# The Mandalorian - OUTSTANDING Score



## robgb

Composer Takes Music for the ‘Star Wars’ Series ‘The Mandalorian’ to a New Universe


Ludwig Göransson, the Oscar- and Grammy-winning composer of “Black Panther,” faced a tricky assignment when he took on “The Mandalorian,” the new “Star Wars” series launching this week on the Disne…




variety.com


----------



## Andrew_m

One of the better examples of a hybrid orchestra - non-overbearing synths, a compliment to the acoustic sound.


----------



## Guffy

Whatever floats your boat i guess.


----------



## robgb

Guffy said:


> Whatever floats your boat i guess.


I guess. But to my mind you'd have to be tone deaf not to appreciate this. To each his own.


----------



## robgb

Just listened to the entire score on Spotify. So nice to hear a mix that isn't awash in reverb. And one that actually uses woodwinds...


----------



## chillbot

I hate being tone deaf so much.

I'm gonna ask santa for some ears this year.


----------



## dcoscina

Doesn't do much for me either. I will stick to my tone deaf preferences like Mahler, Shostakovich, Prokofiev, you know, those hacks....


----------



## robgb

dcoscina said:


> Doesn't do much for me either. I will stick to my tone deaf preferences like Mahler, Shostakovich, Prokofiev, you know, those hacks....


I don't follow the logic. Is this work and the work of those you referenced somehow mutually exclusive? Talk about tone deafness.


----------



## dcoscina

robgb said:


> I don't follow the logic. Is this work and the work of those you referenced somehow mutually exclusive? Talk about tone deafness.


Well you seem to invalidate anyone who could have an opposing view on this particular score. I’ve listened to it and it might be effective in context but not terribly interesting on its own. 

And maybe cut down on the barbs you’re throwing around about tone deafness eh?


----------



## SimonCharlesHanna

hmm

I can definitely appreciate that it's doing something different from the general noise. I think.


----------



## chrisr

Once it got going I thought it had a satisfyingly cheesy/dirty Rocky Balboa vibe - like "guess the temp" at a few points. I wonder if the brief/temp was Rocky in space? Haven't seen the show but if that's what it's going for then it works well I'd imagine.


----------



## chrisr

In fact if you put 1.40 - 2.02 over shots of a guy bench pressing ewoks, you're there. (I'm saying I like it)


----------



## VinRice

Hated it.


----------



## Luke W

While watching the show, I liked some individual moments where there was a particular motif or flourish to establish a scene. I liked the sonic palette - I agree with the OP: understated hybrid orch was a nice choice. But I thought a lot of the general underscore sounded dated - not in production, but the musical lines made me think of something from Magnum PI or the A-Team (which totally worked in their time). Just my personal take. But I LOVED the show overall!


----------



## I like music

Preferred the original ...



Just kidding. I can see where everyone is coming from (those who don't like it, and those who do). I like the fact that it attempts to do something. Not quite my cup of tea, but I can very well see how someone would like it.

Is it the same guy who did Black Panther? Absolutely hated that.


----------



## chillbot

My take is I absolutely loved the direction that they attempted to go in but felt that they failed that direction and overall underwhelmed. I think it was a great choice I just wish they had done it better is all. There were a couple of tracks I really enjoyed though, needed more of that.


----------



## chillbot

chrisr said:


> I wonder if the brief/temp was Rocky in space?


Credit to @Jdiggity1 who said the brief was "Ennio Morricone meets Star Wars" and they took it a bit too literally. Like that flute in the beginning?


----------



## I like music

Has anyone seen it? Wonder how it goes with the picture too? Curious!


----------



## Manaberry

Jesus. I like the choice of instrument, the dry intimate sound, and the mixing decisions.
Thanks for sharing. The supergalactic western vibes are very cool! It's clearly something different from what I expected.


----------



## Drundfunk

chrisr said:


> Once it got going I thought it had a satisfyingly cheesy/dirty Rocky Balboa vibe - like "guess the temp" at a few points. I wonder if the brief/temp was Rocky in space? Haven't seen the show but if that's what it's going for then it works well I'd imagine.


Well the composer also was the composer for Creed 1+2..... . I don't know. The Rocky is definitely there. That being said, I like that it sounds differently to what I would expect from Star Wars.


----------



## José Herring

I don't understand why it has to be either you love it or you hate it. There's some really good moments in there. Kind of 70's TV music vibe that I like and there's some really poor quality stuff too. But, it is a cool direction. Not the direction of the movies but after all it is TV. 

I'm with Chillbot on this one. It's a great idea that wasn't fully finished.


----------



## lucianogiacomozzi

I don't get why everything has to be so polarised these days!!! We need to learn to accept and learn everything, strengths and flaws - nothing is perfect and nothing is entirely without merit. It was for me better than it was bad but there are bits there that don't fit and dragged me away from the vibe, I feel, personally.


----------



## robgb

dcoscina said:


> Well you seem to invalidate anyone who could have an opposing view on this particular score. I’ve listened to it and it might be effective in context but not terribly interesting on its own.
> 
> And maybe cut down on the barbs you’re throwing around about tone deafness eh?


I'm sorry. I will try better in the future to have the same opinion you do and will no longer call it like I see it.

Or maybe, instead, I will adopt the polite, elitist manner of condescension that so many here on VI are skilled at.


----------



## ed buller

robgb said:


> I guess. But to my mind you'd have to be tone deaf not to appreciate this. To each his own.


I'm tone deaf too then...never knew...Thanks so much for the clarification

e


----------



## robgb

ed buller said:


> I'm tone deaf too then...never knew...Thanks so much for the clarification
> 
> e


You're quite welcome.


----------



## NoamL

chillbot said:


> Credit to @Jdiggity1 who said the brief was "Ennio Morricone meets Star Wars" and they took it a bit too literally. Like that flute in the beginning?



Yep you can tell the direction was "make the music sound like the character is a total badass" and the score hits several things that match that note.

The Ennio Morricone style winds

The cool distorted and compressed synth bass, reminiscent of some JunkieXL or John Murphy stuff

The sort of 70s studio brass idea at 1:10

It feels just a touch too manipulative and obvious to me? That's kind of the problem with all this Disney Star Wars stuff. It really wants you to think it's cool and just as great as the original.

On the plus side it's very creative. LG hasn't ever done a lazy score that I've heard. I loved his score for *Venom.*


----------



## chrisr

Drundfunk said:


> Well the composer also was the composer for Creed 1+2.....



Aha!! Genuinely didn't know that, thanks. I knew he was the Black Panther chap. 

Blissfully unaware of Shrewsbury.


----------



## VinRice

Harmonically naive, incoherent, instrumentation and style is all over the place with no narrative justification, mixing and production are very rough - it sounds crunchy and over-limited. I liked the show itself - a little cheesy but it's Star Wars/Disney after all. The soundtrack really stuck out like a sore thumb in places. In contrast I've just watched the first episode of the new Man In The High Castle season. Soundtrack by Dom Lewis - now there's somebody who knows what he is doing.


----------



## Robo Rivard

I kind of like it. I still need to watch the show to figure out if it works.


----------



## markleake

Haven't heard the rest of the score. But listening to this track I don't think I'm that interested.

I assume it is supposed to sound kind of grungy, unpleasant, and western-ish. It's not entirely un-listenable, but its definitely not my thing. Doesn't sound like it's mixed very well either. How can it be both dry and sounding muddy/filtered?


----------



## rottoy

_Mike Post intensifies_


----------



## ProfoundSilence

I didnt like the brass really, the rest was pleasantly forgettable, mood setting and un-distracting.(in a good way) I'm glad they didn't try to be JW. This is modern TV scores to a T for me, and I like the direction that it took.

I did however think they were too silly too often, and should tone that back. Also didn't like the effects used on the main character's voice... it often sounded like it was not attempted to put into the environment at all, just comes out of his mouth into your "mind" rather than into air.


----------



## Living Fossil

@robgb : Thanks for posting this one.
Reading the comments i'm somehow between both sides.
For a long time, I haven't heard a track that left me so ambiguous.
Indeed, it incorporates the different opinions stated in this thread.

Personally, i think there are great & fresh ideas that sound awesome.
In the same time, there are passages that seem to come right out of an amateur's home studio.
And passages that could derive from a homework at the composition class: write something in the spirit of Ennio Morricone.
My overall impression is that i think it's enriching, i do like it.
But i think LG should surround himself with some more experienced/molded collaborators.
I can't imagine that the overall depth of the sound (i.e. the use of reverb, positioning etc.) as presented would leave the studio of Alan Meyerson in this state.


----------



## robgb

Living Fossil said:


> can't imagine that the overall depth of the sound (i.e. the use of reverb, positioning etc.) as presented would leave the studio of Alan Meyerson in this state.


I personally love the mix. I like the move away from too much reverb. Gives it an immediacy. To each his own I guess.


