Knight of Ren

I recommend checking out that score's entry in the Hans Zimmer webpage, because it has info about what cues were used for the album assembly, which can help you sort out a chronological order!

Yeah, I watched Bottoms without knowing too much about i and it caught me by surprise! The critique/satire is so well implemented within the comedy and everything feels so natural and organic, probably thanks to the comedic chops of both Rachel Sennot and Ayo Edebiri. Looking forward to see what else Emma Seligman does in the future beacuse her two feature films have been great IMO!

Yeah, I watched Bottoms without knowing too much about i and it caught me by surprise! The critique/satire is so well implemented within the comedy and everything feels so natural and organic, probably thanks to the comedic chops of both Rachel Sennot and Ayo Edebiri. Looking forward to see what else Emma Seligman does in the future beacuse her two feature films have been great IMO!

Yeah, I think all the main themes have already been listed above. I've been listening to Survivor quite a bit, and I came up with a shorter playlist as I did with Fallen Order. It's a bit more action heavy, as that's the cues where the main themes, both old and new, get to shine more, and I left out some great tracks more focused on exploration or ambient music, which also have some great moments, but also can be a bit too long at times. I did include Fields of Dusk because even if it's an exploration track, the main melody returns a couple of times as a love theme. Also, a couple of tracks have some awkward edits to transition between cues, but nothing can be done about that, sadly:
 
 
The second game reprises 5 of the themes from Fallen Order: Cal, Cere, Merrin, Eno Cordova and BD-1, but these last two are barely in it.
 
Cal's theme is much more prominent this theme, and can be heard a lot of times in exploration tracks, as well as some great action variants, joining some of the other themes. Merrin's theme gets to shine in Flight and also in the second half of Siege, which also allows Cere's theme to develop in some brilliant emotional variations.
 
Cordova's theme serves as a menu theme again in Cold Dawn, joined by Cal's theme and the new Empire theme. It also appears at the beginning of The Narkis Anchorites, and at 6:30 of The Visitor, which also features some subtle references to the Imperial March after that. And BD-1's theme only appears briefly at 1:15 of The Bedlam Raiders, as far as my ear caught.
 
As for the new themes, @Gabriel Bezerra mentioned almost all of them, so I will give some audio examples for further clarification.
 
The Empire theme is all over the game, usually clashing with Cal's theme, but also joining some other characters affected by it one way or another, like Dagan Gera or Bode Akuna:
 
Rayvis and the Bedlam Raiders receive a dissonant fanfare introduced in their titular track, but that really shines in action variants in tracks like Warrior's Code
 
Dagan Gera has a very malleable theme, that can be heard in softer and majestic variations, like in the example below, but also turns quite dark and aggressive in some of his action pieces, like later in Haven or in tracks like To the Rescue or Grand Occulus
 
 
Bode Akuna's theme is heroic and bright in its first appearances, and as the story progresses turns appropriately darker and menacing, confronting Cal's theme in tracks like A Step Too Far
 
 
Nova Garon introduces a motif in its second half, for character that might become more important in a third part of the series, Kata Akuna. This descending motif can be heard in full at the beginning of Through the Darkness
 
 
These are the main new themes for the characters of the game, and there are also several ideas for the different areas of the game:
 
The Koboh theme appears in A Frontier Welcome, Where the Nekkos Roam or Rambler's Reach
 
 
The Forest's Secrets develops a motif that also appears in Basalt Scars
 
Fields of Dusk features what the composers called the love theme, that also appears in A Step Too Far and The Abyss
 
 
Shattered Moon has a motif for the titular planet that indeed reminds me of JNH's Atlantis theme in its second phrase, and that appears again in Course Collider and Warrior's Code
 
I haven't been able to identify yet the theme for Jedha mentioned above that appears in The Sacred Mesa, but I will check again those tracks to see if I can catch it.
 
And I think that's pretty much it. I don't think I missed any important motif, but feel free to correct me!

Yeah, I think all the main themes have already been listed above. I've been listening to Survivor quite a bit, and I came up with a shorter playlist as I did with Fallen Order. It's a bit more action heavy, as that's the cues where the main themes, both old and new, get to shine more, and I left out some great tracks more focused on exploration or ambient music, which also have some great moments, but also can be a bit too long at times. I did include Fields of Dusk because even if it's an exploration track, the main melody returns a couple of times as a love theme. Also, a couple of tracks have some awkward edits to transition between cues, but nothing can be done about that, sadly:
 
 
The second game reprises 5 of the themes from Fallen Order: Cal, Cere, Merrin, Eno Cordova and BD-1, but these last two are barely in it.
 
Cal's theme is much more prominent this theme, and can be heard a lot of times in exploration tracks, as well as some great action variants, joining some of the other themes. Merrin's theme gets to shine in Flight and also in the second half of Siege, which also allows Cere's theme to develop in some brilliant emotional variations.
 
