dylanskie

I hardly even noticed the score until the track at the start of episode 5, "Let's Disappear," when I could pick out the main theme. At first, it all seemed way too overdone, but it has grown on me so much since then. I really love all the variations of the main theme, especially in "Gotta Feed the Brain" and "Wanted Dead or Alive." If Sonya and Giona don't work on the second season, it'll surely go downhill like what happened to The Witcher.

I love the second half of "Only I Will Remain." It sounds like light to me, which is interesting because I think that theme is meant to be foreboding and convey destruction. But the variation in that track doesn't do that for me.

Looks like Outlander's season 7 will get a "highlights" album sometime soon. These three tracks were uploaded about two weeks ago: https://www.nhaccuatui.com/playlist/outlander-season-7-highlights-from-the-original-television-soundtrack-bear-mccreary.eCoTF3d3Tn3L.html This extended version of Sinéad's Skye Boat Song is much better than the titles version. I think it gives more time for her voice to blend with the instrumentation.

Wes Chatham (played Amos Burton in The Expanse TV series) will be in this. He did an amazing job in The Expanse. Hope they don't give him cheesy lines in this https://deadline.com/2023/04/wes-chatham-ahsoka-disney-1235322615/

I watched seasons 1 and 2 before reading the books, then read all three and watched season 3 knowing what would happen and how everything fit together. Before reading the books, the show seemed completely random to me, so I'd say the books definitely help fill in the gaps and make it easier to understand the impact of certain things in the show. I definitely recommend reading them if you have any interest in the series as a whole

He typically uses 2-5 additional composers for each project according to what I've seen on IMDB (except for TROP). Not sure about the workload distribution though

I didn't know there was a thread for this show. Or I forgot. The last episode was amazing. It was faithful enough to the book, and I felt like it hit all the emotional moments it had to. For me, even knowing what was coming, it was by far one of the most heartbreaking episodes I've ever seen. And it was so, so beautifully done. You can tell that Dafne really stepped into the role of Lyra with ease. Same with Ruth Wilson. It helps that Marisa is already a compelling character, but I think she also delivered a performance with enough nuance and subtlety equal to the characters in The Handmaid's Tale (which is known as being mostly subtext). James McAvoy was good enough in his role; I felt that he embodied his character well, which wasn't a surprise because he's a big fan of the books. For whatever reason, though, I felt nothing while watching Amir Wilson as Will. The scene where he was horribly flat, and he just looked bored. But if I remember correctly, he's fairly stoic in the books, so it's fine. The only real actor I had any issues with was Lin-Manuel Miranda. I cringed every time he was on screen in seasons 1 and 2. His limited screen time in season 3 was an improvement, though. He was just so corny, and it wasn't because of the source material. I loved Balfe's season 3 theme for Lyra and Will. It's not exactly what I expected, but it works beautifully in the show.

There'll be four albums for season 3 of His Dark Materials released, each containing what's probably the complete or nearly the complete score for two episodes: https://www.silvascreen.com/siled1715-siled1718-his-dark-materials-series-3-original-television-soundtrack/ The first one is out tomorrow to correspond with the first two episodes. By the way, the title theme is identical to the one on the season 2 anthology album. I'm surprised Balfe didn't record a new one... maybe a new one could be in future episodes though 1. Dark Materials Between the Worlds 1:34 2. Chapters 1:50 3. Find Her 2:47 4. A Lighter Side 3:06 5. The King 3:18 6. Drive and Purpose 2:38 7. Wings to Follow 2:06 8. A Garden for Lyra 2:04 9. Under His Eye 2:15 10. Danger by the Shore 3:12 11. The Best Laid Plans 4:02 12. A Mother’s Protection 2:11 13. The Rescue 2:14 14. Bring Him the Bearer 2:01 15. The Cardinal Rule 3:09 16. Dream of a Friend 3:14 17. Compromised 2:29 18. Safe in Your Arms 1:48

I wish I had info on it, but I just listen to local music files. However, I can see that this is my most-played track that was new to me in 2022: Though I imagine my year-end list would probably be the score from The Rings of Power, The Handmaid's Tale, House of the Dragon, and God of War Ragnarök

I understand that people might like trailer music because it reminds them of the "epic" parts of the movie that they saw in it (and for probably some other reasons), but all original trailer "scores" for movies just sound like they're selling the movie out, and that makes me cringe every time

Season 1 was slow and boring for me at times, but it mostly paid off, and I think it'll pay off more in the second season. I was impressed with how much thought seems to have gone into this show, and the rest of the Star Wars shows completely pale in comparison to this. There were much less cheesy tropes (which is all that Kenobi really was, and same with The Mandalorian and BOBF, but to a lesser extent ), and everything just felt more plausible. The best parts of the show were the ones that focused on the rebellion and Mon Mothma, who I hope we see much more of in season 2 because Genevieve O'Reilly plays her with such nuance and authenticity that she shone in pretty much every scene she was in. Also, all the worlds the show visited were different enough from other established planets that it felt fresh, but the inclusion of things like the Senate chamber and the various references (which were done with care, like the remark about Canto Bight) made it feel like Star Wars—but the good parts of it. And the score fit beautifully. A JW-esque score with a traditional orchestra would've sounded out of place. Also, I liked how the band in the season finale played one of the themes from the show. I will say that kids probably enjoy traditional SW movies and shows way better than Andor because they're easier to follow and less subtle. I hope Disney makes more SW shows in the realm of Andor where there doesn't have to be 24/7 action (TROS) and they can actually let the characters develop

I missed Eivør!

