Jay 37,364 Posted July 10, 2020 Share Posted July 10, 2020 crocodile 1 Link to comment Share on other sites More sharing options...
Pieter Boelen 740 Posted July 10, 2020 Share Posted July 10, 2020 And a nice interview to go with it: https://www.vanityfair.com/hollywood/2020/07/ludwig-goransson-mandalorian-music Actually says more about the music than that Disney+ behind-the-scenes video did... Link to comment Share on other sites More sharing options...
Faleel 5,348 Posted July 10, 2020 Share Posted July 10, 2020 1 hour ago, Pieter Boelen said: And a nice interview to go with it: https://www.vanityfair.com/hollywood/2020/07/ludwig-goransson-mandalorian-music Actually says more about the music than that Disney+ behind-the-scenes video did... Do you mean the YouTube video? because there was a whole documentary episode on the Score on Disney+ Link to comment Share on other sites More sharing options...
Pieter Boelen 740 Posted July 11, 2020 Share Posted July 11, 2020 12 hours ago, The River (Fal) said: Do you mean the YouTube video? because there was a whole documentary episode on the Score on Disney+ I meant that Disney+ episode. I got the impression it didn't say a whole lot. Still, wasn't too bad either. Link to comment Share on other sites More sharing options...
The Illustrious Jerry 3,356 Posted July 11, 2020 Share Posted July 11, 2020 Most important items of note from that article are that Göransson has finished work on Christopher Nolan's Tenet (exciting!!!) and has begun working on the score for the second season of The Mandalorian. I wonder which one we'll get to hear first... Technically this is the first official confirmation of his return, even though it could easily be presumed given the success of his work on season one. Another tidbit is that he listened to some of Williams 70s scores before scoring season one, namely Earthquake, to draw inspiration from. Neat! Also, I doubt I'll be able to do much more in the ways of a potential podcast analysis. I had started to write it, but having nothing to do has only given me more opportunities to be really busy with non-work related things. Rest assured I'll be giving the same breakdown treatment to season two come January though. Thanks for all the enlightening discussion and shared appreciation for this score over these past few months. Also, Nurse and Protect, hell yeah! Pieter Boelen 1 Link to comment Share on other sites More sharing options...
Holko 9,526 Posted July 26, 2020 Share Posted July 26, 2020 Mando gets a physical release... Mondo 8LP Arpy and The Illustrious Jerry 2 Link to comment Share on other sites More sharing options...
Jay 37,364 Posted July 26, 2020 Share Posted July 26, 2020 Unfortunate news, but not at all unexpected Link to comment Share on other sites More sharing options...
The Illustrious Jerry 3,356 Posted July 26, 2020 Share Posted July 26, 2020 Yeah, this had been rumored for a while. Not unexpected, just baffling to me that vinyl has become the most likely option for physical releases nowadays. And isn't 8 LPs a bit much? Criminy, you'd think they'd find a way to fit them onto four. Albeit, I'm not familiar with how much records hold nowadays, but do they not still do double-sided? Will certainly be upper case E Expensive any way you split it. I must say, I'm curious to see the rest of the artwork for this Mando Mondo set, even though I kind of like the format that was released digitally because it a) integrated the concept art and b) it was uniform. Gosh, I'd love to see that spine on my shelf for a CD boxset though. Thankfully I'm still working on my personal edition, but even that's just not the same (I was able to fit it on four CDs so what gives, Mondo?). Also, instead of recording a podcast analysis for the score, which would be much too much considering how strapped for time I already am (and have no intention of having to listen to my own voice to edit myself), I've decided I'll just do brief write ups on each chapter's mini-OST every 9-10 days which should bring us right up to Season 2's release. And yes, I will very happily be continuing to update the catalogue for the upcoming season, and can hopefully arrange it nicely into .pdf form to place in my signature. Thanks! Holko and Tiburon 2 Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted July 30, 2020 Share Posted July 30, 2020 What a joke. Every day, the idea of future Star Wars releases on CD quickly evaporates. Screw you, hipster scum! Not Mr. Big 1 Link to comment Share on other sites More sharing options...
Unlucky Bastard 7,782 Posted July 30, 2020 Share Posted July 30, 2020 I'm very much looking forward to purchasing the soundtrack on compact disc digital audio for greater sound quality and dynamic range when it's eventually released. Gruesome Son of a Bitch and Arpy 1 1 Link to comment Share on other sites More sharing options...