----------



## Living Fossil

robgb said:


> I personally love the mix. I like the move away from too much reverb. Gives it an immediacy. To each his own I guess.



My concern isn't with the amount of reverb, but rather with the lack of 3D positioning in some areas.
(which can also be an issue of EQing)
But as stated: i'm really glad you brought this music on my radar. It's a refreshing experience with lots of great ideas.


----------



## Scoremixer

Living Fossil said:


> @robgb :
> I can't imagine that the overall depth of the sound (i.e. the use of reverb, positioning etc.) as presented would leave the studio of Alan Meyerson in this state.



Like most of Ludwig's stuff it's mixed by Chris Fogel (who's massively experienced), If it's dry, that was the intentional direction.


----------



## jonathanparham

Don't have Disney+ so I Listened to the album in the background at home a few nights ago. 

Overall I like the direction and the main theme. I had read the Hollywood Reporter article on the score which talked about using wind instruments played by the composer himself and then adding some orchestra. So the article may have prejudiced my ears a bit.

Just listening to the album, without the picture, I enjoyed it. There are some cues that are probably just incidental and some that feel punchy. Most of the comments so far in this thread seem to back up what I read in the article.

What I like about the direction; is storytelling which is similar to Rogue 1 and Solo. I am aware of Star Wars but don't follow all the novels and cultural stuff. So Disney branching off some of these other Star Wars Stories/threads intrigues me. I've been listening to Powells 'Solo' score lately and enjoy how on the Small Screen, Gorasson's Mandalorian theme contrasts this. Rogue 1 and Solo are the JW, epic choir stuff, and Mandalorian is the organic synth stuff.


----------



## gsilbers

I’m loving the score.
In second episode there where 2 cues where it went a little cheesy. When they carry the ship and when re building the ship. I’m guessing the producers wanted some montage music and it was too short and epic all at once too fast and was a little abrupt. But that’s like 2% of my Critisism. The rest of the score is outstanding and loving how they are getting away from 80s John William-nesque style which is not my cup of tea.


----------



## sluggo

I think whether you like the score or not, these days, it might be a healthy adventure to look up what else has this DIRECTOR done. Then ask yourself if you like those scores. Maybe you'll see some things in common with other projects from the same director. One of the things I respect most about LG is his ability to craft completely different sounding scores for different films. That is/was my impression of what a good film composer should be. Lately, I'm seeing other artists who are scoring multiple projects that all sound the same. And I can't entirely blame them. That's the director/producers coming at them for that certain sound.


----------



## dcoscina

robgb said:


> I'm sorry. I will try better in the future to have the same opinion you do and will no longer call it like I see it.
> 
> Or maybe, instead, I will adopt the polite, elitist manner of condescension that so many here on VI are skilled at.



I'm not quite sure why you are taking this position. Your initial post declared that this score was OUTSTANDING and that if others did not share YOUR opinion, they must be tone-deaf. I'm not the one imposing some fascist judgement on others as a condition about their music abilities. If you like the score, great. I don't. I enjoy Black Panther by Goransson but The Mandalorian isn't particularly captivating to me. 

And "calling it like you see it" is by its very essence a subjective stance. Demanding that everyone either agree with you lest they be charged with some kind of character flaw smacks of insecurity, with a need to be "right" about everything (your signature reinforces this). This is a community filled with different perspectives. If you want to celebrate your boundless enthusiasm, go to a Ludwig Goransson fan site where you can enjoy talking with people who also dig this score. 

But hey, I'm just "calling it as I see it"....


----------



## robgb

dcoscina said:


> I'm not quite sure why you are taking this position. Your initial post declared that this score was OUTSTANDING and that if others did not share YOUR opinion, they must be tone-deaf.


Yeah, that's what I said. I stand by it. It is, after all, MY opinion. Why do you care so much about my opinion that you have to go on a rant about fascism? Try the ignore button. It's useful.


----------



## Alex Fraser

I like the score. It would have been so easy to go with a “John Williams Lite” soundtrack and sound like a cheap TV movie. The score definitely has character and I’m grateful for that. It also sounds like it comes from the mind of someone slightly crazy, which I’m all for.


----------



## Henning

I found the bass recorder a very cool idea. I'm perhaps not so much taken by the very dry sound of the orchestra. But that's more taste, I guess. But I like the kind of unusual ideas in there.
Edit: Listened to it again. It's quite catchy in a good way. Even got accustomed to the dry orchestra sound. Guess I have to watch the series now


----------



## paularthur

I like the idea of referencing a spaghetti western and combining it with electronica and some tribal elements vs. the traditional space opera's that have just full orchestra, this feels smaller and more localized. Seems like he was making a sonic color palette for the Mando and combining it with another one for the setting. My favorite cues are The Asset, The Mandolorian, Jawas Attack.


----------



## ed buller

robgb said:


> Or maybe, instead, I will adopt the polite, elitist manner of condescension that so many here on VI are skilled at.



methinks you'll take to it like a duck to water !

best

ed


----------



## asherpope

This forum: The Remote Control style is done to death! All those string ostinatos and BRAHHHHMS are so predictable! Composers should do something different!
Also this forum: NO, NOT THAT!!!


----------



## South Thames

asherpope said:


> This forum: The Remote Control style is done to death! All those string ostinatos and BRAHHHHMS are so predictable! Composers should do something different!
> Also this forum: NO, NOT THAT!!!



Perhaps, but the proper response to something that is ineffective through over-familiarity and lack of imagination is not to create something that's ineffective through pure incongruity. Rejection of both can be valid. Haven't seen the film, but struggling to imagine how this fits from the trailer.


----------



## Uiroo

I think almost everybody here applauds if new things are tried out on big budget productions.
And the reason it is brave can be seen in this thread: Not everybody likes it. Which is ok.

The track doesn't really amaze me, but I like that it wasn't what I expected, maybe it would grow on me after watching the show.

@robgb
Of course everyone can just smash the ignore button constantly, but maybe it would be better to try to get along. Also I believe, saying "Try the ignore button" everytime one gets criticized doesn't play out well in the long run, in terms of character development.

You told people they're tone deaf if they don't appreciate what you appreciate.
I don't see the point in starting a public discussion with that attitude.
So, MAYBE you want to rethink that statement, that's all I'm saying.


----------



## jononotbono

Looking forward to watching The Mandalorian! Not going to check out the music until I watch it! Context is everything (and booze).


----------



## MarcusD

Quite surprised about the show! Actually enjoying it. Espeshially after the recent flops...

As for the score, I think some of it worked well in context and was brave to try. But there were parts that felt It leaned too much towards a space version of The Good, The Bad and The Ugly.


----------



## Peaky Blinder

The Egg, The Egg, The Egg


----------



## dcoscina

MarcusD said:


> Quite surprised about the show! Actually enjoying it. Espeshially after the recent flops...
> 
> As for the score, I think some of it worked well in context and was brave to try. But there were parts that felt It leaned too much towards a space version of The Good, The Bad and The Ugly.


Yeah I watched a bit of it this week. The show is kind cool but the score, being so removed from the SW franchise sound, doesn't maintain the mood and set design. I applaud Goransson for trying something different and think he's a tremendous composer, but I don't know if the music gels with the setting of the show... At least for me. Opinions vary as Patrick Swayze once said in Road House...


----------



## handz

I was SO close to starting the thread after watching the first episode about how HORRIBLE the music is. Honestly, the music is the worst music I heard in any movie or series for a long time. It does not fit the Star Wars universe at all, like not even close, and even as a piece of standalone music, it is just not good. It drags the whole project down. But this is the "modern" age of Hollywood sadly. No one cares.


----------



## handz

Drundfunk said:


> Well the composer also was the composer for Creed 1+2..... . I don't know. The Rocky is definitely there. That being said, I like that it sounds differently to what I would expect from Star Wars.


Yeah, thanks for reminding me - at one scene, the music was like 70s funky rocky music, I almost turned the audio off.


----------



## sluggo

Some posts here make it sound like LG was given the show, composed what he thought was right, and then nailed it on the first pass with no notes given. I mean, MAYBE that's what happened. Maybe if I had an Oscar I would have it written in my contract that my first drafts are final and I do not take notes. 

But I doubt that's the case. They talked about it. A lot. Then there were ideas. Then there was a lot of back n forth. And then...THE NOTES. Notes from the director. Notes form the producer(s). And my favorite note of all...NOTES FROM THE STUDIO HEAD. No wait...my other favorite, NOTES FROM THE MARKETING DEPARTMENT. 

Whether you like this score for being 'different' or hate it for other reasons, just consider how many people WHO ACTUALLY HAVE A SAY IN THIS MATTER said 'GREEN LIGHT GO!' to this score. Blame, or credit them too. They had a lot of involvement. (Just guessing).


----------



## VinRice

Episode 2 was better. Music was more contextualised, less harshly mixed and somebody found the reverb send pot.


