• Ben Erickson


Aquaman adds another entry to the DC Extended Universe with Rupert Gregson-Williams returning as composer from the popular 2017 Wonder Woman to score their next superhero. Gregson-Williams provided some interesting musical continuity between the two films with the choice of instrumentation – namely the duduk – which was used to signify the mythological history of Diana's heritage, much as it has done with Arthur's here. Aquaman's theme is more developed here too than what was supplied by Danny Elfman in Justice League (not for lack of trying), making for a fresh musical take on the character. The Atlantis sequence gives one the sense of a Tron film if they had been set underwater instead of inside a computer, following suit with Daft Punk level electronic synthpop and techno, plus a separate sound in the mix. I would not know how to describe this electronic texture other than having heard it elsewhere, such as underwater environments in video games (ie. Metroid or Subnautica). Simply put it induces an effective aquatic ambience to match the predominantly submerged narrative. Much as was the case with Wonder Woman, Gregson-Williams has offered more than adequate service to the film.