This score holds the distinction of being the first that got me to see its film by musical merit alone. Back in 2010 after the film had been in theaters for a week or so, I wasn't particularly grabbed by the trailers (which made it look like usual DreamWorks Animation fare, of which I'm not a huge fan). I started to hear buzz about how great it was, but a lot of people raved about Shrek and you can ask anyone -- Shrek's particular brand of humor is not my cup of tea. BUT, then I listened to streaming samples of two songs, "Test Drive" and "Romantic Flight," and I wanted to see the sequences that went with those songs.
This is John Powell's first stand-alone score (for which he was nominated for an Academy Award) after collaborating previously with Hans Zimmer and Harry Gregson-Williams through Zimmer's film score company Remote Control Productions. Powell and Gregson-Williams (The Chronicles of Narnia, Prometheus) are arguably the two most successful artists to emerge from the company, though Klaus Badelt (Pirates of the Caribbean), Steve Jablonsky (Transformers franchise), Trevor Rabin (Remember the Titans), and Ramin Djawadi (Game of Thrones, Iron Man) are all prolific and sought-after as well. Powell has scored numerous animated features through the years, including Kung Fu Panda, Chicken Run, Antz, Shrek, and Bolt.
Dragon, however, is his most accomplished work to date. Its use of traditional Scottish instrumentation (even though the story is not set in Scotland?) and a full orchestra are rousing and emotional, creating a flawless narrative structure. The film has Vikings, dragons, quiet moments, emotional tension between father and son, and (literal) soaring moments of triumph. Powell makes use of it all. The theme that forms the backbone of track 1 ("This is Berk") reappears in various incarnations throughout -- building tension in "Downed Dragon," sped up and urgent in "Dragon Training," mystical and majestic in "Wounded,"and paying off with energetic depth and affection in "Test Drive." And we've only reached track 11 (of 24!). Three other themes are present which all play well off one another, culminating in the battle pieces which are the score's only real weak spot: technically proficient but overwhelming, they may be too much "noise" for the listener. Powell would have benefitted from implementing slightly more restraint in his orchestration; this section of the score is relentlessly tense (though it mirrors the movie's action) and loses some of the previous intricacy that marks the more excellent tracks. However, Powell relieves the assault with a deep choir and lone piano softy reprising the main theme, before escorting us by strings and pan flute into rousing drums over a full orchestra (utilized to perfection this time). His strength is pacing -- knowing when to switch gears and give respite from the more intense sequences -- which is something the movie cues very well. The result is a musically and emotionally mature ride that satisfies whether or not you've seen the film. But I promise, it will make you want to.
To paraphrase another reviewer, this is the soundtrack Avatar wished it had.
1. "This Is Berk" (4:10)
2. "Dragon Battle" (1:54)
3. "The Downed Dragon" (4:16)
4. "Dragon Training" (3:10)
5. "Wounded" (1:25)
6. "The Dragon Book" (2:22)
7. "Focus, Hiccup!" (2:05)
8. "Forbidden Friendship" (4:10)
9. "New Tail" (2:47)
10. "See You Tomorrow" (3:53)
11. "Test Drive" (2:36)
12. "Not So Fireproof" (1:12)
13. "This Time For Sure" (0:43)
14. "Astrid Goes For A Spin" (0:43)
15. "Romantic Flight" (1:56)
16. "Dragon's Den" (2:29)
17. "The Cove" (1:10)
18. "The Kill Ring" (4:28)
19. "Ready The Ships" (5:13)
20. "Battling The Green Death" (6:18)
21. "Counter Attack" (3:05)
22. "Where's Hiccup?" (2:43)
23. "Coming Back Around" (2:51)
24. "Sticks & Stones" (Written and performed by Jónsi; 4:17)
25. "The Vikings Have Their Tea" (2:03)
This is John Powell's first stand-alone score (for which he was nominated for an Academy Award) after collaborating previously with Hans Zimmer and Harry Gregson-Williams through Zimmer's film score company Remote Control Productions. Powell and Gregson-Williams (The Chronicles of Narnia, Prometheus) are arguably the two most successful artists to emerge from the company, though Klaus Badelt (Pirates of the Caribbean), Steve Jablonsky (Transformers franchise), Trevor Rabin (Remember the Titans), and Ramin Djawadi (Game of Thrones, Iron Man) are all prolific and sought-after as well. Powell has scored numerous animated features through the years, including Kung Fu Panda, Chicken Run, Antz, Shrek, and Bolt.
Dragon, however, is his most accomplished work to date. Its use of traditional Scottish instrumentation (even though the story is not set in Scotland?) and a full orchestra are rousing and emotional, creating a flawless narrative structure. The film has Vikings, dragons, quiet moments, emotional tension between father and son, and (literal) soaring moments of triumph. Powell makes use of it all. The theme that forms the backbone of track 1 ("This is Berk") reappears in various incarnations throughout -- building tension in "Downed Dragon," sped up and urgent in "Dragon Training," mystical and majestic in "Wounded,"and paying off with energetic depth and affection in "Test Drive." And we've only reached track 11 (of 24!). Three other themes are present which all play well off one another, culminating in the battle pieces which are the score's only real weak spot: technically proficient but overwhelming, they may be too much "noise" for the listener. Powell would have benefitted from implementing slightly more restraint in his orchestration; this section of the score is relentlessly tense (though it mirrors the movie's action) and loses some of the previous intricacy that marks the more excellent tracks. However, Powell relieves the assault with a deep choir and lone piano softy reprising the main theme, before escorting us by strings and pan flute into rousing drums over a full orchestra (utilized to perfection this time). His strength is pacing -- knowing when to switch gears and give respite from the more intense sequences -- which is something the movie cues very well. The result is a musically and emotionally mature ride that satisfies whether or not you've seen the film. But I promise, it will make you want to.
To paraphrase another reviewer, this is the soundtrack Avatar wished it had.
1. "This Is Berk" (4:10)
2. "Dragon Battle" (1:54)
3. "The Downed Dragon" (4:16)
4. "Dragon Training" (3:10)
5. "Wounded" (1:25)
6. "The Dragon Book" (2:22)
7. "Focus, Hiccup!" (2:05)
8. "Forbidden Friendship" (4:10)
9. "New Tail" (2:47)
10. "See You Tomorrow" (3:53)
11. "Test Drive" (2:36)
12. "Not So Fireproof" (1:12)
13. "This Time For Sure" (0:43)
14. "Astrid Goes For A Spin" (0:43)
15. "Romantic Flight" (1:56)
16. "Dragon's Den" (2:29)
17. "The Cove" (1:10)
18. "The Kill Ring" (4:28)
19. "Ready The Ships" (5:13)
20. "Battling The Green Death" (6:18)
21. "Counter Attack" (3:05)
22. "Where's Hiccup?" (2:43)
23. "Coming Back Around" (2:51)
24. "Sticks & Stones" (Written and performed by Jónsi; 4:17)
25. "The Vikings Have Their Tea" (2:03)