Popular Post The Illustrious Jerry 3,356 Posted August 2, 2020 Popular Post Share Posted August 2, 2020 This time a year ago I had next to no expectations for Disney+'s headlining show or its score. I had certainly decided to keep an eye out for Ludwig Goransson after thoroughly enjoying his work on Black Panther and the Creed films. Nonetheless, I had no discernible hopes going in. Given just how well I took to the score (and the show) upon release, I can now be sure that no matter what I could have anticipated, my hopes would have easily been fulfilled and surpassed. Goransson kicks off Chapter 1 most appropriately, the first cue beginning within the opening minute of the show. And what better way to set the stage than with what has essentially become the main theme, one that captures the fresh and unique musical aura that seeps through every aspect of the show to create a new and exciting environment based in a familiar universe. This is, as we have so dubbed it, the Recorder Riff. Over the course of eight episodes it gets put through the ringer, featuring permutations that range anywhere from heroic and triumphant to reflective and soulful. The distinct sound of the bass recorder is such a masterstroke to carry the series with, as there are few instruments that quite compare to its natural, almost earthy sound. Furthermore, its many solo performances play into the lone warrior mythology that the show is very much grounded in. The opening track, Hey Mando!, gives us two statements, the first being the full theme presented in standard form, the second increasing in distortion and slowly being overtaken by electronics. As the action ramps up and the Mandalorian finds himself in a bar fight, the electronics take over with sharp and sudden ferocity while percussion pounds away underneath. As the set-piece fizzles out, we move on to what I had called initially called the Western motif, mostly because I felt it had a simplistic yet useful purpose comparable to a small figure in one of Morricone's classic spaghetti western scores. As we trace it throughout the rest of the series, its mostly serves as a title theme, with a new variation in almost every chapter (i.e. Ch. 2 major key, Ch. 6 hip-hop, Ch. 7 brass, etc.). I get the feeling that come season two some sense of nostalgia for the wonderful weeks of November and December of 2019 will set in when that now iconic (for me, at least) da-dun syncs up with the words on screen. This motif also contains something of an interlude, often taken up by piano or guitar (see the credits piece), although Goransson often opts to drop it altogether. According to the SABAM repertoire, two unreleased cues follow. Open the Hatch begins with some synth action before orchestra (primarily brass and strings) takes over as Mando and his bounty escape the ice creature in the Razor Crest. Secondly, Have to Use the Vacutube, which mostly features the travelling/Mando & child motif in menacing mode, similar to the statement in Chapter 3's A New Day, when Mando flies to Navarro. These are the only two unreleased cues from Chapter 1, each being relatively short (less than 2 minutes total between the two). Face to Face underscores the Mandalorian's walk to the client's hideout, and displays many Western sounds blended in a modern context, such as a near-constant twang (or is it boing?) sound throughout much of the cue. Eventually we hear what we had originally called the travelling motif, but it has since become a theme for Mando & child. Its use here lines up with this theory, considering that Mando and the client are discussing the asset as it plays, foreshadowing the relationship born out of this particular mission. Another theme we hear is a small brooding figure for Werner Herzog's client. As far as I can recall, it only appears next in Chapter 3, and possibly in an unreleased Chapter 7 cue. The atmosphere created in this five minute cue further sets the stage for what is to come, slowly building towards the musical climax(es) later in the episode. It's essentially "preparation" music; we're not quite there, but we're getting ready. Back for Beskar provides an opportunity to revisit the Western motif, intermixed with industrial sounding electronics, creating a clanging and whirring soundscape similar to machinery in a foundry, which makes sense here. This is also the first time that a pair of utility motifs appear, partially connected to the Mandalorian culture but more broadly used as a dramatic anchor later on. The first is normally presented on high strings and plays counterpoint to the second part on guitar. Goransson often splits up these two ideas, and uses the first part in several other cues completely separate. On the other hand, we do not often hear the latter portion on its own. HammerTime is one of this episode's highlights, and is the first of three fantastic flashback cues in the show, all of which share similar DNA but develop further and further with each iteration. The drums open the track and give way to the Forge motif, a theme that can be traced easily in connection with the underground Mandalorians. In this instance, it comes across as chant-like, growing in size with each repetition, as if to create an image of Mandalorians emerging from the shadows one by one. The Recorder Riff is taken up by high syncopated strings with an integral horn counterpoint, and the Forge motif replays at its most powerful. A fluttering synth figure underscores a space cutaway and synthetic effects play out to the end. With a change of scenery comes a change in mood, as a noisy Blurg Attack begins with synths and frenetic percussion. What follows is a skeletal outline of the main theme, at first filtered with electronics and later pared down to just strings and timpani hits. A small chiming idea accompanies the walk to Kuill's hut. Around 1:05 we got our first Creed-esque hints of the fanfare, foreshadowing the full statement in the next cue. You Are a Mandalorian is without a doubt the highlight of Chapter 1, with a series of frankly relaxing percussion lines and soulful synth-woodwind whirls (I'm not really sure what else to call them, but it's a sound that wouldn't have felt out of place in, say, Black Panther) leading to the climactic full statement of the fanfare. Around 3:25 the woodwinds take the Recorder Riff's outline and turn it into the beginnings of a Great Escape-esque march before the cue winds down. What follows in Bounty Droid is an opportunity for Goransson to flex his electronic/pop backgrounds more heavily, even shooting for a pounding drum machine (an effective sound which will come back later on). There's a lot more tension in this one than I had initially realized, what with a few small Dies Irae quotes, wild brass outbursts (2:09) and a brief victorious fanfare backed by a rising/falling string idea (2:37) to round it out. The tonal shift into The Asset is quite significant, but hardly jarring. Somber horns and woodwinds quietly play into the Child's guitar theme, which does a remarkable job of capturing that sense of awe and mystery manifest in this moment, with the occasional question mark. The recorder riff bookends this episode, and the credits begin. The Mandalorian suite is self-explanatory in that it covers all the major themes of the show (including the Razor Crest, which isn't actually in the first episode proper). The track makes for a spectacular culmination of coherent and undeniably perfect musical ideas blended together with Goransson's signature stamp. Case in point, it's a real ear worm and cannot be overplayed (I'll let you all know if I get to that point, but I seriously doubt it). Thanks all for helping the discussion to reach this point and for putting up with my unrelenting enthusiasm for the show and its music. As I type these last few words I realize that brief may not have been the most appropriate title, but I'll try and keep the length of these down to a few short paragraphs, which should be easier after the first few episodes because they'll take care of most of what I have to say regarding the main themes. Hopefully I'll have recapped each chapter of the first season by the time the second begins in October. Cheers, and bring home that Emmy, Ludwig! Jay, DrTenma, Holko and 1 other 4 Link to comment Share on other sites More sharing options...
