21 Songs


A new score for a new adventure in a galaxy far, far away.


A new score for a new adventure in a galaxy far, far away.

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Customer Reviews

4 out of 5

322 Ratings



You can tell this was definitely rushed. He was hired to do the music in 4 weeks after all. There's some nice stuff here but other than that, not very memorable. Hopefully Disney won't make a score for Star Wars an after thought like for this one. Would of loved to see what Desplat would of done, shame they got rid of him for the "it" guy Michael Giacchino.

Not enough time to properly compose a Star Wars film.

Royal Empire Kings,

I'm a big Giacchino fan. Lost, Super 8, Up, Star Trek... the list goes on and on. But he was only given 3 weeks to compose. It shows. Star Wars music is supposed to be a character in the movie. Instantly recognizable. Completely hum-able. I haven't seen the film yet but I've made my way through the score 4 times now. There are a few Star Wars-y sounds that play here and there. But I can hardly find any kind of melody.

One thing I hate about scoring sequels is when the composer will take 5 notes from the pre existing track that we love and then just go off into musical nonsense after we get pumped for a theme we actually know. This score does that a few times. I'd rather it be a complete rehash of old music than to keep hinting at songs we like but ultimately go nowhere.

The other thing this score does that I'm not a fan of is to have 2 to 3 minute tracks that are mostly forgettable ambient sounds that build to a crescendo. Then it abruptly stops just as you think the song might finally be going somewhere. I know that can be effective to emphasize a scene. But it doesn't make for a good listening experience. Unfortunately, I feel like the majority of the score is this kind of thing.

Most of the score is fast and loud sounds when it needs to be action-y. It's slow and quiet sounds when it needs to be serious. But none of that has any real coherent narrative. You won't catch yourself singing along to any of it. Near the end of the score, Your Father Would Be Proud and Jyn Erso & Hope Suite are the two tracks that are the big emotional moments. They are good songs but sound like b-sides from Lost. I felt like Charlie was drowning all over again. Musically that's not really a bad thing but it just doesn't sound like Star Wars. The big action track that actually has somewhat of a narrative is The Imperial Suite. I like this one. It's about as good as the First Order theme in TFA.

If you love Star Wars and scores as I do and you just want to check out a couple more tracks then I'd recommend Jedha City Ambush, Rouge One, Scrambling The Rebel Fleet, AT-ATC Assault, and The Master Switch. They all have moments that are good but there's just not any of the sweeping themes that I love about Star Wars music. I know this is supposed to be a darker film. But there's not much fun in these songs either.

Can you imagine trying to compose just one track in 3 weeks that could live up to a John Williams Star Wars score? Giacchino had the daunting task of composing not just one track but an entire movie score in 3 weeks. No wonder the music is underwhelming. I hope they give Giacchino another shot, a fair one.

About Michael Giacchino

Composer Michael Giacchino grew up fascinated with both movies and music, and he went on to an ideal career writing scores for a number of acclaimed films, television series, and video games. Giacchino was born in Riverside Township, New Jersey on October 10, 1967, and grew up in nearby Edgewater Park. As a child, he developed an interest in animation and began making stop-motion cartoons, but discovered his favorite part was selecting the music that would match the action. After high school, Giacchino received a degree in film production at New York's School of Visual Arts, and then went on to study music at Lincoln Center's Julliard School. Giacchino supported himself as a publicist for the New York offices of Universal Pictures and Disney, and after completing his studies, he relocated to Burbank, California, where he worked for Disney's feature film publicity department. He moved on to Disney Interactive, assisting with production on video game projects as he continued to hone his craft in music.

After contributing music to several Disney games, he took a position with Dreamworks Interactive in 1997 and scored the video game The Lost World: Jurassic Park, released as a tie-in with the sci-fi blockbuster; the same year, he also scored a low-budget live-action thriller, Legal Deceit. Giacchino composed scores for a number of other video games, including the Medal of Honor and Call of Duty franchises, and in 2001, when producer J.J. Abrams was assembling his creative team for the television series Alias, he invited Giacchino to write music for the show, having been impressed with his video game work.

After working together successfully on Alias, Abrams hired Giacchino to compose music for the cult favorite series Lost, which earned him a Grammy Award for Outstanding Dramatic Score in 2005; Giacchino also wrote music for Abrams' short-lived but critically acclaimed show Fringe. In 2004, Brad Bird invited Giacchino to write the music for the Pixar animated feature The Incredibles; it was the first of several projects he scored for Pixar, including Ratatouille, Cars 2, and Up, the latter of which earned him an Academy Award in 2010, as well as a Grammy Award for the film's soundtrack album.

Since then, Giacchino has maintained a busy schedule scoring major projects such as Mission Impossible III, Cloverfield, Star Trek (2009), Let Me In, and Super 8. Giacchino also occasionally writes symphonic pieces, including "Camden 2000," which was commissioned for Camden, New Jersey's Haddonfield Symphony and debuted at a fundraising event for the non-profit Heart of Camden Housing Corporation. Giacchino also wrote new music to accompany the Space Mountain ride at Disney theme parks in the United States and Hong Kong.

Giacchino was involved with a number of high-profile film projects in 2015, which would prove to be a banner year for the composer. Reuniting with director Brad Bird and Pixar, he scored the animated film Inside Out, as well as Disney's futuristic Tomorrowland and, biggest of all, the summer blockbuster Jurassic World. The following year, Giacchino returned with several more high-profile productions, including scores for Doctor Strange, Star Trek Beyond, and Zootopia.

Also in 2016, it was announced that he had replaced composer Alexandre Desplat on director Gareth Edwards' highly anticipated Rogue One: A Star Wars Story. The score was released alongside the movie in December 2016, and was commended for its fresh, innovative sound palette while incorporating favorite and revered elements of John Williams' score for the previous Star Wars installments. In 2017, Giacchino supplied two more blockbuster scores with The War for the Planet of the Apes and Marvel's Spider-Man: Homecoming. ~ Mark Deming

    Riverside Township, NJ
  • BORN
    Oct 10, 1967

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