Cordova's theme serves as a menu theme again in Cold Dawn, joined by Cal's theme and the new Empire theme. It also appears at the beginning of The Narkis Anchorites, and at 6:30 of The Visitor, which also features some subtle references to the Imperial March after that. And BD-1's theme only appears briefly at 1:15 of The Bedlam Raiders, as far as my ear caught.
 
As for the new themes, @Gabriel Bezerra mentioned almost all of them, so I will give some audio examples for further clarification.
 
The Empire theme is all over the game, usually clashing with Cal's theme, but also joining some other characters affected by it one way or another, like Dagan Gera or Bode Akuna:
 
Rayvis and the Bedlam Raiders receive a dissonant fanfare introduced in their titular track, but that really shines in action variants in tracks like Warrior's Code
 
Dagan Gera has a very malleable theme, that can be heard in softer and majestic variations, like in the example below, but also turns quite dark and aggressive in some of his action pieces, like later in Haven or in tracks like To the Rescue or Grand Occulus
 
 
Bode Akuna's theme is heroic and bright in its first appearances, and as the story progresses turns appropriately darker and menacing, confronting Cal's theme in tracks like A Step Too Far
 
 
Nova Garon introduces a motif in its second half, for character that might become more important in a third part of the series, Kata Akuna. This descending motif can be heard in full at the beginning of Through the Darkness
 
 
These are the main new themes for the characters of the game, and there are also several ideas for the different areas of the game:
 
The Koboh theme appears in A Frontier Welcome, Where the Nekkos Roam or Rambler's Reach
 
 
The Forest's Secrets develops a motif that also appears in Basalt Scars
 
Fields of Dusk features what the composers called the love theme, that also appears in A Step Too Far and The Abyss
 
 
Shattered Moon has a motif for the titular planet that indeed reminds me of JNH's Atlantis theme in its second phrase, and that appears again in Course Collider and Warrior's Code
 
I haven't been able to identify yet the theme for Jedha mentioned above that appears in The Sacred Mesa, but I will check again those tracks to see if I can catch it.
 
And I think that's pretty much it. I don't think I missed any important motif, but feel free to correct me!

His themes for Outlander I think are my favorite from all of his scores. They're all amazing and I have a very special connection to all of them. This is also one of my favorites, but I also love John Grey's theme and the Fraser's Ridge theme. Well, in fact I love all of them and I think they're brilliant! Cannot wait for the rest of S7!

One of my favorite themes by McCreary.
The guitar first which then gets joined by the strings and woodwinds. Gorgeous stuff!
 
 

Yeah, I think all the main themes have already been listed above. I've been listening to Survivor quite a bit, and I came up with a shorter playlist as I did with Fallen Order. It's a bit more action heavy, as that's the cues where the main themes, both old and new, get to shine more, and I left out some great tracks more focused on exploration or ambient music, which also have some great moments, but also can be a bit too long at times. I did include Fields of Dusk because even if it's an exploration track, the main melody returns a couple of times as a love theme. Also, a couple of tracks have some awkward edits to transition between cues, but nothing can be done about that, sadly:
 
 
The second game reprises 5 of the themes from Fallen Order: Cal, Cere, Merrin, Eno Cordova and BD-1, but these last two are barely in it.
 
Cal's theme is much more prominent this theme, and can be heard a lot of times in exploration tracks, as well as some great action variants, joining some of the other themes. Merrin's theme gets to shine in Flight and also in the second half of Siege, which also allows Cere's theme to develop in some brilliant emotional variations.
 
Cordova's theme serves as a menu theme again in Cold Dawn, joined by Cal's theme and the new Empire theme. It also appears at the beginning of The Narkis Anchorites, and at 6:30 of The Visitor, which also features some subtle references to the Imperial March after that. And BD-1's theme only appears briefly at 1:15 of The Bedlam Raiders, as far as my ear caught.
 
As for the new themes, @Gabriel Bezerra mentioned almost all of them, so I will give some audio examples for further clarification.
 
The Empire theme is all over the game, usually clashing with Cal's theme, but also joining some other characters affected by it one way or another, like Dagan Gera or Bode Akuna:
 
Rayvis and the Bedlam Raiders receive a dissonant fanfare introduced in their titular track, but that really shines in action variants in tracks like Warrior's Code
 
Dagan Gera has a very malleable theme, that can be heard in softer and majestic variations, like in the example below, but also turns quite dark and aggressive in some of his action pieces, like later in Haven or in tracks like To the Rescue or Grand Occulus
 
 
Bode Akuna's theme is heroic and bright in its first appearances, and as the story progresses turns appropriately darker and menacing, confronting Cal's theme in tracks like A Step Too Far
 
