Knight of Ren

I don't know why I couldn't find the score on YouTube but your link worked, so I will put some timestamps for the themes I mentioned.
 
The Love Theme is this:
 
It appeared in Everything in Under Control in Episode 4, at 0:07:
 
And in Episode 5, in two tracks. Evaluation at 2:17
 
And with Pietro's return, at 1:36:
 
Vision Theme appears in Dead or Alive a couple of times (0:30, 1:01, etc.)
 
In Hexpansion (Episode 6) at 0:57
 
And in Episode 8, which does not appear for me in YouTube, you can listen to it a couple of times.
 
In Some Assembly Required at 0:21 and 1:05.
 
And in Genesis at 1:17
 
Hope that helps.

I think Episode 8 has my favorite track from the whole series so far, Genesis.
 
It has both Wanda's Theme and the Love Theme developing in some really emotional and dramatic variations, and the second half has some killer action.
 
The Love Theme gets an official name in this episode, but I realized it had been introduced earlier in the show, like in the track Everything Under Control, from Episode 4 or halfway through Pietro in Episode 5. The tracks are not on YouTube so I cannot post the timestamps.
 
Some Assembly Required is also very emotional and has a great take on what I think is a theme for Vision himself, which also featured strongly in other tracks such as Dead or Alive, or Hexpansion.
 
And the track called Sokovia is really beautiful and the melody reminds me of something I cannot put my finger on. Maybe a theme from earlier episodes that I haven't been able to recognize?
 
About the last episode, I won't go into details, but it has some great statements of all the main themes that have been developed through the series, both in dramatic and action oriented cues.

If anybody has any comments on Episode 9's score, can you put your entire post about in a spoiler block, as many of us won't see Episode 9 until later, but might want to discuss episode 8's new OST album now?  Thanks!
 
 
 
Episode 8's album is up on Spotify   https://open.spotify.com/album/5n0jcupsCMSOjt8K7vq555?si=Ic646tXnTkKWlXRAMAewhw
 
The opening "Salem" cue is pretty good scene-setting stuff!
 
But then "Witchnapped" is unfortunately 5 minutes of meandering underscore and nothing exciting at all.  Wasn't there a bunch of cool action music for the scene with Agatha defeating all the other witches?  Why is that not here????
 
"Sokovia" is a sad elegy, really nicely done.
 
"War Zone" is good dramatic suspense music with a bit of action, good stuff.  There's a nice hint of the Mind Stone motif from the next track, so I guess its more of a "magic powers" motif?  I'm guessing it plays when Agatha tells Wanda she was using magic without realizing it to prevent the bomb from going off
 
"The Mind Stone" features that cool motif that opens the end credits every week, and sounds great.  The whole track is nice.
 
"What Is Grief", well, the first half is completely boring.  The second half is really cool and harkens back to a lot of the real world underscore from prior episodes for the first time on this album
 
"Some Assembly Required" another good track, full of drama and heartbreak (I assume this is the music for Wanda looking at Vision's body be torn apart)
 
"Genesis" Easily one of the highlight tracks of the entire season.  Full of drama, terrific blending of themes.  Well done!
 
"Ready for Launch" I assume is the cue for the entire mid-credits scene.  It's fine.
 
"Wanda and Vision (Love Theme from WandaVision" is nice - is this a cue from the show given a funny name, or actually something recorded purely for album use?  It's pretty good

I checked. You are 100% right.
 
It is there.

When Wanda is entering the memory of her and Vision at the Avengers compund, I think a dark slow variation of it plays briefly.
 
I may have misheard it but I think it was there, and it would make sense to be played when she mentions the Avengers.

I think episode 8 had the best score of all of the episodes. I know we say that each week but I think it's true. The themes recieve great development, with some really emotional moments, and I think I even caught a reference to Silvestri's Avenger's Theme.
 
Also, I found this video that makes a really interesting connection between all the theme songs and Beck's score, Wanda's Theme in particular. Really interesting.
 

I think episode 8 had the best score of all of the episodes. I know we say that each week but I think it's true. The themes recieve great development, with some really emotional moments, and I think I even caught a reference to Silvestri's Avenger's Theme.
 
Also, I found this video that makes a really interesting connection between all the theme songs and Beck's score, Wanda's Theme in particular. Really interesting.
 

I think episode 8 had the best score of all of the episodes. I know we say that each week but I think it's true. The themes recieve great development, with some really emotional moments, and I think I even caught a reference to Silvestri's Avenger's Theme.
 
Also, I found this video that makes a really interesting connection between all the theme songs and Beck's score, Wanda's Theme in particular. Really interesting.
 

Hey folks!
 
I've spent the last few months updating my writing and getting to know the ins and outs of a basic website, and I'm now ready (and super excited ) to share the first few posts from The Music of The Mandalorian, a collection of write-ups on Goransson's score in standard blog format. 
 
The first round of posts includes a (hopefully) comprehensive thematic catalogue, covering 44 different musical ideas, as well as the isolated score videos for Chapter 8, Chapter 11, and Chapter 16. There's still a lot of editing required before the timestamps and other write-ups are up to date, but I think this is a pretty good start.
 
Of course, I'm still getting accustomed to the technical aspect, which was hardly my forte to begin with. Fortunately, something like this doesn't entail too many complications! I'll post about any updates here as they happen. If you're a fan of the show and score (or know someone who is), feel free to take a look. Feedback is always welcome. 
 
Thanks! 

