was so pleased with this new score for Super 8. Spielberg has John Williams. JJ has Giacchino. Until this score, I didn't think there was hope for the same successful marriage, even on a smaller scale. But there is.

I agree with the earlier comment about the tracks being truncated and poorly mixed (hence one star removed). A pity but this score shines nonetheless.

Simply put, Mr. Giacchino's score of Super 8 captivates one with dynamic intensity and tender beauty.

One of my favorite aspects of this soundtrack is the motif that Giacchino uses throughout his entire score, which reaches a beautiful climax in the track "Letting Go."

Pick up both this soundtrack and his score for Pixar's UP. They both will surely bring a tear to your eye with their beauty alone.

There isn't much I can add to the detailed comments already written about this remarkable score except to say this is one CD to buy.
I was unaware of the music of Michael Giachinno. After hearing a portion of a theme in a commercial advertising the release of the film I immediately purchased the CD.
The score stands alone. The music is ominous, haunting and at times touchingly beautiful. Several themes remind me more of the great Jerry Goldsmith or James Horner ("Cocoon" especially) than John Williams.
In my opinion Mr. Giachinno is destined to follow in the footsteps of Waxman, Newman, Goldsmith and John Williams if this score is any indication of what he is capable of producing. I am definately a fan.
I can't think of one track that doesn't have someting unique to offer and there is a lot of music on the CD. I can't wait to see the film and add the visual context to the story Mr. Giachinno tells with his music.
A must have for those who love film music at its best.

Michael Giacchino's music for Super 8 is excellent. He has various themes throughout the score which are very appealing. My own personal opinion of multiple themes throughout a score means the composer put a great deal of effort into his composition. This allows for multiple listening sessions without ever getting bored with the music. I highly recommend this CD for purchase. Michael has a great future in scoring movies. Keep up the good work!

I love the amount of songs on this soundtrack. While some of the songs are only a minute or less, it still flows well. I love the mystery behind the music. One of my favorite tracks is "Family Matters" and it is only a 30 second clip. It shows that it is great music when in that short amount of time, the music captures me. It is great to write to.

When a director and a composer click the results are always absolutely stunning. J.J. Abrams and Michael Giacchino are a prime example of what an amazing director/composer collaboration can bring. This summer is truly the summer of Giacchino with the composer helming 3 summer movies (5 total features in 2011). Super 8 was the first to hit theaters, but due to setbacks the CD release has been delayed three times. Finally though Varese will be releasing the score on August 2nd. What Giacchino offers in Super 8 is something of spectacular and intimate grandeur.

The score for Super 8 ties extremely close with our main character, Joe Lamb. I'm not giving anything away when I tell you that both Joe and his father live alone after Joe's mother passes away in a tragic accident at the very beginning of the film. That loss of maternal protection and love is the basis of Giacchino's central motif. While we never see Joe's mother it's in that beautiful theme that her presence is felt, and we can tell Joe is thinking of her when that theme plays. It works in a very similar way that Ellie's theme worked in Up. What follows is a very beautiful, touching, and at times intense score. As our monster makes its entrance the score dips into that classic Giacchino mystery. The nurturing theme disappears as Joe is now on his own. That central theme really only returns during intimate moments with Alice; the girl who Joe falls in love with and eventually must rescue. He inserts a little motif that I label the "conspiracy" motif since it plays over the army and the whole coverup of the monster. From there the music branches into just pure Giacchino tension. At times the score will pay homage to John Williams in the slightest fashion. The score is never a direct homage and there are only 1 or 2 little moments where I went "that kind of sounded like Williams." Don't think this is dedicated to E.T. in any way. As the score closes out we have a full incarnation of that beautiful central theme and we realize the music has been working its way to this point the whole time. "Letting Go" symbolizes everything that the score was trying to accomplish and in the most beautiful way imaginable Joe is able to move on yet still keep is mother alive within him. I won't spoil the ending, but the whole ending sequence is 100% music. The fact that the score can carry absolutely everything with no other sound or dialogue needed speaks immense volumes on its own. It's the very same way the end of LOST allowed Giacchino to carry the ending only with his music. It's a tremendous example of the power of score and Giacchino's emotional sensibilities. The album also includes a bonus track which is the original music from the kids' super 8 film shown in the end credits, which is a great touch. As I walked out of the theatre I definitely said "I hope they put that music on the CD."

Super 8 is a wonderful journey and among Giacchino's best. It touches the listener on so many levels and leaves you with a warm and comforting feeling as if you were being tucked into bed all curled up under the covers. When all is said and done the music makes you feel safe. I absolutely loved the film and everything the music was able to do. Super 8 will go down as one of the best of the year.

When I watched "Super 8" in the theater there were only a few moments where the score really caught my ear; those few moments were outstanding, but my initial fear was that this score - overall - might end up being more "mood music" without delivering much enjoyable melodic content, something that was dependent on the movie for any measure of success while listening to it. I decided to purchase the entire soundtrack on the hope that I was wrong and, happily, once I was able to listen to the score independent of the movie I knew I'd acquired something special.

What I've found in my analytical listening(s) of "Super 8" is beautiful music - the score takes full advantage of the massive 104 piece orchestra that was used to record it. I'm a music composition major myself and have enjoyed listening to Mr. Giacchino's creativity in transforming his various themes to fit the cinematography they accompany. I've found this music to be highly listenable without the visual aid of the movie. This is definitely a thematically driven score and you're likely to find yourself humming some of the themes as you go about your day after listening to them.

A beautiful, tender, flowing melody populates most of the beginning of the soundtrack; I really enjoy this theme and find its various incarnations wonderful as it shows up throughout the score, especially when it appears in grandiose fashion at the end of the score in the track "Letting Go". There is also a fantastic melody that seems to represent the character of the kids that shows up in "We'll Fix It In Post-Haste" and again in the track "Super 8 Suite" - which, incidentally, is one of the best tracks of the bunch and was one of the tracks included in this album that were not in the film itself.

Soon, breaking through this tenderness, is the four-note motif of the mysterious creature (actually the motif that opens the first track on the album) which has a repetitive, menacing, driving force that's somewhat reminiscent of the infamous cue from the classic "Jaws" by the master-composer John Williams; also there's the brassy, charging theme of the ominous military forces taking over the town.

As the soundtrack progresses things overall get more energetic, aggressive and powerful; if you've seen the film you know why, if you haven't I won't spoil it for you - GO WATCH THE MOVIE, it's beautiful.

The music in this score has just as much heart as the film itself, and that is an unfortunately rare treat. This has become my favorite soundtrack from Michael Giacchino, and he's written some outstanding and critically acclaimed works well before "Super 8".

The music to "Super 8" is alternately moving, action-packed, thrilling, terrifying, majestic, and inspiring and is more so in each of those categories than many other film scores in recent memory.

If you are a fan of beautiful, exciting, even epic music in general this work by Mr. Giacchino is fully deserving not only of your attention but of a place in your collection.

Good music, though the recording and mixing is once again ruined by Dan Walin. Also, what's with the incredibly short cues at the start of the album? Terrible decisions all around.