Popular Post The Illustrious Jerry 3,356 Posted August 3, 2020 Popular Post Share Posted August 3, 2020 It's a Holiday Monday here, so I decided to finish off my makeshift "homemade Mandalorian CD collection". Final step was to place the back covers in (and fit them to size, spines and al). Here's a few pics of the finished product for anyone interested in the progression. I believe the front covers were posted on the previous page of this thread. Not the most flattering angle or lighting but it's hard to take a photo without glare/reflection coming through. Mind you my spare cases have seen better days, and now bear no shortage of small cracks and markings (may help to dust them off though). Nonetheless, I'm quite pleased with how this turned out and now have a greater sense of confidence when it comes to this sort of thing, which may come in handy given that few scores will get CD releases in the years to come. Pieter Boelen, Holko and Andy 3 Link to comment Share on other sites More sharing options...
Jay 37,364 Posted August 3, 2020 Share Posted August 3, 2020 Thanks for that write-up of Episode 1's score, I enjoyed reading it! I will offer one counterpoint though: I don't think he came up with a bunch of different themes, and then later wrote an end credits suite to combine them all together. I think the end credits is actually what he wrote first, and then he when scoring the episodes took pieces from it and used in whatever situation sounded best. IE, I don't think the Recorder Theme, Razor Crest theme, etc are considered different themes, just the part of his "main theme" that worked for those scenes. I don't know if I'm explaining it well but that's how I came to view the score after listening a lot The Illustrious Jerry 1 Link to comment Share on other sites More sharing options...
The Illustrious Jerry 3,356 Posted August 3, 2020 Share Posted August 3, 2020 1 hour ago, Jay said: I will offer one counterpoint though: I don't think he came up with a bunch of different themes, and then later wrote an end credits suite to comebine them all together. I think the end credits is actually what he wrote first, and then he when scoring the episodes took pieces from it and used in whatever situation sounded best. IE, I don't think the Recorder Theme, Razor Crest theme, etc are considered different themes, just the part of his "main theme" that worked for those scenes. I agree with you there, yes. In fact, Göransson has said that he created five or so "songs" based on what he knew about the show, and I assume the credits piece is essentially a polished version of some if not most of his work from the early stages of his creative process. For example, the Mando Gallery episode clarified that the first two things he wrote were the recorder and the piano sections, and the rest followed soon after. It certainly works as one main theme (albeit with many parts) and I concur with that interpretation as I'm almost certain that's what he had in mind (and that's indeed how he wrote them, yes). Of course, for the sake of referencing specific parts I have notated them as individuals of course, but that is the only extent to which I really consider them to be separate. It's quite ingenious actually because each part of the suite can be used to convey many different things, so it's something of a toolbox upon which Ludwig can draw upon whenever he needs to. I refer to the suite as a "culmination" because as far as the listening experience goes that is its purpose (as is the case with almost all credits music), even though it's technically the building block for the whole series and essentially the first thing written. As for the write-up, thanks for the feedback and I hope to get to the rest soon! Link to comment Share on other sites More sharing options...
Jay 37,364 Posted August 3, 2020 Share Posted August 3, 2020 Gotcha! This really is wonderful scoring I just enjoy more and more all the time Do we know yet if the new restrictions on getting American musicians together to record in the same room will affect season 2's score? Link to comment Share on other sites More sharing options...
The Illustrious Jerry 3,356 Posted August 3, 2020 Share Posted August 3, 2020 2 minutes ago, Jay said: Do we know yet if the new restrictions on getting American musicians together to record in the same room will affect season 2's score? The only update we've gotten on the score for season 2 was in his Vanity Fair interview from a weeks ago, where he simply stated that he had begun working after finishing with Christopher Nolan's Tenet (which I understand will be largely if not entirely electronic as it is). The good thing is that he can do quite a bit from his studio: he performs most of the solo parts (bass recorder, drums, guitar, piano) and does the synth and electronic work himself. I think Göransson's the most likely to come up with creative solutions to the current restrictions, but I expect season 2 to sound different all the same. I'd expect a more pared down approach, but it's impossible to tell. Link to comment Share on other sites More sharing options...