----------



## VinRice

sluggo said:


> Some posts here make it sound like LG was given the show, composed what he thought was right, and then nailed it on the first pass with no notes given. I mean, MAYBE that's what happened. Maybe if I had an Oscar I would have it written in my contract that my first drafts are final and I do not take notes.
> 
> But I doubt that's the case. They talked about it. A lot. Then there were ideas. Then there was a lot of back n forth. And then...THE NOTES. Notes from the director. Notes form the producer(s). And my favorite note of all...NOTES FROM THE STUDIO HEAD. No wait...my other favorite, NOTES FROM THE MARKETING DEPARTMENT.
> 
> Whether you like this score for being 'different' or hate it for other reasons, just consider how many people WHO ACTUALLY HAVE A SAY IN THIS MATTER said 'GREEN LIGHT GO!' to this score. Blame, or credit them too. They had a lot of involvement. (Just guessing).



Composer gets the credit (and the Oscar), composer gets the blame when it goes wrong. That's showbiz.


----------



## jononotbono

Watched 3 episodes and actually really enjoying it and the music. Definitely a different vibe but that’s a good thing.


----------



## Anami

I really liked the music. Also prefer the dry sound. 
It's a little bit different and that's always a good thing if you ask me!
Especially love the 'Morricone' sound.
The music is not afraid of standing out.


----------



## Olfirf

I think all of you guys are blind, if you can’t see my avatar is the nicest one with the most tasteful color scheme!


----------



## Jimmy Hellfire

robgb said:


> I guess. But to my mind you'd have to be tone deaf not to appreciate this.



I do appreciate the fact that it's not the noise we get to hear everywhere else, and it's better than the usual film music garbage. I like that the production is quite dry and upfront. I wish it didn't have the pompous and heroic idioms and phraseology, but I understand this is some kind of a Star Wars spinoff, so the music is obligated to be dopey by default.


----------



## antoniopandrade

This is actually one of the coolest pieces of film/tv music I've heard in a very long time.


----------



## VinRice

So, episode three of our ongoing debate. Ep.3 was fine but again, every now and then there is a section of the score that just sticks out as crudely executed. TV scoring is so good these days that you just don't expect to hear the soundtrack smack you in the face and take you out of the narrative. Reznor and Ross's work on Watchmen can be incredibly dynamic but it fits perfectly with the emotion of a scene and works synchronously to raise the drama. In Mandalorian there are repeated drum hits for example that have no round robins or dynamic level variation, i.e. exactly the same sample, that just sound incredibly obvious and jarring. I have no problem with the music conceptually, I understand the whole spaghetti western vibe, it just seems poorly integrated and rushed.


----------



## LamaRose

I only listened to the main _theme. _To paraphrase Mike Verta: can you hum the theme? yes, but why would you want to? Maybe the producers wanted it dumbed-down to rap-level audiences. 

Jeff Lynne could have knocked this shit outta earth's gravity... but that takes vision on the part of the suites.


----------



## ed buller

it was much better than ep1 and 2...but still....JW leaves such a huge shadow over Star Wars. I'm all for trying something different but it needs to be as good ...or close to it.

e


----------



## Consona

Well, I've seen only one action scene from the show somewhere on the internet and the score was absolutely awful. It was like some 1 key synth patch pattern going on and on over and over again without underscoring anything that was on the screen. Can't believe the show producers were ok with anything like that. Hope the rest of the score is considerably better.


----------



## Uiroo

Consona said:


> Well, I've seen only one action scene from the show somewhere on the internet and the score was absolutely awful. It was like some 1 key synth patch pattern going on and on over and over again without underscoring anything that was on the screen. Can't believe the show producers were ok with anything like that. Hope the rest of the score is considerably better.


Someone rescored a scene with Williams, maybe thats the scene you mean?


----------



## Henning

Well, I actually bought a bass recorder after listening to the main theme. Such a special sound.


----------



## Consona

Uiroo said:


> Someone rescored a scene with Williams, maybe thats the scene you mean?



It was some scene outside, he was fightning some animal (reminded me one species from Ep. II) and trying to protect that Yoda-race baby.


----------



## Nils Neumann

LamaRose said:


> ? Maybe the producers wanted it dumbed-down to rap-level audiences.



Really unnecessary comment.


----------



## Christopher Rocky

Completely subjective rambling:
I only heard the theme in context of watching the show, and fell in love with it.
Its like when you see a strange looking creature of sorts and you cant look away, its interesting and filled with novelty. The western feel, rocky horns and strings, the low recorder (is that what it is?) A Morricone Rocky in space? I didnt know i wanted that but thank you!

On a deeper level I think it fits the show well, its star wars' ugly half demented brother. (i hope that's how the show turns out at least) The theme incapsulates the essence of the character, he's old school, heroic, a loner and weird. If there was a John Williams score underneath the show i dont think it would feel right. it would make him come across more streamlined (?), maybe thats another reason they felt to score it so differently, due to the split in the fandom menace


----------



## Dr.Quest

ChristopherRock said:


> , maybe thats another reason they felt to score it so differently, due to the split in the *fandom menace*



😂


----------



## Consona

ChristopherRock said:


> Completely subjective rambling:
> I only heard the theme in context of watching the show, and fell in love with it.
> Its like when you see a strange looking creature of sorts and you cant look away, its interesting and filled with novelty. The western feel, rocky horns and strings, the low recorder (is that what it is?) A Morricone Rocky in space? I didnt know i wanted that but thank you!
> 
> On a deeper level I think it fits the show well, its star wars' ugly half demented brother. (i hope that's how the show turns out at least) The theme incapsulates the essence of the character, he's old school, heroic, a loner and weird. If there was a John Williams score underneath the show i dont think it would feel right. it would make him come across more streamlined (?), maybe thats another reason they felt to score it so differently, due to the split in the fandom menace


I will judge the overall score once I see the whole series, but I am not saying it should be like the music from Williams, what I want to hear is some good level of craft involved. The one scene I witnessed lacked any, sorry to say.

Is it too much to want not having the "1 key scoring" in a fricking Star Wars thing? The film series that had arguably some of the best music ever written? The piece in the OP´s first post was ok, so I hope the rest of the music will be much better than that action scene.

Another thing that bothers me is, people producing it being happy with such music. It feels like they don´t understand or care or I don´t know. The recent years really are a huge drop in a quality. Hasn´t the guy scoring this won an Oscar, ffs?! And he´s scoring the next huge Nolan film. Hard to get excited, besides Nolan being my fave filmmaker. Dunno, don´t want to be too harsh, maybe the rest of his music is ok, but the first impression of the Mandalorian footage in the combination with the music was terrible. :/


----------



## mscp

This post went south quite quickly. Haven’t heard it yet, but if it’s one of those epic things again, I’m out. Bored to death with epic soundtracks. But then again - PERSONAL PREFERENCE. Just because I don’t like certain tones within a particular context doesn’t make me or anyone tone deaf.


----------



## AEF

im a fan of ludwig as a producer but this score takes me out of the show more than it brings me in. really really not into it but to each his own.


----------



## Consona

Phil81 said:


> This post went south quite quickly. Haven’t heard it yet, but if it’s one of those epic things again, I’m out. Bored to death with epic soundtracks. But then again - PERSONAL PREFERENCE. Just because I don’t like certain tones within a particular context doesn’t make me or anyone tone deaf.


It's not the modern epic style. But the scene I saw was just "scored" awfully. Personal preference is a nice thing, but having an interchangeable ever-repeating electronic loop that does not reflect what's happening on the screen is just bad no matter one's personal preferences, I get anyone can like whatever, but there should be some standards, more so when it's a Star Wars thing. This is like the lowest level of scoring. A cat taking a nap on the keyboard for a few minutes would produce that.

Again, don't know the rest of the score, maybe it's good. I was listening to Mozart and Beethoven a lot lately, maybe I should stop so my expectations for music are not so high. Sometimes I'm listening to these recent scores and I'm like "So, when does the music start?".


----------



## Uiroo

Phil81 said:


> Haven’t heard it yet, but if it’s one of those epic things again, I’m out.


You didn't even spend a minute checking it out before posting?


----------



## gpax

Finished episode 6 tonight. It is like the Friday night TV entertainment I grew up looking forward to: thirty-plus minutes of fun, with shows like The Wild Wild West.

Which is the sentiment I feel with the music, as the creative direction of the writer and director are very much in sync with the composer, IMHO. There are some mixing and production decisions I have questioned, but the themes are not only to scale, they embellish rather than scream “look at my score,” lending itself to a retro vibe that is the serial concept, focusing on a (fun) entertainment factor without succumbing to being derivative (I’m relieved it’s not Williams-esque).

Why can’t the Star Wars universe be a diverse place? To me, the above reimagined scene with JW music someone posted, speaks to a myopic predisposition that the galaxy can only be heard a certain way. Please. And this notion of a so-called Star Wars standard that was invoked? I interpreted that to also mean standardized.