Apparently an original song has been recorded for the movie. And in the article says the score will be released next friday! Really looking forward to this.
 
http://filmmusicreporter.com/2021/02/19/disneys-raya-and-the-last-dragon-to-feature-original-song-lead-the-way-by-jhene-aiko/

Apparently an original song has been recorded for the movie. And in the article says the score will be released next friday! Really looking forward to this.
 
http://filmmusicreporter.com/2021/02/19/disneys-raya-and-the-last-dragon-to-feature-original-song-lead-the-way-by-jhene-aiko/

I think if Elman is to return, he should keep Giacchino's themes for Doctor Strange and for Spider-Man.
 
If he wants to use his own Spider-Man theme that's cool, and it would be a really great nod, but I really hope he keeps thematic continuity. Marvel had been improving on that department lately, and I think it would be a bad choice to just trash all that away.
 
But Elfman is usually great so I'm hoping he will do what is best for the movie

I think if Elman is to return, he should keep Giacchino's themes for Doctor Strange and for Spider-Man.
 
If he wants to use his own Spider-Man theme that's cool, and it would be a really great nod, but I really hope he keeps thematic continuity. Marvel had been improving on that department lately, and I think it would be a bad choice to just trash all that away.
 
But Elfman is usually great so I'm hoping he will do what is best for the movie

I think if Elman is to return, he should keep Giacchino's themes for Doctor Strange and for Spider-Man.
 
If he wants to use his own Spider-Man theme that's cool, and it would be a really great nod, but I really hope he keeps thematic continuity. Marvel had been improving on that department lately, and I think it would be a bad choice to just trash all that away.
 
But Elfman is usually great so I'm hoping he will do what is best for the movie

I think if Elman is to return, he should keep Giacchino's themes for Doctor Strange and for Spider-Man.
 
If he wants to use his own Spider-Man theme that's cool, and it would be a really great nod, but I really hope he keeps thematic continuity. Marvel had been improving on that department lately, and I think it would be a bad choice to just trash all that away.
 
But Elfman is usually great so I'm hoping he will do what is best for the movie

Have you looked at the title of the film?

I think if Elman is to return, he should keep Giacchino's themes for Doctor Strange and for Spider-Man.
 
If he wants to use his own Spider-Man theme that's cool, and it would be a really great nod, but I really hope he keeps thematic continuity. Marvel had been improving on that department lately, and I think it would be a bad choice to just trash all that away.
 
But Elfman is usually great so I'm hoping he will do what is best for the movie

From what I've heard, Giacchino and Newton Howard both have lots of experience working in bad movies, and they usually deliver their best scores in those projects.
 
From Giacchino, the first one that comes to mind is Jupiter Ascending, also John Carter or Tomorrowland
 
And from JNH, some of Shyamalan films, the Fantastic Beasts movies, Maleficent, and the list goes on and on.

From what I've heard, Giacchino and Newton Howard both have lots of experience working in bad movies, and they usually deliver their best scores in those projects.
 
From Giacchino, the first one that comes to mind is Jupiter Ascending, also John Carter or Tomorrowland
 
And from JNH, some of Shyamalan films, the Fantastic Beasts movies, Maleficent, and the list goes on and on.

Yeah, I don't think those are bad movies either, but they weren't very well recieved at the time of their release. I quite like John Carter and I think it has some interesting world building and some great action sequences. And the score is one of my favorites from Giacchino.
 
The Last Airbender on the other hand, just awful, and it didn't deserve such a fantastic score

Me neither. The Academy just loves them.
 
Can't believe R&R will get their second Oscar, while to this day JNH, Elfman, Thomas Newman, etc., haven't got none.

I kind of agree with this. It's not a perfect score, but it's certainly the most interesting he has been since Interstellar. And the first three cues (Themyscira, Games and 1984) are the most fun I've had with a Zimmer score since At World's End (which remains one of my favorites of his).
 
But I agree that a big chunk of the score sounds like digital samples and reminds me of scores like Man of Steel or Batman v Superman, which I kind of liked, so I can see where the criticism comes from. This kind of sound especially becomes more prominent as the album goes on, and the second half it's just the Man of Steel sound with maybe more variated orchestrations. At least that's how I feel.
 
But I think that those three first tracks are a good sign of what Zimmer can still achieve if he wants to, so I hope his next scores like Bond or Top Gun follow this kind of sound.

If you are a weirdo who loves following awards season like elections/sports (as opposed to the more tabloid-ish way of following it), I highly recommend this newsletter/blog/whatever called NumLock
 
https://awards.substack.com/
 
It is some seriously insightful, nerdy, and very interesting analysis.
 
 
You get awesome graphs like this that show how the precursor awards (Globes, BAFTA, SAG, DGA, etc.) have gotten worse at "predicting" the Oscar Best Picture winner over the last decade:
 

 
 
And like this that shows how about half of the membership of the Academy has joined only in the last decade (which partially helps explain the above graph)
 

I kind of agree with this. It's not a perfect score, but it's certainly the most interesting he has been since Interstellar. And the first three cues (Themyscira, Games and 1984) are the most fun I've had with a Zimmer score since At World's End (which remains one of my favorites of his).
 
But I agree that a big chunk of the score sounds like digital samples and reminds me of scores like Man of Steel or Batman v Superman, which I kind of liked, so I can see where the criticism comes from. This kind of sound especially becomes more prominent as the album goes on, and the second half it's just the Man of Steel sound with maybe more variated orchestrations. At least that's how I feel.
 
But I think that those three first tracks are a good sign of what Zimmer can still achieve if he wants to, so I hope his next scores like Bond or Top Gun follow this kind of sound.

All of you can go fuck yourself.