Jay 37,364 Posted August 3, 2020 Share Posted August 3, 2020 Interesting! Link to comment Share on other sites More sharing options...
The Illustrious Jerry 3,356 Posted August 6, 2020 Share Posted August 6, 2020 Goransson's score for Chapter 2 of The Mandalorian is quick to provide ample development for both previously introduced and entirely new musical ideas. We begin with echoing drums in Walking on Mud, and are quickly reminded of what was set up in Chapter 1 with an apropos statement of the recorder theme. The "Western" beat kicks in as a more major key version of the piano (and...triangle?) downbeat summons the title card. There's a small, currently unidentified cue that plays as Mando mends a wound, likely comprised of track elements. It precedes Jawas Attack, but features the same busy flute opening before rising tension in the strings rounds out the cue. In the next track, the woodwinds take up the layered rhythm once more, and Mando & Child is played on solo horn, eventually accompanied with a synth blast to underscore the pair's trek at sunrise. Segments of the Jawa motif are spread all throughout this cue, with the rhythm, percussion, and main string idea each appearing separate or unified at different points. Between each phrase of the quirky rhythm rise muted trumpets, giving way to the strings, which take up a version of the rhythm that appears to have more form to it. At 1:54, a short but complimentary few notes for the trumpets provide a spacer for the strings before rejoining the constant underlying freneticism of the flutes. The whole cue sounds like a field day for woodwinds and percussion, even though it's safe to assume that there are some loops at work. Goransson's handling of the Jawas musical material can be likened to Williams' approach to creatures of this kind in some ways. In this case, the idea is anything but Prokofievan, yet one can still hear a very well-struck balance of off-kilter rambunctiousness with an air of unpredictability. It's a very energetic motif that plays into the presentation of the Jawas here as very capable troublemakers, which isn't necessarily the case in the Original Trilogy. Trashed Crest gives us some of the lonelier iterations of the recorder theme and fanfare, adequately portraying the Mandalorian's poor fortune at the time. The "chimes" feel quite right for walking sequences for whatever reason, opening To the Jawas, where we hear reworkings for the jawas, the main riff, and the Western motif. In The Egg, the Jawa theme is out in full force and bursting with excitement, joined by synth outbursts and thumping percussion. At 1:37 the cue takes a turn, and Mando ventures out to find the egg. Electronics take the helm from here, rumbling in periods of static as an eerie snooping synth figure trickles in at 2:22 (a small patch that returns twice in later episodes). Dissonant strings shuffle around before sliding upwards and abruptly ending the cue, which quickly segues into The Mudhorn. There's no question that this might be one of the most "out there" sounds featured in the score, but it's not exactly inappropriate for the scene at hand. The ferocious chomping sound of this synth effect actually does quite well to underscore the lumbering charges of the space rhinoceros. Interestingly enough, this was one of the only occasions where a member of my viewing party (it's just three of us, a regular bash in these parts) mentioned the score, and it was something of a shocked reaction. It's certainly a jarring cue by Star Wars standards (it even stands without comparison to the rest of the music in the show, I'd say), although it interests me that Goransson often turns to the electronics for many of the fight scenes in the series. Perhaps it's the best way for him to compete with any sound effects or maybe it's the most comfortable medium for him in those cases, but it's an intriguing observation nonetheless. The cue ends with a copy paste of the latter half of Chapter 1's The Asset. The synth instance from The Egg plays again as Mando collects the egg. The cue, Found the Egg, is unreleased, but features little that cannot be heard elsewhere. Celebration interestingly begins with one of the utility motifs from Chapter 1, the segment previously heard on strings now taken up by brass. That isn't the only difference though, as Goransson adds some dissonance to the third note on the first pass before taking a triumphant elevation the second time around. We hear the return of the Jawas and the lento fanfare for strings, and at 2:07 the celebration really begins. The back and forth between the solo recorder and flute, all the while followed by a variant of the Jawa beat, plays out like a touched-up revisitation of Return of the Jedi's victory music (that is, the special edition version). We have reached the point in the story where the fanfare can return to major key and conform itself to the current tempo swimmingly, the Mandalorian and company having finished business with the little cloaked figures. The Next Journey slides through most sections of the main theme with great ease, lending to the first performance of the Razor Crest segment in the show proper. Harp and soft winds sweetly end the track as hints of the fluttering synth rise beneath. Glad to have been able to write this up so soon, and yes, I do believe I'm coming closer to earning my brevity claim. There's no doubt I'll still have plenty to say for most episodes hereafter, but having covered the main theme(s) in great detail now, a large portion of the "analyzing" has already been done. Thanks for allowing me to put my thoughts down in a meaningful way! Cheers and all things well! Jay and Holko 2 Link to comment Share on other sites More sharing options...
Jay 37,364 Posted August 6, 2020 Share Posted August 6, 2020 Yea that biting synth music for the beast threw me for a loop at first, but I came to love it! It's unexpected and atypical, but works really well I think Link to comment Share on other sites More sharing options...
