Soundtrack Review: Star Trek (2009)
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This is a review of the motion picture Star Trek by Michael Giacchino.
“After a lengthy respite great Star Trek has (finally!) returned…each listen will explode with more joy and genuine emotion”
The Star Trek saga had three very different musical classics in the saga, five varied Goldsmith efforts, Brian Tyler’s rampaging action in Enterprise, and even some listeners put to sleep by Dennis McCarthy. There is no definitive sound for the genre; it’s the anti-Star Wars, if you will. Taken with a series reinvention and the last score in the genre, the surprise-lacking Nemeisis, for me this means Giacchino’s fresh approach is most welcome. For many, this album will not initially inspire awe and wonder; even I required much more time than usual to attain certainty. But for those willing to be patient (see the film!), each listen will explode with more joy and genuine emotion (the first this year); it’s the summer rarity that sometimes forgoes instant entertainment for permanent reward.
The New Theme
Though Giacchino’s new main theme is not terribly “complex” (so?), that does not diminish the vibrant excitement one feels as it is unleashed in “Enterprising Young Men”. The joy behind the infectious brass performance, the big drum hits behind it…oh, it’s a doozy to hear fully uncorked. Further soaring performances are equally excellent, with slurred brass and choir meshing brilliantly1:37 into “Nero Fiddles, Narada burns” and “Back From Black” shouting out victorious resolution. The more subdued takes (the noble opening, the purpose-driven parts of “Hella Bar Talk” and “Does It Still McFly?”) help this theme go through the most varied workout a Star Trek theme has ever run. Like we needed another example of how good Giacchino is with variation. Sure, this is no Goldsmith or Horner classic, but the next best thing is still capable of McFlying (bad pun quota for the review now filled).
Spock Theme
The other heroic theme is for Spock and will likely draw the most raves for its erhu performance inon its erhu performance in “That New Car Small”, especially as the first airing floats to a close at 1:30. Most other takes will not be immediately obvious (but are more rewarding in later lisens); the quick bouncing trumpet statement in the middle of “Enterprising Young Men” gets fine counterpoint from a secondary action motif (the rousing one at the start of “Nero Fiddles, Narada Burns”), while the rumbling action variant that closes “Does It Still McFly?” may not be obvious until you see the film (wasn’t for me!). Nero’s theme, on the other hand, cudgels its way to your ears right from the start. A four-note construct often stagnated into a bigger, louder seven-note take, it’s raw aggression in cues like “Nailin’ The Kelvin” and “Nero Sighted” is awe-inspiring on film, while the more cerebral takes in “Nice To Meld You” still retain an ominous menace. The theme may vanish between that cue and the end credits, thus robbing it of a fully satisfying experience ala ST2’s Khan or ST6’s Klingon themes, but the straightforward hammering is still powerfully effective.
Some of the action will draw comparisons with MI3 and Speed Racer, like the chaotic throwing around of brass and strings in “Nailin’ the Kelvin” and the percussive rhythms of “Run And Shoot Offense”, but the performances are less chaotically noisy and thus more accessible. The fresher action is more impressive. The first minute of “Nero Sighted” explodes with a hammering, sometimes horrifying menace. Best is the mammoth “Nero Death Experience” that contrasts the heroic themes with a large chanting chorus into one of the most epic cues to ever empower a Trek film, especially in its driving last minute. A fantastic 180o spin from those is “Labor of Love”, which morphs the composer’s poignant Lost moments into a romanticized, emotional powerhouse. Themeless but stunning work, and a smart move to let it dominate the sound effects on-screen.
Conclusion
Despite my previous raves, the final three cues are the selling point. The continuation of “That New Car Smell” explores softer variations on the main theme and Spock’s theme before brilliantly using them as counterpoint in the rousing final minute. “To Boldly Go” breaks from the (somewhat tired) use of solo trumpet for the Courage fanfare starting the film endings and makes more powerful use of the whole brass section before merging into the film’s greatest 2 minutes: the original TOS title theme. Dated no more, the ensemble orchestra and choir makes this retro part a rousing (slightly jazzy) statement, even using it as string counterpoint against the main them. With more variations on Spock’s and Nero’s themes a relentless expansion of “Enterprising Young Men”, this cue cements Giacchino as king of making end titles unique variations rather than simple reprises. True, the score has no inventive electronics and is certainly no masterpiece like TMP, but after a lengthy respite great Star Trek music has (finally!) returned. Trust me, waiting a few more listens for the score to wow you is worth it.