 
Nova Garon introduces a motif in its second half, for character that might become more important in a third part of the series, Kata Akuna. This descending motif can be heard in full at the beginning of Through the Darkness
 
 
These are the main new themes for the characters of the game, and there are also several ideas for the different areas of the game:
 
The Koboh theme appears in A Frontier Welcome, Where the Nekkos Roam or Rambler's Reach
 
 
The Forest's Secrets develops a motif that also appears in Basalt Scars
 
Fields of Dusk features what the composers called the love theme, that also appears in A Step Too Far and The Abyss
 
 
Shattered Moon has a motif for the titular planet that indeed reminds me of JNH's Atlantis theme in its second phrase, and that appears again in Course Collider and Warrior's Code
 
I haven't been able to identify yet the theme for Jedha mentioned above that appears in The Sacred Mesa, but I will check again those tracks to see if I can catch it.
 
And I think that's pretty much it. I don't think I missed any important motif, but feel free to correct me!

Additionally there's a theme for the Shattered Moon, most obviously playing at 0:26 in Shattered Moon and on a few further occasions throughout the score. To my ear it's very reminiscent of the Atlantis theme from Atlantis: The Lost Empire.

It's mostly original themes and motifs in the score, "Flight", "Above the Clouds", and "Siege" are the ones where the previous themes get to shine the most. "Cold Dawn" and "A Step Too Far" goes through a few of them too. 
 
While we wait Knight of Ren and The Avenger Button, gonna list a few of the new themes that I already recognize.
 
Dark Times starts with the Empire theme for the game.
A Frontier Welcome develops a theme for the planet Koboh.
The Bedlam Raiders starts with the theme for... The Badlam Raiders.
Haven / Release Me develop themes related to the antagonist Dagan Gera
Fields of Dusk is the love theme for the game
The Sacred Mesa develops a theme related to Jedha
Above the Clouds also has the clearest rendition of Bode's theme
(Grand Oculus has a blink and you'll miss it quote from the force theme mixed with Dagan's theme)

Wow, thanks a lot! I had the same problem as well, with being a bit overwhelmed by the amount of music. But this is a beautiful 1-CD selection that flows like a well curated OST.
 
"A New Saber" is one hell of a swashbuckling track!

I have a shorter playlist of Fallen Order that perhaps may help you appreciate the score a bit better. It's focused on the character and emotion cues, also including some of my favorite action stuff, that properly develops the thematic material. I'm properly exploring the score for Survivor and I'm planning on doing something similar too:
 
As for the themes and what they represent, I definitely recommend @TheAvengerButton's breakdown in this post:
Those selected cues above highlight all the main themes for each character, and while I feel some other cues could be added to include smaller motifs, I decided to keep it under an hour and a half for better listening experience!

I have a shorter playlist of Fallen Order that perhaps may help you appreciate the score a bit better. It's focused on the character and emotion cues, also including some of my favorite action stuff, that properly develops the thematic material. I'm properly exploring the score for Survivor and I'm planning on doing something similar too:
 
As for the themes and what they represent, I definitely recommend @TheAvengerButton's breakdown in this post:
Those selected cues above highlight all the main themes for each character, and while I feel some other cues could be added to include smaller motifs, I decided to keep it under an hour and a half for better listening experience!

I have a shorter playlist of Fallen Order that perhaps may help you appreciate the score a bit better. It's focused on the character and emotion cues, also including some of my favorite action stuff, that properly develops the thematic material. I'm properly exploring the score for Survivor and I'm planning on doing something similar too:
 
As for the themes and what they represent, I definitely recommend @TheAvengerButton's breakdown in this post:
Those selected cues above highlight all the main themes for each character, and while I feel some other cues could be added to include smaller motifs, I decided to keep it under an hour and a half for better listening experience!

Yeah, if it's really just the vinyl version of what's already released, they didn't have to do an announcement like that, but what do I know. I guess it's our fault for setting our expectations so high!

Yeah, if it's really just the vinyl version of what's already released, they didn't have to do an announcement like that, but what do I know. I guess it's our fault for setting our expectations so high!

If it really is an expansion, then bring it on ASAP! Giacchino's work on LOST is some of my favorite music ever, so an expansion would be a dream come true!
 
I guess some other TV shows have done it before, like Bear McCreary releasing his Rings of Power scores in full for each episode, and I think the scores for Batman The Animated Series are mostly complete, at least for the episodes they decided to include, and we also have the Twin Peak Archive. But I think it should be done more often with successful and high-profile shows like this one!
 
I guess we'll have to wait till tomorrow to see what it really is, but I'm looking forward to it!