Alex 2,835 Posted August 7, 2020 Share Posted August 7, 2020 I’ll be honest, I’m not a fan of this music at all. Maybe I’m just too used to the JW Star Wars sound, I dunno. Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted August 9, 2020 Share Posted August 9, 2020 In a recent Score podcast, Goransson stated he wanted to know 'Where Williams was when writing Star Wars' so he looked into earlier Williams scores and bought a vinyl copy of Earthquake! Listening to Earthquake again, there is a similarity in the main title and the main theme for this show, the sort of pop stylings, guitars and drums etc. Link to comment Share on other sites More sharing options...
Alex 2,835 Posted August 9, 2020 Share Posted August 9, 2020 Yeah, I listened to that episode. It was really interesting to hear his approach, actually, even if I’m totally sold on the music. Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted August 10, 2020 Share Posted August 10, 2020 Yeah, I would say I was taken with the main theme and its many variations, but most of the scores for each episode are kind of a blur of synth noodling. I would love to hear what he could accomplish if he had to write something that was largely orchestral for an entire episode. Link to comment Share on other sites More sharing options...
Ricardo Mortimer 43 Posted August 14, 2020 Share Posted August 14, 2020 That stealing from Rocky was pathetic, but scores from Mando are mostly great. Mostly Link to comment Share on other sites More sharing options...
Falstaft 2,132 Posted August 24, 2020 Share Posted August 24, 2020 https://www.rollingstone.com/music/music-news/the-mandalorian-ludwig-goransson-vinyl-box-set-mondo-1048256/ Cool news, nice to see Goransson's work on the series getting such love. Would that such interest be lavished, I don't know, on Williams's 9th and final Star Wars score... Arpy 1 Link to comment Share on other sites More sharing options...
Holko 9,526 Posted August 24, 2020 Share Posted August 24, 2020 8 minutes ago, Falstaft said: Would that such interest be lavished, I don't know, on Williams's 9th and final Star Wars score... NO! NO! NONONONONONONO keep that Mondo trash away from him! Do proper and actually accessible releases not this antiquated shit format dickishly targeted at brainess collectors only wanting stuff because they're extremely limited! Link to comment Share on other sites More sharing options...
Popular Post Jay 37,364 Posted August 24, 2020 Popular Post Share Posted August 24, 2020 I have no interest in ever buying any vinyl records, but damn the artwork on this set is aces https://mondoshop.com/blogs/news/music-weekly-the-mandalorian-season-one-boxset Yavar Moradi, Chewy and Cerebral Cortex 2 1 Link to comment Share on other sites More sharing options...
Andy 4,127 Posted August 24, 2020 Share Posted August 24, 2020 I instantly identified the artwork as that of Paul Mann. Probably my favorite illustrator out there. Check out his Saving Private Ryan... looks like a throwback to a paperback cover. https://www.paulmannartist.com crumbs and Cerebral Cortex 2 Link to comment Share on other sites More sharing options...
Jay 37,364 Posted August 24, 2020 Share Posted August 24, 2020 Wow that's great! Andy 1 Link to comment Share on other sites More sharing options...
Laserschwert 475 Posted August 25, 2020 Share Posted August 25, 2020 Wow, I really love his pulp novel style! Link to comment Share on other sites More sharing options...
Jay 37,364 Posted September 16, 2020 Share Posted September 16, 2020 Dr. Rick 1 Link to comment Share on other sites More sharing options...
crumbs 14,316 Posted September 16, 2020 Share Posted September 16, 2020 On 8/25/2020 at 4:02 AM, Jay said: I have no interest in ever buying any vinyl records, but damn the artwork on this set is aces https://mondoshop.com/blogs/news/music-weekly-the-mandalorian-season-one-boxset Wait, so Disney will license out Star Wars music to Mondo for limited edition vinyls but won't licence out JW's music from the films proper? Granted that artwork looks fantastic, but why on earth wouldn't they do that in-house (seeing as they clearly have no intention of licensing out JW's music)? Link to comment Share on other sites More sharing options...
Jay 37,364 Posted September 16, 2020 Share Posted September 16, 2020 I'd presume no one who works for Disney Records was interested in making a Mandalorian vinyl release happen, but Mondo approached them with a sack of money so they said sure, you can do it They did their on vinyl editions of JW's scores because they wanted to, and likely did some analysis and indicated it would be a profitable venture. They likely did a profit analysis of Mandalorian vinyl and decided against that, before Mondo showed up with their offer Link to comment Share on other sites More sharing options...
crumbs 14,316 Posted September 16, 2020 Share Posted September 16, 2020 4 minutes ago, Jay said: I'd presume no one who works for Disney Records was interested in making a Mandalorian vinyl release happen, but Mondo approached them with a sack of money so they said sure, you can do it So we just need to convince Disney that nobody wants to buy Star Wars expansions, then they'll hand over a licence to Intrada! Link to comment Share on other sites More sharing options...
