Tydirium

I tell you, bring Don Davis to Star Wars!
 
 

Give me a break! Seriously?

Give me a break! Seriously?

Man, nice job integrating Obi-Wan’s theme into the latter part of the Force theme!!!

It's not so much the lack of existing themes that lets this score down. It's the lack of carrying, or even noticing, the dramatic contours of this (albeit flatly directed and edited) show. From planetary reveals, ship take-offs and landings, dramatic reveals, dialogue and scene transitions, this score has it covered... as in, just covered over in simplistic mood music (or, cut to mood music suddently, as in the Ep 2 Vader reveal). Where Williams, or Ludwig Gorransson, would trade in flourishes, instrumental variety, contrasts in tone, and real melodic strength, this score barely manages the drama on-screen.
 
But the lack of even tonally nodding to the legacy themes is a deficit (as Giacchino, Powell and Gorransson have all done, quite aside from quoting them outright). This is all the more disappointing because the new material here is not up to the job.

Man, nice job integrating Obi-Wan’s theme into the latter part of the Force theme!!!

Man, nice job integrating Obi-Wan’s theme into the latter part of the Force theme!!!

Man, nice job integrating Obi-Wan’s theme into the latter part of the Force theme!!!

You mean her ex-husband…?

Man, nice job integrating Obi-Wan’s theme into the latter part of the Force theme!!!

Seriosly? 

Though Conrad Pope might be more famous as an orchestrator for A list composers, he's also a fantastic composer.  For example, check out his fabulous score to Ghost Ship which is a must hear to any fan of JW or Horner.
 

In this endless commentary on the debut of obi wans theme… nobody noticed that the raiders march was performed live for the first time(?) featuring an abridged version without the marions theme bridge?
 
this should have been played at berlin (we had marions theme twice…)

Surprised nobody else mentioned this, I discussed it briefly with @BrotherSound elsewhere. Several bars were trimmed from the start as well.
 
My theory is JW prepared this abridged version for the Indy 5 OST, presumably track 1. The complete suite doesn't make sense if Marion isn't in the film, but he probably felt obliged to include the march somewhere on the new OST (outside the obligatory end credits appearance).

I watched Episodes 1 & 2 so far and it baffles me how Holt not uses Williams' Themes... so I rescored the Rooftop Fight / Leia's Rescue scene (more or less in JW's style) with Obi's Theme, Leia's Theme and the Force Theme. I kept what I think is Reva's Theme because I quite liked it.
 

Man, it’s depressing just how much better this sounds than Holt’s Obi-Wan Kenobi.

Man, it’s depressing just how much better this sounds than Holt’s Obi-Wan Kenobi.

And the music was much better then.

What do you mean? You don’t think it’s strange that they waited so abnormally long to announce her? (They even announced the Andor composer before her, and that show comes out even later.) You don’t think it’s strange that her Obi-Wan theme was replaced at the last minute with a theme by John Williams? You don’t think it’s strange that she wasn’t allowed to adapt JW’s theme in her score, and instead one of his decades-long collaborators Bill Ross was hired? You don’t think it’s strange that Bill Ross apparently ended up doing way more than simply integrating JW’s theme, to the point that he even scored big sequences like the Obi-Wan vs. Vader duel? You don’t think it’s strange that Ross gets a big listing all to himself in the credits, right after Holt’s name, rather than appearing later with the additional music composers? You don’t think it’s strange that this is a show full of legacy characters set between the PT and OT, and yet not a single JW legacy theme has shown up yet?
 
Come on, there are way too many things out of the ordinary here. Frankly I find it ridiculous that you could think the desire to make sense of all this, is rooted in sexism. We would be just as curious (and upset at the problems with this score) if this were a male composer.

I think, the theme for Vader itself sounds very good, the problem is that there is already a better one.

I can acknowledge the patriarchal society we live in and especially in film music. However, if this score was written by a man, we would've roasted him the same. The sus activity from Disney and the sus performance of this score are the issues at hand, not the composer's gender. 

To my ears, almost everything supposedly attributed to Holt sounds like a cheap synth mockup. Any orchestral elements are barely perceptible, or so heavily processed they might as well be synth. 

What do you mean? You don’t think it’s strange that they waited so abnormally long to announce her? (They even announced the Andor composer before her, and that show comes out even later.) You don’t think it’s strange that her Obi-Wan theme was replaced at the last minute with a theme by John Williams? You don’t think it’s strange that she wasn’t allowed to adapt JW’s theme in her score, and instead one of his decades-long collaborators Bill Ross was hired? You don’t think it’s strange that Bill Ross apparently ended up doing way more than simply integrating JW’s theme, to the point that he even scored big sequences like the Obi-Wan vs. Vader duel? You don’t think it’s strange that Ross gets a big listing all to himself in the credits, right after Holt’s name, rather than appearing later with the additional music composers? You don’t think it’s strange that this is a show full of legacy characters set between the PT and OT, and yet not a single JW legacy theme has shown up yet?
 
Come on, there are way too many things out of the ordinary here. Frankly I find it ridiculous that you could think the desire to make sense of all this, is rooted in sexism. We would be just as curious (and upset at the problems with this score) if this were a male composer.

Man, it’s depressing just how much better this sounds than Holt’s Obi-Wan Kenobi.