I've never seen Henry Cavill as a good actor. But this headline sounds like fanfiction. I can't get over it

I just listened to the last scene of episode 1 and realized that the Targaryen theme insert that was excluded from The Prince That Was Promised is most likely a pitch-shifted section of Breaker of Chains (from GOT season 4). I'm not sure how I missed that when I first watched the episode!

I'm surprised by how much of the score is just underscore given that it's a SW show. But I kind of like that because it feels different and refreshing. A score with a full, traditional orchestra with traditional themes definitely wouldn't fit and I'm kind of over traditional orchestra scores for now, anyway Others may disagree, but this feels way more inspired than Kenobi's score—but I do understand why this isn't for everyone. The Past/Present Suite is my favorite so far

"The Rogue Prince" is comprised of three different sections of two different cues: one section from the "heir for a day" scene with Daemon in the brothel/bar, and two sections from the following cue where Viserys tells Daemon that he's named a new heir. Both of these cues are in that video of the score for the first episode if you want to use those to edit The Rogue Prince 0:00-0:12 = "a new heir" cue 0:00-0:12 The Rogue Prince 0:12-0:36 = "heir for a day" cue 0:42-1:06 The Rogue Prince 0:36-end = "a new heir" cue 0:12-end

Does the HOTD album version sound any different than the GOT season 5 version to you? I just compared the two (using the season 5 sessions leak cue) and didn't hear/see any differences at all. I think HOTD has a new recording too, but it's definitely not the one on the album

I'm surprised Ramin didn't release a new version of the main titles on the album. It's supposedly from GOT season 5. The HOTD credits piece was shortened in a few places compared to the GOT opening (like at 1:13 in the video below) and that doesn't mean it was a new recording necessarily, but I've always thought that 1:27 sounded slightly different than any GOT main titles. Plus, Ramin always rerecorded the main title theme for each GOT season, so it's weird that the one on the HOTD album is reused. I'm not sure if a new version was even recorded for HOTD, I could be wrong about 1:27 sounding different

Yes, you're right—he might've been rounding up to 9 hours. 8 hours and 7 minutes includes the suites, but if you add 5-6 minutes and alternates, that gets close to 9 hours. The opening cue (as presented in episode 7) is about 4:40 long compared to 3:03, so that adds 1:37 if the cue was heavily edited to match the episode or 4:40 to the alternates. I was wondering if we'd get any more music from the season but since we're close enough to 9 hours, I doubt it. Not complaining though

I forgot about that cue he left off—I've been trying to forget about the few that are unreleased so I don't get too upset about them But that's a beautiful cue. Maybe we'll get it in some form in the future. My first hope when I realized there were two versions was that I'd missed the cello version in The Promised King (because I didn't listen to it much compared to Transformed by Darkness), so I ran to listen to it but was obviously disappointed! By the way, here's what Bear said about the two versions: Bear said he composed around 9 hours for the series. After I added bits from the season album to the episode albums that weren't on them (like those few seconds in The Mystics), I'm at 8 hours and 7 minutes. (By the way, the additions were smooth and easy to do and eliminated all the repetition. Bear would hate me for messing it all up, though ) The only track that's somewhat repetitive is the alternate/concert version/whatever for the ending of Both Our Bloodlines in Nobody Goes Off Trail from the season album, and I got it down to 1:48, though the majority of that is new music anyway. Even if 15 minutes from the episodes have been unreleased (like the cues at the start of episode 7 that were shortened for the album or that brief Nori statement in episode 2), there could still be 30-60 minutes more that we haven't heard in any form. Probably including some alternates. To have only that much music unreleased from a season with 8 hour+ long episodes is impressive!

I didn't see a breakdown of Street Musicians in either thread: 0:00-0:39 Episode 3, 31:52-32:31, when Halbrand drinks with Numenoreans. Chronologically between To the Hall of Lore and The Successor 0:39-2:12 Episode 3, 51:09-52:42, when Isildur, Eärien, and Elendil drink and talk together. Chronologically between We Wait for You and Both Our Bloodlines Also reused in Episode 4, 35:00-35:48, when Eärien and Kemen bump into each other. Same music from episode 3 2:12-2:45 Couldn't find this short cue, I thoroughly searched through all episodes this morning, either I missed it or it went unused. I'll listen for it when I rewatch the season soon. It's a solo fiddle which suggests it's either for the Southlands or the Harfoots 2:45-end Episode 6, 54:24-55:16, post-battle celebration. Chronologically at 6:29 in Transformed by Darkness On a separate note, interesting that Halbrand's/the Southlands theme in Transformed by Darkness was originally played on a fiddle (heard on the album) but changed to a cello (heard in the episode) according to Bear's third blog. I think the cello works much better there and wish that was the version he released!

Bear answered a question that was very similar to that one in this video from 9:22 to 11:44 (he gives a general answer not exclusive to the scoring process for Outlander but I hope he goes more in depth in his blogs)

Rob Simonsen uploaded four tracks from season 4 to his website: https://www.robsimonsen.com/stranger-things They sound identical to the tracks that appeared on YouTube a few months ago FYI

This video (at the start) has the full score from the premiere minus that insert of Daenerys'/the dragon theme in The Prince That Was Promised. It's in chronological order. After the first time The Prince That Was Promised plays, it jumps back to the cues from the beginning of the episode

I'm kind of shocked that Ramin chose to stick with such a similar sound to GOT (and even the same themes), but I'm looking forward to hearing the new main title theme next week. I disagree with the decision to not include them in the first episode; it felt weird without them. And the GOT theme during the credits also felt weird. Hopefully Ramin will create enough of a different sound for this show, but I did like the bits of Dany's theme in this episode (which was the best in GOT).