Jay 37,364 Posted September 16, 2020 Share Posted September 16, 2020 Expansions are a whole different thing. Mondo licensed the existing OST masters Disney Records already made, not created new albums of music Link to comment Share on other sites More sharing options...
Holko 9,526 Posted September 16, 2020 Share Posted September 16, 2020 1 hour ago, Jay said: Expansions are a whole different thing. Mondo licensed the existing OST masters Disney Records already made, not creating new albums of music I dunno, there's the scary precedent of them releasing an exclusive new Batman cue. Cerebral Cortex and Yavar Moradi 2 Link to comment Share on other sites More sharing options...
Jay 37,364 Posted September 16, 2020 Share Posted September 16, 2020 I'm not saying it's impossible for Mondo to do the specialty label thing and hire a producer that creates a new album based on music licensed from two properties (Mondo did this with both Batman from WB / WMG and Mission: Impossible 2 from Paramount / Hollywood Records); I'm saying Disney might have said no if Mondo asked to do that for The Mandalorian, but said yes when they asked to press Göransso's approved album masters to vinyl Yavar Moradi 1 Link to comment Share on other sites More sharing options...
greenturnedblue 372 Posted September 16, 2020 Share Posted September 16, 2020 Has anyone made an 'abridged' soundtrack, taking the best tracks from each episode and presenting them in an album style playlist? Link to comment Share on other sites More sharing options...
Jay 37,364 Posted September 16, 2020 Share Posted September 16, 2020 On 1/6/2020 at 10:15 PM, The Illustrious Jerry said: https://open.spotify.com/playlist/3EKI60HcZaV7Vu0oWBIgkb Loosely based on a fan-made album with the exception of a few tracks and obviously edits. Should do the trick in terms of covering the highlights and spreading out material effectively, as if it were an actual album. On 1/7/2020 at 1:18 PM, Holko said: Oof. More of an edit than a playlist, but here we go: Overture: The Mandalorian(orchestral) Preparations: Face to Face (trimmed)+Back for Beskar (first half) + HammerTime The Job: You Are A Mandalorian (until it dies down) + The Asset The Old Gang: Hyperspace (first half) + The Gang Little Mousey: Little Mousey Training the Villagers: Ponds of Sorgan, until it would start up, then Training the Plebs Kuiil and IG: Trashed Crest + Reprogram + Kuiil Signet Forging: Mandalore Way (trimmed) + Signet Forging Sandcrawler: Jawas Attack The Next Journey: The Next Journey Standoff: Ewebb (sic) Sacrifice: Mando Flies + Sacrifice The Baby: Bright Eyes (trimmed?) + Can I Feed Him? A Warrior: A Warrior's Death + Clan of Two Speederbikes: Speederbikes + Night Riders + Farewell Memories: A Throusand Tears Finale: The Baby The Mandalorian: The Mandalorian Bit too heavy on ep8 but what I tried to do with it (like showing developments of the more main motifs more in the beginning, middle and end, filling the inbetweens with more diverse material), I kinda succeeded, I liked it on its 3 trial runs and Jerry seemed to pretend to like it when we listened together, too! greenturnedblue 1 Link to comment Share on other sites More sharing options...
Jay 37,364 Posted September 17, 2020 Share Posted September 17, 2020 22 hours ago, Jay said: Anybody besides me watch this video? I thought it was really interesting! He breaks down all the different parts of the main theme and how they came to be and what he represents with them greenturnedblue and The Illustrious Jerry 2 Link to comment Share on other sites More sharing options...
Popular Post The Illustrious Jerry 3,356 Posted September 17, 2020 Popular Post Share Posted September 17, 2020 Realizing that the time to Season 2 is waning, I am trying to get back on schedule with these little write-ups before the tidal wave of new music hits us in the coming months. With Chapter 3, Goransson has already firmly established all parts of the main theme, and can now tinker with it and others as he chooses, providing new opportunities for permutation. Unlike some of the other chapters, there is no new theme introduced here. However, much like the others Goransson shoots for an overarching sound rather than a specific idea. Let's dive in! We open A New Day with the return of that mysterious baby theme, full of little edges and nuances that form something of a question mark with each plug of the guitar. The new twist here is the simply gorgeous oboe counterpoint that enters later in the melody, which I think to be the most precious and delicate passage in the entire show thus far. The gentleness of that moment quickly fades as we are reminded of what this episode promises to show: Mando delivering the child to the client. The Mando & Child motif is at it's darkest here, booming from the brass section in what is a definite "I-can't-believe-it's-not-Kylo-Ren's-theme" moment. The strings climb their way out of that statement and the focus turns to atmosphere, setting the staging for a good deal of snooping music later on. We hear shades of Killmonger with a wild wind instrument flourish, and return to the dark, plotting setting of the client. As the Beskar reward is presented to Mando, the recorder theme gets an especially soulful playing, as if carrying the weight of the entire Mandalorian culture and its history with it. The title card flashes on screen accompanied by horns, and in this