Album (44:52)
1. Star Trek (1:03)
2. Nailin’ the Kelvin (2:09)
3. Labor of Love (2:51)
4. Hella Bar Talk (1:55)
5. Enterprising Young Men (2:39)
6. Nero Sighted (3:23)
7. Nice To Meld You (3:13)
8. Run and Shoot Offense (2:04)
9. Does It Still McFly? (2:03)
10. Nero Death Experience (5:38)
11. Nero Fiddles, Narada Burns (2:34)
12. Back From Black (0:59)
13. That New Car Smell (4:46)
14. To Boldly Go (0:26)
15. End Credits (9:11)
Listen to Star Trek by Michael Giacchino below:
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(33 votes, average: 8.79 out of 10)
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Comments
Totally agree with your statement of it being a score that grows on you. On first listen I was actually quite disappointed considering I’m such a Giacchino fan, and the high hopes I had; but with each repetition (his scores always seem slightly addictive) I find myself loving it more and more. The main theme may not be as romantic as Goldsmith’s original theme which was later used as TNG theme, but it’s suitably noble and heroic.
I am very much in love with Spocks slow, mystical and rather lonely theme and find Nero’s aggressive theme to be more memorable then then villain himself (bit of a drawback to the film). However, one part I still can not fall in love with is Giacchino’s use of the original theme in the final credits. I know you guys loved it’s inclusion, but personally I have never particularly liked the theme (I’m prepared to be stoned or marooned on a planet for that statement) and considering Goldsmith’s TNG theme to be far superior. With the rest of Giacchino’s score it feels out of place to me, with very little connection to what we heard before and seemed to just exist for fans.
My personal taste aside, it’s a great score. Exciting, noble and full of great moments. I will keep watching Giacchino’s rise through Hollywood with anticipation… oh, and of course, will be desperately craving his latest score for LOST 
[...] Despite my previous raves, the final three cues are the selling point … “To Boldly Go” breaks from the (somewhat tired) use of solo trumpet for the “Courage” fanfare starting the film endings and makes more powerful use of the whole brass section before merging into the film’s greatest 2 minutes: the original TOS title theme. Dated no more, the ensemble orchestra and choir makes this retro part a rousing (slightly jazzy) statement, even using it as string counterpoint against the main them … Trust me, waiting a few more listens for the score to wow you is worth it—SoundtrackGeek.com [...]
I’m no music critic. I simply cannot help my addiction to the thundering low brass sections, especially those surrounding Nero.
Can anyone tell me the names of the song that plays at the end of Spock refusing to attend the Vulcan Science academy?
My brother told me he didn’t like this soundtrack. He’s insane. Giacchino’s work just keeps getting better! Love the Incredibles and Lost too.
Jorn Tillnes Reply:
May 27th, 2009 at 9:18 pm
I hope his future work shows some real consistency. I have a feeling that Up will be pretty great.
When will the Up review be on the site? Do you have to wait to listen like the rest of us?
Jon Blough Reply:
May 28th, 2009 at 12:22 am
Regardless of who ends up reviewing scores on this site, yes, we have to “wait”, especially with a digital-only score. If I’m reviewing it it will most likely be up over the weekend as I would like to see the film first.
I found interesting that one of the Trek composers that you didn’t mention is the one that Giacchino’s music reminds me of the most, James Horner. I heard a lot of bits and pieces in this sountrack that would fit perfectly in the score of ST 2 and 3. I’m not saying that these sections were copies but that they reminded me of Horner’s work the most.
To be totally honest, I found the new main theme very disappointing and uninteresting. The idea of keeping the original Star Trek film for the ending was itself quite predictable, but it could have had a LOT more impact if the new music that was composed was related to it in some way. Giacchino’s music used typical Danny Elfman Batman chords and big brass and I felt like it was a bit of a weak melody that just kept coming back, again and again.
It was a great relief to hear some music with character at the end of the film (i.e the original theme), it’s a shame Giacchino didn’t hint at that character or compose themes using the essence of the original for his music throughout the motion picture. I do not think that he should have obviously based it on the original theme but hoped that the music might have some coherence with the good old Star Trek music.
The score sounded like any typical modern film, same old same old, and did not give me the feeling of Star Trek. I hope, now the James T Kirk and the Enterprise are established, the music for the next movie might build and be a bit more relevant to the Star Trek legacy itself, not just the modern sci-fi genre.
These views are only from listening to the music whilst watching the film twice – I admit, I have not listened to the score on its own. I understand that a film score might be amazing to listen to on it’s own, however, it’s primary purpose has got to be to enhance characters and action on screen, and although the craftsmanship of orchestration and pace was VERY well executed I think the melodies and character of the main theme simply wasn’t good enough.