The music is very much the antithesis of those orchestral presumptions, in fact, a direction which I rather enjoy. I also thought “Rocky” when those horns came in during episode one, theorizing that having Carl Weathers cast as Greef Carga might have inadvertently been an influence on the composer, lol. That main theme has been judiciously used so far, which keeps it unique. If and when it does occur, that synth line always makes me smile.

Throughout, the show reminds me of the old 70s TV show, Kung Fu, with David Carradine playing a Buddhist monk becoming a hunted fugitive in the old west - while dealing with his past as his better nature comes into play as well. Potential influences of one my favorites, Morricone, aside, the subtle wind instrument and simple low end beat feels right out of that old TV show.

Anyway, it’s just my impression of how being understated is an art as well. I also love that the opinions are all over the place on this.


----------



## Consona

gpax said:


> Why can’t the Star Wars universe be a diverse place? To me, the above reimagined scene with JW music someone posted, speaks to a myopic predisposition that the galaxy can only be heard a certain way. Please. And this notion of a so-called Star Wars standard that was invoked? I interpreted that to also mean standardized.


I am not against diversity. But just because you make electronic score does not mean the compositions themselves must be crap.

That is the standard I am talking about. Use whatever instruments you want, but >>compose<< something awesome with it. Star Wars were always the pinnacle of film music, but these new composers, well, new, Giacchino is quite an older guy, just are not old-school-level great.

Horner was 29 when composing for Khan, and those compositions rock and are way better than what we have these days for these space films and shows*. Why? All these guys today have Oscars already... And they produce cringe-fests.

I will give the Mandalorian score a listen so I can comment on it as a whole.


*Except for The Orville, well composed music there.


----------



## AEF

gpax said:


> Finished episode 6 tonight. It is like the Friday night TV entertainment I grew up looking forward to: thirty-plus minutes of fun, with shows like The Wild Wild West.
> 
> Which is the sentiment I feel with the music, as the creative direction of the writer and director are very much in sync with the composer, IMHO. There are some mixing and production decisions I have questioned, but the themes are not only to scale, they embellish rather than scream “look at my score,” lending itself to a retro vibe that is the serial concept, focusing on a (fun) entertainment factor without succumbing to being derivative (I’m relieved it’s not Williams-esque).
> 
> Why can’t the Star Wars universe be a diverse place? To me, the above reimagined scene with JW music someone posted, speaks to a myopic predisposition that the galaxy can only be heard a certain way. Please. And this notion of a so-called Star Wars standard that was invoked? I interpreted that to also mean standardized.
> 
> The music is very much the antithesis of those orchestral presumptions, in fact, a direction which I rather enjoy. I also thought “Rocky” when those horns came in during episode one, theorizing that having Carl Weathers cast as Greef Carga might have inadvertently been an influence on the composer, lol. That main theme has been judiciously used so far, which keeps it unique. If and when it does occur, that synth line always makes me smile.
> 
> Throughout, the show reminds me of the old 70s TV show, Kung Fu, with David Carradine playing a Buddhist monk becoming a hunted fugitive in the old west - while dealing with his past as his better nature comes into play as well. Potential influences of one my favorites, Morricone, aside, the subtle wind instrument and simple low end beat feels right out of that old TV show.
> 
> Anyway, it’s just my impression of how being understated is an art as well. I also love that the opinions are all over the place on this.



The score is far from understated. It sticks out, and the rhythmic bed is basically omnipresent.


----------



## handz

I saw all the episodes so far, the music still bothers me. When it is fully orchestrated it is quite nice but the weird sci-fi-western style annoys me, would work in some Cartoon Network animated series like Samurai Jack but in this... oof.


----------



## handz

Nils Neumann said:


> Really unnecessary comment.



It is a very accurate comment. This is what Disney is doing with SW now (it's not even secret, they practically showed the middle finger to Lucas and everything he did ). They make it more accessible to their younger audience, hence the horrible new episodes with a horrible new character. I am also surprised there is not hip-hop playing already in the movies.


----------



## VinRice

Nope. The score is still weird. You get some nice orchestral themes now and then (still strangely mixed) and then some really half-assed drum loop and synth arpeggiation - oh now lets throw in a spanish guitar to hammer home the spaghetti-western trope. The thing is, half the time it doesn't even look scored to picture - as if the editor put it in as best he could like a temp. Maybe that explains the disconnect between (some) people liking the score recording and the poor quality of the finished product. I suspect there has been some real budget/time pressure on the end of this project. Perhaps the CG costs spiralled. Who knows? At least the baby-yoda merchandising bonanza will free up some cash for next season.


----------



## gpax

AEF said:


> The score is far from understated. It sticks out, and the rhythmic bed is basically omnipresent.


Compositionally (or orchestrally) understated, I mean, compared to the superimposed Williams track someone created. But none of this discussion is unexpected, and I was waiting for this thread to start : ) 

The point here isn’t to agree, but to discuss, of course. I am rather fond of that rhythmic bed, perhaps buying into the whole spaghetti western genre in the first episode. It’s the gunslinger pulse.


----------



## Kery Michael

I don't know if this has been said yet, but this discussion reminds me of the opening music for the TV show Firefly. Which was also supposed to be a combo space-western style of music. But it was just awful. Made me want to turn the volume down when the show was starting, was embarrassing. Probably one of the reasons the show didn't get past the first season.

Haven't seen Mandalorian, don't have Disney+. Heard some of the music on youtube, I liked how it started but then this annoying bass guitar kicked in. I'll have to listen to some more before I have any real opinion.


----------



## KEM

Ludwig is gonna end up being the greatest to ever do it...


----------



## Greg

Not something I would listen to on purpose but damn do I appreciate the breath of fresh air and eccentric creativity he brings to all his projects. I would love to hear his more serious and sombre side of writing someday. Or maybe I missed it somewhere?


----------



## j_kranz

KEM said:


> Ludwig is gonna end up being the greatest to ever do it...



Aaaaaand he's scoring the next Christopher Nolan film... dude is on a roll for sure.


----------



## KEM

j_kranz said:


> Aaaaaand he's scoring the next Christopher Nolan film... dude is on a roll for sure.



I haven’t seen the prologue in an actual theater yet, but just from watching a terrible camrip on my phone I can already tell it’s amazing. I truly believe that Ludwig will be the best to ever do this, he’s just doing everything right so far.


----------



## davidson

He's the current hotness for sure.


----------



## VinRice

I must have woken up in an alternate universe.


----------



## Consona

KEM said:


> I haven’t seen the prologue in an actual theater yet, but just from watching a terrible camrip on my phone I can already tell it’s amazing. I truly believe that Ludwig will be the best to ever do this, he’s just doing everything right so far.


Amazing? In what manner? Production-wise? Yes, it sounds great. Composition-wise? It's trash. Just another modern trendy sound-designy synth arpeggio + perc "loops". Does is work with the movie? Yes, so mission accomplished. Does it sound cool? It does. So I won't rant againt it. But... is it just another repetitive, harmonically plain, non-developmental, non-melodic film music? Yes. Nothing amazing about that in this regard.


----------



## KEM

Consona said:


> Amazing? In what manner? Production-wise? Yes, it sounds great. Composition-wise? It's trash. Just another modern trendy sound-designy synth arpeggio + perc "loops". Does is work with the movie? Yes, so mission accomplished. Does it sound cool? It does. So I won't rant againt it. But... is it just another repetitive, harmonically plain, non-developmental, non-melodic film music? Yes. Nothing amazing about that in this regard.



The goal of a media composer isn’t to write amazing compositions on their own, it’s to write music that serves the project seamlessly, and Ludwig does this very well, better than most in my opinion.


----------



## tebling

KEM said:


> The goal of a media composer isn’t to write amazing compositions on their own, it’s to write music that serves the project seamlessly, and Ludwig does this very well, better than most in my opinion.



John Powell strongly disagrees with you. As he stated in the Mix With The Masters interview, his goal is to do both: to create music that serves the picture, but also stands on its own. Personally I think he has succeeded with that on many occasions.

However I think there are many composers who would agree with you - so it's worth calling out that different composers have different goals.


----------



## KEM

tebling said:


> John Powell strongly disagrees with you. As he stated in the Mix With The Masters interview, his goal is to do both: to create music that serves the picture, but also stands on its own. Personally I think he has succeeded with that on many occasions.
> 
> However I think there are many composers who would agree with you - so it's worth calling out that different composers have different goals.



Absolutely, and many directors and producers do as well, so it's really up to what everyone wants the project to be.


----------



## TomaeusD

I'm not feeling it. My honest impression is that it feels generic and won't age well, like it's actually detracting from the show. Not just the synth arpeggios and the bombastic percussion, but the orchestration gives the show B-movie vibes. I'm hoping it gets better as I watch more!


----------



## KEM

I find this so much more enjoyable and unique than anything that's every been written for something Star Wars before


----------



## Fever Phoenix

In my humble oppinion the show and the score are brilliant.