instance the second downbeat is given the greater emphasis. Mandalore Way provides familiar samples of the so-called utility themes, and is essentially a continuation of Chapter 1's Back for Beskar. We get a highly percussive showing in the middle of the cue, and a standard recorder riff rounds it out. Signet Forging is without a doubt the standout cue of the album. It marks the second of three flashback setpieces, and is most similar to Chapter 1's HammerTime. The strings tap into the chant like quality of the forge motif and take on the recorder theme, this time supported by a set of bridges in between each outburst. At 1:28 three confident notes play into the triumphant climax: a brass setting for the riff, with strings playing opposite. This development is the defining musical advancement of the episode, and provides for a satisfying peak to the piece as a whole. An unreleased cue, titled Mando's Back, either refers to Mando entering the bar with his new armour (we hear the guitar wail and thumping drums) or when Mando shuts down the Razor Crest and returns for the child (underscored by a sadly unreleased development of the baby theme). No other cue title appears in the repertoire at this time. Second Thoughts is a return to the sneaking atmosphere set down earlier, with the orchestra only adding effects and riffing on the utility motifs when needed. Otherwise, this part of the score is largely computerized, allowing Goransson to dig into his hip-hop background. Whistling Bird opens with the utility theme, tension slightly released for a moment, before dipping back into the electronics. We get another whirl from that Black Panter-esque flute (or what you will). Around 1:53 we hear a little wind line as Greef Karga attempts to reason with Mando. I recall this appearing again in a later episode for a similar scene, but do not remember specifically where that was. Your Only Hope, presumably completely unreleased, seems to be edited and moved around within the episode proper. Electronics give way to the brass recorder theme, accompanied by a beat. The edited section leads from the end into Mando Rescue, the album version of which is not exactly the same as it is in episode either. The child motif pings away sweetly, overtaken by an exuberant utility motif and then straight down to business with a hip hop beat. The forge motif gets a run as an action ostinato, with brass and drum machine dressings. We once again build up to a recorder theme statement from the horns with strong counterpoint before the wild flute whistles out the cue. I Need One Of Those recaps every aspect of the main theme, the recorder and Razor Crest ideas dancing around each other, with a Western motif asking a question at the end of the line. The fanfare gets a really neat go as a slow march, and a quick skeletal riff outro and fluttering synth blast us away into the credits. Here's hoping I can write about Chapter 4 real soon. Looking forward to Season 2 very much, and excited to see what our current catalogue will look like come January 2021. Thanks for reading and cheers! Disco Stu, Holko, Tiburon and 2 others 5 Link to comment Share on other sites More sharing options...
Jay 37,364 Posted September 18, 2020 Share Posted September 18, 2020 Jerry, I love that you are doing these, keep it up! Entire board, I am confused why nobody besides me wants to say anything about that video? Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted September 18, 2020 Share Posted September 18, 2020 This quote which I've heard him say similar things elsewhere, like the Disney+ documentary: Quote You need to have 70 humans in a room to create the waves, the air to make it come alive Except we won't have that with season 2 given the pandemic and remote recording I also love that he confirmed what I and others said way way back that the "fanfare" theme represents the Razor Crest. On 11/22/2019 at 10:03 AM, Disco Stu said: Also it's now been two episodes in a row that the major key fanfare from the Chapter One end credits has been used for shots of the Razor Crest (his ship) lifting off at the ends of episodes. Maybe call it the Razor Crest Fanfare? Link to comment Share on other sites More sharing options...
Jay 37,364 Posted September 18, 2020 Share Posted September 18, 2020 Well, the "essence" of the score at least was created that way in the lead up to season 1 and all the cues needed for season 1. I'm sure the Season 2 music will be great Disco Stu 1 Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted September 20, 2020 Share Posted September 20, 2020 Göransson’s tweet about the Emmy includes a photo from recording the season 2 score. Including some very cute merch Link to comment Share on other sites More sharing options...
Dr. Rick 1,157 Posted September 21, 2020 Share Posted September 21, 2020 On 9/18/2020 at 12:58 PM, Jay said: Entire board, I am confused why nobody besides me wants to say anything about that video? I just watched it and was amazed by how many different and unusual instruments were used for the main title, the man is definitely talented with his ability to play so many different instruments, I can't even begin to play one! LOL Jay and Cerebral Cortex 2 Link to comment Share on other sites More sharing options...
Jay 37,364 Posted September 21, 2020 Share Posted September 21, 2020 Indeed! Link to comment Share on other sites More sharing options...