I welcome comments on my opinions, and do not mean any one else any offence.
Jools
PS nice site… you’ve got a new subscriber!
i was a complete anit-trekkie, until i saw the movie. i loved the new movie, especially their choice in music. it complemented the scenes SO well, i can’t wait to buy it!
I agree that the thematic elements to the score are somewhat simple, but they serve the film well and I think they grow on you. I work in a theatre as an usher and always look forward to cleaning between Star Trek shows so I can be blasted by the end credit music in digital surround. This soundtrack is most effective in a theatre setting with a massive audio system.
Andrew Reply:
June 15th, 2009 at 7:30 pm
As a followup, I have a beef with the soundtrack in that the ‘end tites’ track is NOT the same as the end titles as heard in the theatrical version. In the theatre, the end of the title music ends with a flourish then builds up to a massive, loud ending which trails off with some classic Trek bridge sound FX, however with the released soundtrack, the ‘end titles’ track just kind of ends with that flourish, without the epic ending. Guess I’ll have to wait for the DVD to see that.
Very good film.
Its great to see and the effects which are made.
Hope there will be more star trek films to come soon from America.
Its good to see a good scince fiction movie comeing out of America.
Most American films are complet rubbish.
We in the UK have to put up seeing rubbish American films, but this new star trek movie is great. Good for the Yanks making a good film.
Hope to see more in the future soon.
Recently, Tim burton has been in the UK last year making his latest movie and was film in Cornwall at a place called Torpoint.
Is this a good score? Yes. Does it feel like Star Trek? No. Giacchino didn’t capture the grandiose fanfare of outer space that Star Trek demands. On the DVD, he even states he felt going for fanfare was wrong, instead he wanted an action score that would capture the “difficulty” of their missions. To me, this sounded like earnest self delusion. With a little more jazz, his compositions would sound like a great James Bond score, but it’s no Star Trek. :’(
Jorn Tillnes Reply:
November 27th, 2009 at 7:11 pm
I disagree with you. I think it sounds like Star Trek, if a bit modified one. The music of Star Trek has changed over the years. 60s had a style, so had the 80s and 90-00s. This is Star Trek through and through, in which I mean the feeling of the music. It really does feel Star Trek to me, but it didn’t at first.
rem Reply:
November 28th, 2009 at 10:24 am
Yeah, it’s a difference of opinion. I can’t argue with you if you say that you’re willing to accept this score as the new Star Trek sound. But if you’re saying this is a clear evolution of Star Trek, I’d have to disagree, I can’t hear it. Anyway, it’s a good score, we can agree on that.
Jorn Tillnes Reply:
November 28th, 2009 at 12:13 pm
And in the end that’s all that matters. Bring on Star Trek 2!
Music4Life Reply:
January 9th, 2010 at 1:44 am
I absolutely hated the score. To me it was overly simple, cliche and distracting.
Jorn Tillnes Reply:
January 10th, 2010 at 7:24 am
Shame you didn’t enjoy it. I enjoyed it immensely.
Star Trek 6 – The Undiscovered Country…. from the first few notes of the opening credits the score is oooozing with depth and character, let alone brilliant orchestration and creativity. That’s a real Star Trek score, this one is just bland and faceless…
Willy105 Reply:
January 22nd, 2010 at 7:36 pm
Star Trek 6 had a decent, although generic and unispired, score, but it was pretty weak compared to other Star Trek music.
[...] 01. Star Trek by Michael Giacchino This was the biggest relief of 2009 believe me. I was afraid, nay, terrified when I heard Michael Giacchino got the job to score Star Trek. As a huge Star Trek fan (of films, TV series and the music) I was very afraid of what this man could do. I haven’t been his biggest fan, Lost is pretty much lost on me and I didn’t particularly like Speed Racer from last year. Thankfully all my fears were for nothing as Giacchino delivered — oh my, did he deliver! He not only managed to keep it “Star Trek”, but he managed to create the true feeling of that universe while at the same time make new themes and sounds, that for me is Star Trek. I didn’t think it was possible and I love this score to death I really do. Giacchino also composed the best three-note bad guy theme for Nero that is as awesome as his “Roar!” from Cloverfield. To boldly go… Read Jon’s review here. [...]
This is not only the best score of the year, it’s the best music Star Trek has ever gotten.
When the original 60’s theme is the weakest part of the score, you know there’s something special here!
Soundtrack Seek
I love this score more and more with each listen. My favorite cue is the mammoth End Credits with “everything” in it. I love the new Star Trek theme and the monstrous Nero theme. Didn’t quite get the Spock theme, but overall this is an excellent soundtrack to an excellent movie. Great review!
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