First episode I was ambivalent about scenario and sound design. I didn't like flute and synths combined with a star warsy feel in the beginning, really. But following through story and character developement and how the music is one with it (to me), I celebrate this production.

Also, please consider how many people have a say in what we see and hear in the end and many times as a composer you have to find the middle ground between all the demands.

I really came to like this score and the title theme works very well.


----------



## ManicMiner

hmmm, not a huge fan of this sorry.
too dry, and draws attention to itself a little too much... imho


----------



## KEM

ManicMiner said:


> hmmm, not a huge fan of this sorry.
> too dry, and draws attention to itself a little too much... imho



Funny, this is exactly how I feel about everything John Williams writes, and I think Ludwig did the exact opposite.


----------



## chillbot

Fever Phoenix said:


> Also, please consider how many people have a say in what we see and hear in the end and many times as a composer you have to find the middle ground between all the demands.


Agree with this 100%.

I think, or assume, that with the top-tier composers, in film at least, you hire JW or HZ or John Powell or Tommy Newman because you want that sound and you give them free reign to do their thing.

But with this series in particular, a TV series that is literally launching Disney+ and 90% of the reason most of us subscribed, there are SO MANY cooks in the kitchen. I've been around it enough on a much smaller scale. It's fine to critic the music, but not to pin it for better or worse on Ludwig. I would assure you that all of these people had a hand in it.






Also there was a point for me, I think it started epsiode 4, where the music shifted so much I wondered if it got handed off to a team or to ghostwriters, who knows.

For the record I love the musical direction they went in but did not agree so much with the execution of it.


----------



## AlexRuger

I'm really, really happy for Ludvig to have landed a job like this. He seems like a really cool guy, writes fantastic music, and is super versatile. Community, Childish Gambino, Black Panther, scoring Nolan's next film Tenet...mam, what a career, and he's still young as hell.

I've been watching Mando and I _really _like the show. I think it's the best of the Star Wars Disney stuff by a good margin. However -- and I mean no disrespect to Ludvig at all here -- I think the music is mostly wrong.

Don't get me wrong, on its own it's well written and produced. He hits the pictures well. And I appreciate him trying something different, too -- the whole Morricone sound is a nice take, and it's at least a cool experiment to see how, say, synths and ostinatos match up with the Star Wars universe.

Thing is, they just don't, regardless of who's writing it. At least I don't think so. I was honestly a little surprised at how visceral my reaction was, and how little it's changed over the course of the season. I've warmed up to it, but only slightly, and I still find myself missing the nimbleness that JW brings. But there's just something about the entirety of this universe (no matter the interpretation) and how tightly-woven it is with JW's sound. It _is _a part of the universe, just as much as droids and space ships and Jedi and the Force and bounty hunters and weird aliens and everything else. And it just somehow feels utterly necessary.

It doesn't ruin it for me at all, and in many ways adds to the subtle-but-totally-nailed "90's TV show" vibe of it. Again, I think it's good music. It just drags the show slightly outside of the definition of Star Wars.

Still, big round of applause for Ludvig, and I do hope that at some point we can find a musical direction that fits the universe (or the universe evolves in such a way that another musical direction feels just as appropriate as JW does to what we currently think of as "Star Wars"). More variety is what's going to keep Star Wars alive, seeing as the Skywalker saga is bloated and stale thanks to everyone in the world having an opinion about how it should have gone. Time to move on or let the franchise die, and the latter will never, ever happen.


----------



## AlexRuger

chillbot said:


> I think, or assume, that with the top-tier composers, in film at least, you hire JW or HZ or John Powell or Tommy Newman because you want that sound and you give them free reign to do their thing.



Eehhhh you'd be surprised. In my experience, the top dogs (none of those gentleman, though) deal with just as much bullshit and "cooks in the kitchen" as everyone else.

Edit: to be clear, I meant that I've worked under some of the "top dogs," but never under JW/HZ/JP/TN.


----------



## chillbot

AlexRuger said:


> Eehhhh you'd be surprised. In my experience, the top dogs (none of those gentleman, though) deal with just as much bullshit and "cooks in the kitchen" as everyone else.


When I was referring to "top tier" I was really thinking of those four specifically. But yes, understood.



AlexRuger said:


> I mean no disrespect to Ludvig at all here -- I think the music is mostly wrong.


I agree the music is "wrong" but there is something about it... it also feels very "wrong" that we never see the guy (who is a great actor) under the mask... keep waiting for it. So I dunno, the music being "wrong" almost makes it feel right in some way. I feel like the producers f-ed it up without committing to one direction or the other, they tried to bridge the gap in a way that just didn't work for me.


----------



## AlexRuger

Hmm, interesting point. I see what you meant...it's a subtle thing.

That said, Mando never removing his mask hasn't bothered me one bit. Could be that I grew up reading a lot of the Star Wars EU stuff, though, and it's pretty seared into my brain that Mandalorians never remove their helmets. So it just feels normal and correct.


----------



## KEM

I think Ludwig perfectly captures the tone of this series, a John Williams styled score would not have fit this at all, it’s much darker in tone and Ludwig complements that, as great as John Williams is he only has one style and I don’t think it would’ve worked with what this series was going for. Also, Ludwig used an 808 in Star Wars, I can’t really think of anything cooler than that! The Mandalorian isn’t supposed to be typical Star Wars content, and Ludwig isn’t your typical film composer either...


----------



## rotho

I haven't seen any of this show, but after listening to that main theme I kinda want to.
Baby yoda had put me off until now. But this makes me imagine a cool show.

I think sometimes it all just comes down to finding a cool riff.
I think its also cool its more raw and dry, makes it feel more dirty.
Its definitely pushing some 80s tv theme buttons for me as well as the western stuff, but it doesn't feel pastiche like.

I have no idea how all this works to picture however..


----------



## Kent

KEM said:


> as great as John Williams is he only has one style


I’m not sure I understand at all what you mean by this. Can you elaborate?


----------



## KEM

kmaster said:


> I’m not sure I understand at all what you mean by this. Can you elaborate?



When I see John Williams name on a score I know what to expect, he’s amazing at what he does but he only really does one thing, Star Wars, Indiana Jones, ET, Jurassic Park, etc. all pretty much sound the same, you could interchange the music from any of those films and they’d all work, and this goes for most of his work. As skilled as he is I just don’t get excited by his music because I know what I’m gonna get out of it. I study his work because there’s so much to learn from it, but I don’t really enjoy listening to his music because it’s just uninteresting to me.


----------



## Bernard Duc

The Mandalorian is, and by far, my favorite score of the year (I haven't checked Hildur Guðnadóttir's work yet). Musically and sonically it's brilliant, and to me it fits the show perfectly.


----------



## sherief83

I Find it hilarious that a forum full of composers working in the media hating on the score saying its all wrong and off...well of course its all wrong and off to each one of us because we're judging it with our own what would WE have done? 

So different takes for sure, its inevitable and if Ludwig is reading this...dude wrong crowd to get approval from. 

personally, i'm fine with the score, it is pushing a 80s/70s main theme vibe to me but with filtered through the usual modern synth takes and ludwig even snuck an 808 there which I was laughing at. 

My only criticism for ludwig has nothing to do with his color choices of music but rather, HIS absolutely no use of john william's themes. 

Come on man...Baby yoda using the force....give me a hint of the force theme pretty please? 

don't be locked in to your own "i'm doing my own thing" some themes just transcends us and unlike the above posts critiquing williams sounding alike...his themes are his hooks, you can take away all his orchestration if you want but you still got to remind us of the themes...gotta give us something to tell us we are in a starwars universe and john williams themes ARE part of the star wars universe. its the FORCE it self reacting to the event of the movie. 

Thats my only criticism. Everything else is up to the composer and what he deems best and I think Ludwig knows what he is doing just don't disconnect us very far from william's themes is all.


----------



## Consona

Finally watching the show.
Is it just me or did the music improved dramatically since the episode 4? The first 3 episodes were this cliche irritating simplistic synth patterns + big loud drums stuff, then suddenly in episode 4 it all started to be way more orchestral, tonal and musical.


----------



## Consona

Man I'd swear those 3 episodes and the rest of the show were not scored by the same person.


----------



## Fever Phoenix

Consona said:


> Finally watching the show.
> Is it just me or did the music improved dramatically since the episode 4? The first 3 episodes were this cliche irritating simplistic synth patterns + big loud drums stuff, then suddenly in episode 4 it all started to be way more orchestral, tonal and musical.


I kinda felt similar, but probably this is not up to the composer


----------



## babylonwaves

The music evolved, that’s for sure. It’s an interesting point. Lovely score. Different and interesting.

And KEM, saying that JW has a sound and its „one thing“ is right and very wrong at the same time. Those things sound the same because this composer has a style. the themes are totally different. The don’t sound the same.


