Taikomochi

I noticed the same thing. I think you might be right. If I recall correctly, it was snipped out of the film presentation of the cue, alas.

You know what, I just let enjoy people whatever they like. But yes, it is a shame so many people don't connect with it, especially knowing it "might" be the last thing they'll hear from him in terms of big blockbuster scores like this. But then, I do remind myself that having been around this forum for about 21 years now, every new work he's done since then tends to grow on people over time. I can remember people complaining about the first Harry Potter being Williams on autopilot and Across the Stars being the least inspired thing he's ever written. Not to mention his highly inventive action music from the prequels was branded bland and boring. The expectations are so high every time that nothing short of second coming of Christ will do. But I am fairly confident people will look more fondly at this music in the future. So all is good.
 
I am not surprised at any aspect of the score because Williams has being going through this creative "retrospective" (for lack of a better work) for the past 18 years. You can tell he feels content with how the things are and doesn't feel pressure anymore to reinvent himself (that ended with Geisha and Munich, more or less). I am sure he does the film if he feels like it and does it out of pure joy of collaborating with younger filmmakers. Which, at his age, must be a source of great joy for him. To see his "Swiss watch-like" artistry applied to anything new these brings me a lot of pleasure on its own terms. He absolutely doesn't  need to feel any pressure to bring that smirk to my face, and yet he does waste his precious time and energy to do just that. I feel quite blessed.
 
Karol

Right there with you! Luke's exile theme is my favourite element in the score to The Last Jedi and Archimedes' theme is quickly becoming a highlight for me.
 
How dissapointing that so many 'regular' fans tend to dismiss Williams' later work. His current musical styles is far more understated than before but I think it has a lot more going on emotionally. But this is very hard to express to the layman who desires so-called memorable themes. (If Rey's theme isn't memorable, I don't know what is.) 

I'm falling quite in love with the Archimedes theme. At first I brushed it off as just Williams doing his usual modal mystery style and lamented the lack of bells and whistles in its orchestration, just the usual kind of thing that you'd hear in the dénouement of a Williams score. But the more I listen to it the more it reveals itself, and it's quite sublime. The noble but ghostly orchestration; the ethereal nature of it, the unexpected melodic shifts and how it opens up into something more romantic and beautiful... The modal shift in the horn phrase that begins at 4:28 of Prologue just gives me chills. 
 
It reminds me a little of Luke's exile material in TLJ, which did a similar thing for me - what I thought initially was meandering underscore was in fact a very subtle and intentionally structured theme.
 
I also love how he ends the Prologue track with the theme, melancholic and sinister... I can't help but think of the carnivore motif rounding out the end credits of Jurassic Park.

It’s a reference to Brahms’ Academic Festival Overture.

Really love Battle of Syracuse.  It's more in the gritty Spartacus sound than something like Ben-Hur but it's cool to see JW tackle a scene like that (a natural choice for DOD highlight playlists).

Agree with you about TolkienSS, but Clemmensen does in fact appear to be putting DOD on the level of TLC and KOTCS. In the last paragraph: “It extends the quality of the prior two works…” And I for one agree with him about its quality.

For starters, no he's not. Read the last paragraph. Secondly, we have had years and decades, respectively, to live with these other scores. Nuance and subtlety are more revealed through time and repeated listening than anything else. And if you don't care to listen to John Williams score repeatedly, then what in God's holy name are you doing here of all places?

You know, it's alright to have differences of opinion without making disparaging remarks and insulting people.

Why would anyone compare the animated film score to  Indiana Jones score. So different approach and they are both so brilliant. Negative vibe for DOD and back then Tintin got also very bad comments of course, classic JWfan.com.  Weird place.

Tintin, KotCS, and DoD are all awesome 

Tintin, KotCS, and DoD are all awesome 

John Williams is a member of Remote Control Production. He adopted the practices of Hans Zimmer. JW is seriously at the end of life in decline as some people say. This YouTube comment is proof. It must be true when it is written on the internet. There is no doubt about it. 

Tintin, KotCS, and DoD are all awesome 

Tintin, KotCS, and DoD are all awesome 

Kind of like we did with Rise of Skywalker, let's have some threads of pure positivity and appreciation for the specific cues, tracks, and themes from Dial of Destiny. Why not begin with a track I think we all agree is beautiful and quite affecting: "To Morocco." 
 
 
Here are two of my observations. First, the statement of the Raiders A theme at 0:35 is an all timer, don't you think? Sure, the first phrase ("Give 'em hell, Indiana Jones!") is lifted more or less without alteration from Crystal Skull 2m13r. But after the pause, you get the rest of the phrase in a totally new way, first this tender clarinet solo, and then a broad brass chorale of an ending. As far as I know, it's the only time the theme has been presented in this way. Or that the 1-2-3 melodic line is harmonized with a IV6-V6-I progression. Just a gorgeous way of fitting in a lot of complex emotions--melancholy, vulnerability, strength--in an incredibly short span.
 
The second detail: hearing the piano figure for the Antikythera (1:06) in relatively close proximity to the incipit for Helena's theme on the celesta (2:05) brings out a certain intervallic sympathy between the two, doesn't it. The first is D6-D5-C#5-D6-D5-C#5, the latter F5-F6-Gb6-A6-Bb5-C6-F6. The first, an octave drop and semitone step down, the latter an octave leap and semitone step up. Maybe nothing, but undeniably pretty!

The raiders march at the end of 'To Athens' (I promise guys I'll stop talking about this cue....maybe...but not today) genuinely feels like Indy's last hurrah.  I feel like JW was very intentional with this.

Big Damn Ants! Fans in here, eh?

Okay, I'm gonna stop with the daily relistens now.
 
But whew, it's just so good!
 
I'm surprised at myself but the assembly is just so good that for now I don't care about what's missing, I don't care how long it is. It may not have as standalone towering masterpieces as some of the previous ones, but what it does have is a feel, a mood, a flow that grabs me and never lets my attention go, never yanks me out with a weird pairing or a terribly out of place feeling cue. Many of the edited down cues are assembled well, almost seamlessly, not unlike TFA where setpieces are cut down and tracks cover multiple cues over 15 minutes, but it still condenses successfully and gets the idea of that part of the narrative across. Might be among my favourite JW OSTs for now, from the ones I bothered listening to.

RLM commenters are worse than reddit

The only thing about the soundtrack that genuinely irritates me is the awkward edit in Germany, 1944. It just seems so unnecessary.

Absolutely incredible interview! Mangold not just geeking out about working with Williams but providing genuine insight into their process and how involved Williams was. First time I've heard about him watching dailies while production was ongoing and formulating the score during production.
 
Also fascinating is Mangold voicing his frustration at JW's initial soundtracks being so incomplete (and often filled with non-film cue suites), name-dropping LLL for coming to the rescue, while lamenting it takes 20+ years for JW scores to receive expansions. Mangold's one of us!
 
He has enough clout to speak to LFL/WDR/JW about changing this situation (at least for the Indy scores) so let's hope conversations are happening in the background. But it might be a good time for everyone to dust off their Twitter accounts and tell him how badly we want these expanded...
 
Mangold's exact comments for anyone who can't listen:
"It's forever to my chagrin that they release these albums, you know the initial release, that are like 10 or 11 tracks of John's music... but there's always these suite versions of the music. And then later, 20 years later, they'll release the full La La Land Records 96 cue versions... you know, those are the things you gotta have because they have all this incidental stuff he does that's just... brilliant."

So, its that time of the year.  

No.

Good music for the bad guys.
 
 
"I just wanted to write Archy a theme."