Lookes incredible. VFX are already really good and love all the dragons
 
 

I've been listening to some Horner scores I hadn't yet discovered, by decades. So far, I've listened to a bunch of his 80's works:
 
Brainstorm
The Journey of Natty Gann
*batteries not included
Dad
 
All four of them are great scores in their own way, but perhaps my favorite is Natty Gann. I just love Horner's melodramatic style, especially when coupled with the folksy instrumentation. Also, really enjoyed parts of the surprisingly dark Brainstorm!
 
What other 80's Horner scores would you recommend I listen to before I move on to the 90's?

What a great surprise! I only knew Amie Doherty from She-Hulk and the animated Spirit movie, and both had some nice stuff, but this is definitely my favorite work of her. It's beautiful, lyrical and tragic, with a great and authentic japanese flavour, that is very fitting for the (great!) show, and also makes for a really enjoyable listening experience. Some tracks rely perhaps a bit too much on exotic percussion and dark dissonance, and might not be as enjoyable, but that's only a minor quibble for what is a really strong score, in my opinion. If you want to know if you'll enjoy this I definitely recommend listening to the two suites for each of the main themes that perfectly summarise what the score has to offer!
 
 

Yeah, I feel the biggest flaw of this score is that relies a bit too much on old themes, even when it doesn't always make sense, and doesn't allow the new material to shine as much.
 
I mean, his themes for the saga have always been a bit confusing in what they mean or what they represent, but I always interpreted the theme from Arena Crumbles as Katniss theme, so hearing it on Coryo Enters the Capitol and a couple more cues was a bit confusing.

Ohh, now I noticed it. I don't think it's supposed to be anything more than a reprise of Ifukube's material, because in the suite 2 we hear parts of King Kong vs Godzilla's Main Title which if I recall is connected to Kong and the Faro Island more than Godzilla itself.
 
I've been listening to some of Ifukube's classic scores and there's some fantastic material in there but it's a damn shame that so much of it is presented in poor quality audio recordings, which definitely make them a lot less enjoyable than they should be, at least for me. I think some of them definitely deserve a re-recording of some kind.

Finally watched the movie, and the score works a lot better in context than on album, which actually has made me appreciate it a lot more than on the first standalone listens. The movie is not as action-focused as I thought, being concentrated in the middle section, and I think all of the music from that part is in there, but there might be around 20 minutes, perhaps more, of unreleased music, some of it containing nice variations on both old and new themes.
 
At first I though the score didn't introduce any new ideas, but after watching the movie, it's clear there's at least two of them, a vocal idea used for Lucy Gray, and a string-based melody that seems to represent the relationship between Snow and Lucy.
 
Lucy's motif gets introduced in Assigning the Mentors, at 1:27
 
It also appears in the middle of Meet the Mentors, in Hunger is a Weapon and in Strategy, and plays one last time in Lucy?
 
The motif is followed by the theme for Lucy and Snow, at 1:16, and it appears three more times on the album, but I think at least two or three more times in the movie. It's introduced in Meet the Mentors (together with some strings that remind me of The Arsenal), and plays again in Saving Snow, in a pretty efective moment in the film:
 
 
I feel there are some additional motifs, but I haven't been able to identify them yet.
 
I was also surprised by the importance of the songs in the film, with several of them quite memorable in the way they're used, like the new versions of The Hanging Tree, or the way the song The Old Therebefore / Singing At Snakes overlaps with one of JNH's score cues, I think it's Get Her Out, in one of the most intense moments of the film. Definitely needed context to appreciate the score more, as I do now!

Finally watched the movie, and the score works a lot better in context than on album, which actually has made me appreciate it a lot more than on the first standalone listens. The movie is not as action-focused as I thought, being concentrated in the middle section, and I think all of the music from that part is in there, but there might be around 20 minutes, perhaps more, of unreleased music, some of it containing nice variations on both old and new themes.
 
At first I though the score didn't introduce any new ideas, but after watching the movie, it's clear there's at least two of them, a vocal idea used for Lucy Gray, and a string-based melody that seems to represent the relationship between Snow and Lucy.
 
Lucy's motif gets introduced in Assigning the Mentors, at 1:27
 
It also appears in the middle of Meet the Mentors, in Hunger is a Weapon and in Strategy, and plays one last time in Lucy?
 
The motif is followed by the theme for Lucy and Snow, at 1:16, and it appears three more times on the album, but I think at least two or three more times in the movie. It's introduced in Meet the Mentors (together with some strings that remind me of The Arsenal), and plays again in Saving Snow, in a pretty efective moment in the film:
 
 
I feel there are some additional motifs, but I haven't been able to identify them yet.
 
I was also surprised by the importance of the songs in the film, with several of them quite memorable in the way they're used, like the new versions of The Hanging Tree, or the way the song The Old Therebefore / Singing At Snakes overlaps with one of JNH's score cues, I think it's Get Her Out, in one of the most intense moments of the film. Definitely needed context to appreciate the score more, as I do now!