----------



## KEM

babylonwaves said:


> The music evolved, that’s for sure. It’s an interesting point. Lovely score. Different and interesting.
> 
> And KEM, saying that JW has a sound and its „one thing“ is right and very wrong at the same time. Those things sound the same because this composer has a style. the themes are totally different. The don’t sound the same.



I was talking about this very thing with someone the other day, I think there’s a big difference between having a “sound” and having a “style”, John Williams has a sound and a style, and he sticks too it, this isn’t necessarily a bad thing, I just personally find it uninteresting. I like composers that switch up their sound with different orchestral palates, different synth sounds, different ethnic instruments etc. but still keep their style the same, like harmonic progressions, modal usage, etc.


----------



## jononotbono

I am actually digging it more and more as I get towards the end. On episode 6 now! And I think the music is getting better. Or maybe I’m just getting used to these new musical vibes. Hopefully many different Star Wars shows will get made, all with interlinking story lines, and plenty of new musical opportunities opening up!


----------



## Alex Fraser

Just rounded out the series. In the last couple of episodes, there's some beautiful cues that had me winding back the picture to hear again.

If you have access to Apple Music/Spotify, check out the final track on EP8: "The Baby".
Lovely orchestral cue (but still with that smaller sized ensemble) with some nice 70's soundtrack throwbacks.

FWIW, some of my "non muso" friends have been raving about the soundtrack - the first time I've ever heard them talk about one.


----------



## Consona

People raving about anything means basically nothing these days.

For some people an ever-repeating low synth + loud drums is the pinnacle of movie scoring. And they rave about it and want more of it. That's why people that can't compose s**t compared to Rozsa or Korngold have careers nowadays.


Guys, have you noticed the Star Trek tonality at the beginning of the 7th chapter of Mandalorian?  Gotta be more careful with those intervals. 
I'm glad there's some actual music later in the season.


----------



## STec

Personally, I really like the score, there’s some great textures and themes in there, especially the main theme. I like the “new Morricone” sound. Also, nice blend of orchestral and electronic.


----------



## MA-Simon

Just started to watch...

...really dissapointed with the Mandalorian so far. After all the hype, I expected more.
The episodes are only ~28 minutes each. Gunfights, but nothing else happens.

Coming from watching the Witcher a few days ago, the contrast is really glaring.
Each episode is ~60 minutes, so there is time for good worldbuilding, likable character, fantastic fights choreography and fun.

If it were not for baby yoda, I am not shure I would want to go on watching.


----------



## Dr.Quest

The more I listen to the score the more I like it. At first I thought it might be a little too on the nose with the Spaghetti Western vibe but the more I listen I think it's very cool. His Black Panther score was really great, perfect for that movie. I think this fits the Mandalorian quite nicely.


----------



## VivianaSings

I finally got around to watching it. I was surprised to find out it has a composer...I started to think they were using library stuff because the score sounds so....generic? Like straight generic TV as in you can flip to any hundred throwaway shows on A&E or HGTV or whatever and hear identical scoring. It really doesn't seem to be scored to what's going on and there's no memorable motifs aside from that one flute/shakuhachi sample the keep replaying. Lol it almost reminds me of the old emulator 3 Shakuhachi sample that was everywhere for a minute. Hell, even I was guilty of that.

I get the Rocky reference though - I did get a kick how often the score quotes "Going the Distance" from Rocky for some strange reason.

The story is kinda blah...it feels likes like a fan made youtube series. It's like "How many original trilogy Star Wars references can we jam into every 10 seconds" to the point it feels really forced (No pun intended). It's kinda a straight rip off of "Lone wolf and cub" mixed with star wars fan fiction.

I, too, was kinda let down considering the hype but if you compare it to the mess that's the recent trilogy, I guess I can see why people are flipping out over something star wars that's not a complete mess.


----------



## Pier

I will give it a listen on its own but wasn't very impressed when I saw a couple of the episodes. In part because watching Star Wars without a John Williams score felt weird but also because the score seemed to be all over the place. Here's a little Williams fanfare, here's some modern hybrid stuff, here's an Enio Morricone type of vibe.

IMO they should have either stayed true to the Star Wars form and get a very good Williams imitator, or do something completely different with a consistent form and tone.

I also felt the episodes were too short and the story rushed. 30 mins is closer to the 20 mins of comedy shows than the 45-50 mins of drama. We got bored at home after 5-6 episodes and haven't finished the season.


----------



## KEM

I love all of it


----------



## davidson




----------



## Beluga

Tone-deaf here as well! :D But I'll give the composer the credit that it's really hard to follow in the footsteps (or not) of John Williams. It really shows how much the music of JW brings to the visuals and that this depth is totally missing here.


----------



## KEM

I’ve been listening to the scores for each episode and the more I listen the more I love them, maybe I’m just turning into a huge fanboy ever since it was announced that he was scoring Tenet, but Ludwig is really making some of the best scores in Hollywood right now.


----------



## Eptesicus

Just finished binge watching this on a Disney plus trial .

I thought the score was amazing. At first I thought "hm, not sure" but as the series went on and the themes got developed I loved it. Unique, memorable, different (but in a good way) . It sounded gritty and unpolished, but memorable and exciting just like the mandolorian's life!

I literally can't get the main theme out of my head. Its one of the most memorable scores I've heard for years.


----------



## Macrawn

I like the start of that track, but then it turns into a very generic adventure sound that I've heard a million times over, that everyone seems to make or do around here.


----------



## KEM

So good


----------



## Loïc D

Eptesicus said:


> I literally can't get the main theme out of my head. Its one of the most memorable scores I've heard for years.


Same for me.
That is a f***cking good score and that bass recorder leitmotiv is brilliant.
I didn’t expect much from this series but I enjoyed every bit of it.

Now I’m gonna binge-watch the Clone Wars (original & reboot).


----------



## olvra

It seems he started using the best DAW now:


----------



## David Kudell

olvra said:


> It seems he started using the best DAW now:



Great video! I love that they shot in front of the giant 300º video wall.


----------



## KEM

olvra said:


> It seems he started using the best DAW now:




He has been for awhile now actually


----------



## gussunkri

I couldn’t tell, what DAW is it?


----------



## KEM

gussunkri said:


> I couldn’t tell, what DAW is it?



Cubase


----------



## gussunkri

I couldn’t tell, what DAW is it?


KEM said:


> Cubase


Thanks! I have not used Cubase in 15 years and was seeing it on my iPhone so I couldn’t tell.


----------



## SupremeFist

Loïc D said:


> Same for me.
> That is a f***cking good score and that bass recorder leitmotiv is brilliant.
> I didn’t expect much from this series but I enjoyed every bit of it.
> 
> Now I’m gonna binge-watch the Clone Wars (original & reboot).


I loved the score (I'm a sucker for catchy tunes as themes) and the series as a whole is by far my favourite Star Wars content since The Empire Strikes Back. Result!


----------



## MauroPantin

Disney+ still hasn't launched here, so all I can comment on is the score without much context (although the internet already spoiled the entire season for me).

It's quite commendable to find a way to make this sound palette fit in the Star Wars universe, and I think that is in part why it took me a second. There's a very clear "Star Wars" sound I have in my head and it's been there for years. Anything outside of that sort of breaks the fourth wall for me. It's definitely not trying to be JW, but it has enough elements of that, and then there's all this new stuff that is totally not in the SW musical vocabulary. I kind love it, to be honest. Took me a couple of listens to get it, but I love it.


----------



## I like music

I snippets of the score before watching it, and I wasn't impressed at all. Then I watched it, and listened to the score properly. Now I love it.

I have no idea why, because the sound and the style (even the more standard stuff) shouldn't work for me (knowing what I know about what I tend to like). But here we are. I'm only a few episodes in, but very impressed by what I've heard. Also, after watching it, I'm glad he went the way he did. These are words I never expected to be typing.


----------



## Kevin Thurman

So happy to finally see some really good mainstream modern hybrid film music that isn't just boring string ostinatos and BWAAAAAAAMMM


----------



## KEM

Kevin Thurman said:


> So happy to finally see some really good mainstream modern hybrid film music that isn't just boring string ostinatos and BWAAAAAAAMMM



Ludwig is reinventing that wheel


----------



## Consona

The score in the first few episodes is horrible, the typical drones + big drums, all loops bullshit.

But as the show progresses the music gets better and better.

I wouldn't say he's reinventing anything, he's just using the same sound palette guys were working with 25 years ago. The Goldsmith TNG era is probably the most colourful scoring, he used all of the orchestral stuff (yes, even woodwinds), plus various weird/nontraditional/custom acoustic instruments, plus synths and whatnot.

But you young guys cannot know that because the old music is, of course, unlistenable... 

Compositions-wise Göransson is still not there, but to me, he shows way more promise than Giacchino or those Remote Control guys. I hope he gets better and better so we have someone who can compose for the stuff Goldsmith/Horner/Williams were composing for, without it being a travesty.