Popular Post The Illustrious Jerry 3,356 Posted September 23, 2020 Popular Post Share Posted September 23, 2020 Chapter 4 of Season 1 was initially my favourite of the mini-albums released for the show at the time of it's release. I'll echo something that Cerebral Cortex had said pages back, in that it amazes me how the new theme (multi-part theme, that is) for this episode is such an amazing little earworm of a melody that is exclusive to this chapter alone. It appears nowhere else in the score, and will likely have little reason to return in Season 2. And it's a better theme than most films (let alone shows) could ever hope to get in today's industry! Anyways, fascination aside, it's probably the one that has played in my head the most since I first heard it. Let's take a closer look! The Ponds of Sorgan introduces a whole new soundscape, with the Razor Crest receiving a quaint and idyllic setting on acoustic guitar and clarinet. This small ensemble of instruments is representative of the villagers in the episode, and we hear the first shades of their minor motif played early on. The orchestra takes a back seat to what can only be described as an alarm, which the strings rustle beneath. Bombastic synths break through (which quite honestly sound like barking dogs) and we hear a fantastic build-up to the smashing one-off theme, accompanied by a simple but propelling beat (da--da--da--da--da--etc.). The frantic B section gets a running, and segues into the title card, with now familiar piano and fluttering synth. With Off the Grid we go off the beaten path, at least for some interesting developments. The fluttering synth and fanfare get new modes, the latter playing over "news reel" strings. We emerge into a peaceful environment of synth and marimba (don't quote me), and hear a simply perfect interplay between the recorder and Razor Crest themes, further displaying just how complimentary they are to each other. Keep an Eye on the Asset, unreleased, provides building suspense in the string section as Mando tracks Cara's footprints. Please Come In, not on the album, is an encore of the earlier guitar rendition of the Razor Crest, this time with stronger involvement from the strings. Can I Feed Him? continues this scenic mood with innocent woodwinds and the guitar for the villagers. We hear the Razor Crest on flute, a solemn passage for the B section of the utility theme on horn, and an alarming bustle from the strings to round out the cue. Training the Plebs is without a doubt the cue of the chapter and the defining setpiece for the new theme. First off, and this is just something I noticed recently, it recycles the three-note "marimba vibe" synth from Off the Grid, and essentially plays it under most of the track, this time with an increased tempo. There are so many neat elements playing off of each other here, making this one of the most intriguing cues from an orchestration standpoint. I recommend listening to it very carefully and trying to separate all the different parts at work. In a lot of ways it is structured as a fugue, which really lends to my above points. Camp Attack is a synth plaster board, non-descript at times, but effective and not without a fair share of cool moments (the sound at 0:30 and a very heavy synth patch at 1:33). That takes us immediately into a more expansive setpiece with Spirit of the Woods. As a direct follow-up to Camp Attack, we hear a fusion of electronics and orchestra for extended passages throughout, slowly phasing out the computerized elements in order to return to a sense of calm in the closing cues. There's a simply fantastic throat singing effect that I was reminded of when I saw the trailer for the second season, which had a similarly unique musical choice. While I doubt that the music in the trailer is any reflection of Goransson's upcoming score, that particular part did well to stick out at me (fingers crossed all the same). The beat of the chapter theme serves as underlayment for interludes of the B sections. We then hear more of that deep voice work and some very Williams-y trumpet hits (think the destruction of the Death Star). The main fanfare gets down to business as the action reaches a climax, and the tension releases. Two short cues presumably not on the album follow: Fits Right In and Leaving Him Here. The former begins with that same rendition of the Razor Crest motif, moving into the recorder riff on what must be clarinets. Ominous music plays as bounty hunter appears in the woods. It is quite possible that I may have misheard, and that one (or both) of these cues make up the OST's Stay, but I know there are at least sections here that have yet to be heard clean. Mando Says Goodbye to the villagers, and a fitting reprise of the Can I Feed Him? melody plays them out. The Razor Crest gets a second go at its Off the Grid setting, played by full, lush strings with joyous but grounded interjections from the brass. The classic space cutaway zooms out the cue and closes the episode. Had another great time revisiting this album! I believe Stu did an isolated score for a large part of this episode, and while I cannot find the video presently I highly recommend it as an opportunity to see how it lines up to the picture, particularly the training and battle scenes (EDIT: see Stu's post below me!). Thanks again for reading, and feel free to join the conversation, perhaps by sharing your thoughts on a particular cue or idea. Again, I will try my best to keep these coming in time for the incoming buffet in the coming months!!! Cerebral Cortex, Jay, Holko and 2 others 5 Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted September 23, 2020 Share Posted September 23, 2020 8 minutes ago, The Illustrious Jerry said: Had another great time revisiting this album! I believe Stu did an isolated score for a large part of this episode, and while I cannot find the video presently I highly recommend it as an opportunity to see how it lines up to the picture, particularly the training and battle scenes. https://drive.google.com/file/d/1xGEWpjxEL19yaXi4GyhN9xugecn7mve0/view?usp=drivesdk The Illustrious Jerry 1 Link to comment Share on other sites More sharing options...
Knight of Ren 789 Posted September 23, 2020 Share Posted September 23, 2020 Those write-ups are really great and are giving me some insight in details I hadn't previously noticed, especially in terms of thematic associations. I am watching The Clone Wars, Rebels and The Mandalorian in preparation for season 2 of Mando and I really hope that, if rumours are true and characters from those shows return, Goransson will use some of the established themes, like Ahsoka's or Sabine's theme. And of course, some Bobba Fett material by Williams would be perfection. And I cannot wait to hear what new themes and variations of old ones he has created for this season. So hyped! Link to comment Share on other sites More sharing options...
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