----------



## I like music

Consona said:


> The score in the first few episodes is horrible, the typical drones + big drums, all loops bullshit.
> 
> But as the show progresses the music gets better and better.
> 
> I wouldn't say he's reinventing anything, he's just using the same sound palette guys were working with 25 years ago. The Goldsmith TNG era is probably the most colourful scoring, he used all of the orchestral stuff (yes, even woodwinds), plus various weird/nontraditional/custom acoustic instruments, plus synths and whatnot.
> 
> But you young guys cannot know that because the old music is, of course, unlistenable...
> 
> Compositions-wise Göransson is still not there, but to me, he shows way more promise than Giacchino or those Remote Control guys. I hope he gets better and better so we have someone who can compose for the stuff Goldsmith/Horner/Williams were composing for, without it being a travesty.



So far I see him as a guy who will end up writing stuff that is _somewhat_ like the big guys you mentioned there, but not as accomplished. I personally am not likely to ever find it as good as the stuff Goldsmith/Horner/Williams knocked out. But I am trying very hard to put my biases aside and really listen. So far, I'll take what he's writing vs the more RC stuff, and call it a mercy. He's young so I believe we have plenty of opportunity to hear other stuff he does. He did Black Panther right? See, I didn't enjoy that. Something was amiss.

I don't know what his background is, but the composers I like all seem to have had a very traditional musical upbringing to start with (and inspirations that were using the full orchestra up and down). Who knows, but someone to watch out for. So far so good with Mandalorian.


----------



## KEM

I like music said:


> So far I see him as a guy who will end up writing stuff that is _somewhat_ like the big guys you mentioned there, but not as accomplished. I personally am not likely to ever find it as good as the stuff Goldsmith/Horner/Williams knocked out. But I am trying very hard to put my biases aside and really listen. So far, I'll take what he's writing vs the more RC stuff, and call it a mercy. He's young so I believe we have plenty of opportunity to hear other stuff he does. He did Black Panther right? See, I didn't enjoy that. Something was amiss.
> 
> I don't know what his background is, but the composers I like all seem to have had a very traditional musical upbringing to start with (and inspirations that were using the full orchestra up and down). Who knows, but someone to watch out for. So far so good with Mandalorian.



Ludwig actually started out as a metal guitarist, like most famous Swedish musicians haha. He got into film scoring when he was given the opportunity to write for a live orchestra in high school, and after that he moved to LA to attend USC and then started working as an assistant for Theodore Shapiro, which I think definitely contributed to his style, and around this time is when he also started working with Childish Gambino which is probably the biggest influence on him stylistically, hip hop is really in all of his stuff, including his film scores, and that to me is what sets him apart. Like, he actually used an 808 in Star Wars, nobody else would ever dare use an 808 in Star Wars, but he did, and he made it work extremely well. Black Panther, Venom, Creed, etc. all have hip hop elements , I won’t even be surprised if he uses an 808 or a trap snare in Tenet haha!!

Basically I’m just a Ludwig fanboy, he’s definitely my favorite.


----------



## Consona

I like music said:


> So far I see him as a guy who will end up writing stuff that is _somewhat_ like the big guys you mentioned there, but not as accomplished. I personally am not likely to ever find it as good as the stuff Goldsmith/Horner/Williams knocked out. But I am trying very hard to put my biases aside and really listen. So far, I'll take what he's writing vs the more RC stuff, and call it a mercy. He's young so I believe we have plenty of opportunity to hear other stuff he does. He did Black Panther right? See, I didn't enjoy that. Something was amiss.
> 
> I don't know what his background is, but the composers I like all seem to have had a very traditional musical upbringing to start with (and inspirations that were using the full orchestra up and down). Who knows, but someone to watch out for. So far so good with Mandalorian.


Black Panther soundtrack was weak, yea, didn't he win an Oscar for it? 

He has no jazzy/classical background those old-school guys had. Despite that, some of his Manda music sounded better than the whole Star Trek Into Darkness finale.

I just hope he tries to improve, otherwise... well, I'm not going to the movies anymore anyway, can't stand that modern bland Disney cringe they are producing with Star Wars, Marvel, etc., but I've got so far, that I'm just not going to see the movies since I know the music will irritate me so much... like during MI Fallout, Aquaman or those new Rambo movies, jeez... that I'd want to leave the cinema rather than sitting through that experience. :D

This whole industry starts to suck so much. MCU guys are getting Star Wars films. Disney bought rights to Predator, Alien, Apes and stuff, jeeeeeeeeeeeez, this really stinks, can't wait for family friendly Predator inside vapid MCU flicks, ughhh. Star Trek is totally ruined by Abrams, his co-workers and CBS... Good sci-fi films like Villeneuve's Blade Runner make so little money at BO that they are basically unsustainable (shame the music was nothing to write home about, the only standout were like 5 seconds at the end, where they used the Vangelis' theme, othewise I can't recall even one solid musical idea, hope Dune is not this drony nonsense as well). At least ATT brought Snyder back, so we can get some interesting comicbook stuff again. And Nolan is still there, thank god, can't wait for Tenet, which is scored by Göransson actually, but we know it's gonna be this modern hybrid stuff, hope it's at least somewhat inventive...

But not many, if any, directors push composers to make more classical writing. You basically must want to study that yourself... Please, someone, buy these big hollywood composers some Mike Verta classes.


----------



## KEM

Consona said:


> Black Panther soundtrack was weak, yea, didn't he win an Oscar for it?
> 
> He has no jazzy/classical background those old-school guys had. Despite that, some of his Manda music sounded better than the whole Star Trek Into Darkness finale.
> 
> I just hope he tries to improve, otherwise... well, I'm not going to the movies anymore anyway, can't stand that modern bland Disney cringe they are producing with Star Wars, Marvel, etc., but I've got so far, that I'm just not going to see the movies since I know the music will irritate me so much... like during MI Fallout, Aquaman or those new Rambo movies, jeez... that I'd want to leave the cinema rather than sitting through that experience. :D
> 
> This whole industry starts to suck so much. MCU guys are getting Star Wars films. Disney bought rights to Predator, Alien, Apes and stuff, jeeeeeeeeeeeez, this really stinks, can't wait for family friendly Predator inside vapid MCU flicks, ughhh. Star Trek is totally ruined by Abrams, his co-workers and CBS... Good sci-fi films like Villeneuve's Blade Runner make so little money at BO that they are basically unsustainable (shame the music was nothing to write home about, the only standout were like 5 seconds at the end, where they used the Vangelis' theme, othewise I can't recall even one solid musical idea, hope Dune is not this drony nonsense as well). At least ATT brought Snyder back, so we can get some interesting comicbook stuff again. And Nolan is still there, thank god, can't wait for Tenet, which is scored by Göransson actually, but we know it's gonna be this modern hybrid stuff, hope it's at least somewhat inventive...
> 
> But not many, if any, directors push composers to make more classical writing. You basically must want to study that yourself... Please, someone, buy these big hollywood composers some Mike Verta classes.



If the trailers and prologue are anything to go by, I’d imagine you’re going to absolutely hate the score for Tenet (which I am already in love with haha)


----------



## Consona

Nolan was actually like that since his first film Following. Already a classic Nolan movie, accompanied with electronic loops "music".  

Dunno why he likes the minimalistic approach so much. He's probably my fave filmmaker, yet he's totally anti-old-school when it comes to film music. When he was talking about TDK, he said he does not cut to the music, he feels the scenes are always way longer than he wants them to be. Which is the exact opposite of Star Wars' binary sunset, etc. And it's the exact opposite of the stuff which inspired him to become a filmmakers, like 2001 Space Odyssey (overly long shots with classical music), old Star Wars (very musical films), etc.

What I find very funny is him saying he does not want music to distract viewers from the film... and then he hires Hans Zimmer who blows the cinema roof out of its foundations.  At least Zimmer's music always sounds cool and badass.

Hope Göransson's stuff will be at least somewhat similar in that manner.
What can I do, I know it will be sound design rhythmical noises all over the place, but maybe Göransson won't make it awfully generic.
And I'm not saying all films have to have the same classical scores. My problem with hybrid stuff is, it almost always slips into repetitive minimalism, for some reason, which does not have to be the case!!!

Funny thing is, Zimmer declined Tenet due to having way too many films to do, when now, due to covid, I bet he would have plenty time to score it.


----------



## MauroPantin

I think there is a variable we sometimes fail to discuss, which is directors and producers. I did not like the Black Panther soundtrack either, but I rarely like the soundtrack of any of the superhero film franchises. I mean, some of them have moments, but for the most part they sound completely bland and unoriginal. Superhero films are hardly film-making in the artistic sense, they are money-printing machines for studios, the bulk of the artistry is in the VFX. Thinking about it I can only recall from memory the Avengers theme and it takes me a few seconds to do it after four mammoth films... That is Alan Silvestri's work, anybody would be hard pressed to find him at fault. I believe superhero films are not the best way to judge a composer's potential.

The industry is a bit trapped in a feedback loop that has a very distinctive (and boring, IMO) recipe. A lot of prominent filmmakers are going for "tone" rather than music, they want it out of the way in a very functional role. There are a few exceptions to this, and even then none to challenge the big names of the golden era. And that's the other thing: Training and craft. There's simply no one out there that I can think of that right now possesses the skills and the midas touch to do this thing consistently in the legendary way we think about the old guard. But, there are a few of names with potential and I believe Göransson is one of them. So, maybe let's give him 20 years to get old and wise? I think for now the Mando score does more for modern scoring than anything in the last few years.


----------



## KEM

Consona said:


> Funny thing is, Zimmer declined Tenet due to having way too many films to do, when now, due to covid, I bet he would have plenty time to score it.



Pretty sure that was just a PR response and not at all the case, I’m not going to speak for Hans, but if you think about it...


----------



## Consona

MauroPantin said:


> I think there is a variable we sometimes fail to discuss, which is directors and producers. I did not like the Black Panther soundtrack either, but I rarely like the soundtrack of any of the superhero film franchises. I mean, some of them have moments, but for the most part they sound completely bland and unoriginal. Superhero films are hardly film-making in the artistic sense, they are money-printing machines for studios, the bulk of the artistry is in the VFX. Thinking about it I can only recall from memory the Avengers theme and it takes me a few seconds to do it after four mammoth films... That is Alan Silvestri's work, anybody would be hard pressed to find him at fault. I believe superhero films are not the best way to judge a composer's potential.
> 
> The industry is a bit trapped in a feedback loop that has a very distinctive (and boring, IMO) recipe. A lot of prominent filmmakers are going for "tone" rather than music, they want it out of the way in a very functional role. There are a few exceptions to this, and even then none to challenge the big names of the golden era. And that's the other thing: Training and craft. There's simply no one out there that I can think of that right now possesses the skills and the midas touch to do this thing consistently in the legendary way we think about the old guard. But, there are a few of names with potential and I believe Göransson is one of them. So, maybe let's give him 20 years to get old and wise? I think for now the Mando score does more for modern scoring than anything in the last few years.


Well, there are people like Mike Verta, who can put together totally legit non-pastiche symphonic pieces no problem, go watch his Impressions or How to score a film in 7 days classes, he pulls Goldsmith or Horner stuff out of his sleeve like it's his middle name.

Yet do you see someone like him making Star Trek or Star Wars movies? No. Not that he would like to, he does not like those new films, but I'm speaking about some principles here.
In principle, you have people who can make way better stuff than what we have but directors just don't care, or can't discern the difference or I don't know...
Some level of quality drops go beyond the line of being a travesty, can't describe that any other way, yet, those composres get rehired all the time... Go figure.

Like have you heard this?


If this is not a parody than I don't know what it is. That part from 0:35 is TOTAL F***ING CRINGE.





Did someone got even paid for this? How could anybody approve this?... It's beyond comprehension to me.


Or Giacchino's Star Trek. Jeez. So stiff and clumsy, and every time he tries to pull some of the more richer harmonies off it sounds like the whole orchestra bends out of tune.


It's literally painful to listen to it.


Now, compare it to this pure f***ing gold we got not even 15 years before that:


0:48 fricking legendary!

Or this splendid action piece:



Game over, boys. Throw your Oscars, Grammys and Emmys into the trash bin, go home and start transcribing that s**t, learn a thing or two from it. 


Horner, in his late 20s, was making better music than these guys in their 40s and 50s.


You knows, those flipping coherent rich symphonic pieces...


Don't tell me I have to wait another 20 years for things to get better.









And why the f**k am I even ranting?.. Like anything could chance or something... 



KEM said:


> Pretty sure that was just a PR response and not at all the case, I’m not going to speak for Hans, but if you think about it...


Ok, spin some conspiracy theories here since I can't come up with any good idea why would HZ not want to score Tenet.


----------



## MauroPantin

@Consona I get where you're coming from. I think Mike Verta is great, he definitely has the chops. I have his classes and he's very knowledgeable, he has the training. But I also believe that the golden age guys have so much more than just that.

What I mean by craft is the rest of the gig. Spotting properly and having a good sense of drama. Holding the director o producers hand and reassuring them that things are going to be okay. The networking and knowing who to work with, to say no to the right people. Navigating the politics. All of these legendary guys did it. Probably even hated it but they did it anyway. 

I think Horner is the one that if you listen carefully in his interviews, he always gave a little insight into that nasty part of the process. The Aliens BTS comes to mind but there are other interviews with a similar demeanor. Still, he played the game. As much as Mike has fantastic chops he is (apparently) not willing to do all of that, which is understandable, of course.

Directors and producers do not think of music in the center stage as cool. Right now the zeitgeist is that it has to be in the background providing tone and melody is the enemy. And as far as I can see there hasn't been any new kid on the block with both a) the chops to defy that paradigm and b) the balls to give it a shot and show them that it could work. People either don't have what it takes to produce something in that vein, or they do, but they shut up and load the Taiko Ensemble patch when they meet resistance, and it is understandable, too. Step 1 is to keep the gig. 

And it gets crazier. These days, with the technology and facilities it provides you could write the music and show it to them in it's almost complete form BEFORE going into an expensive recording session. It would take some time, but any of these guys can afford a great mockup. The old guard had to play it on the piano as best as they could and then just say "It's gonna work, trust me". The balls of these people!

I think Hans has said in a couple of interviews that he skipped on Tennet to work in Dune. I'm not sure what the conspiracy theories are, but this seems very true to me: If you are a fan of sci-fi and you get the chance to work in Dune (with the right people to make it into the film it deserves to be) you drop everything and you take it.


----------



## KEM

Emmy nom for Mando!! Well deserved and I think it should easily win


----------



## Simeon

Consona said:


> Funny thing is, Zimmer declined Tenet due to having way too many films to do, when now, due to covid, I bet he would have plenty time to score it.



I recall an article that mentioned Hans was offered to score the upcoming production of Dune which he really wanted to do.


----------



## Consona

Simeon said:


> I recall an article that mentioned Hans was offered to score the upcoming production of Dune which he really wanted to do.


So?


----------



## Simeon

He had to choose between TeneT and Dune, so he chose Dune ;^)









Hans Zimmer Turned Down Christopher Nolan’s ‘Tenet’ Because He Couldn’t Say No to ‘Dune’


The action epic “Tenet” will be the first Nolan movie not scored by Zimmer since 2006’s “The Prestige.”




www.indiewire.com


----------



## Terry93D

MauroPantin said:


> @Consona As much as Mike has fantastic chops he is (apparently) not willing to do all of that, which is understandable, of course.


He's also said that he refuses to score a film if he can not get a finished beginning-to-end cut of it. So that probably doesn't help either.


----------



## Living Fossil

Came across this youtube video recently, which has nothing to do with the soundtrack in question but gives an interesting insight into LG's workflow:


----------



## davidson

Also...


----------



## KEM

Composer Ludwig Göransson On Recreating John Williams Magic For ‘The Mandalorian,’ Finishing ‘Tenet’ In Quarantine & Takeaways From Working With Christopher Nolan


On The Mandalorian, Ludwig Göransson joined the very small list of composers who have had the chance to put their stamp on the Star Wars universe, crafting a singular sound for the modern space Wes…




deadline.com


----------



## KEM

Ludwig wins the Emmy for his work on The Mandalorian, well deserved!!!


----------



## robgb

KEM said:


> Ludwig wins the Emmy for his work on The Mandalorian, well deserved!!!


Apparently my enthusiasm for the score was warranted.


----------



## Jdiggity1

robgb said:


> Apparently my enthusiasm for the score was warranted.


Rob "I know an emmy-winning score when I hear one" gb


----------



## Christopher Rocky

So I just watched first ep of the new season... And WOW it's like Gorranson has upped the score up to 11, it's freakin amazing!!! Memorable themes, recorded beautifully, and they allowed for more space in the scenes for the music to shine, there's a lot more music. I think Favreau has incorporated gorranson in the show as a main part as opposed to TV cues. It was much more cinematic, I really hope this continues throughout the season.

What did you guys think??


----------



## gussunkri

I am really late to this. I am only three episodes in. At first I felt like the music was really wrong. I guess I really wanted Williams for Star Wars. But I have to admit that the music really grew on me. It is very different, but I can still hear subtle Star Wars elements. I feel like the music exists in the same galaxy as Williams' music. Just a very different part of that galaxy. This music would not have worked for the classic movies of course. But I think it works for this specific series. Well done, Ludwig!


----------



## RogiervG

I don't like the composition to be honest. It's not in the vain/style/genre of the starwars music universe, it sounds very odd in context of it.


----------



## muziksculp

Just a heads up.. *The Mandalorian : Season 2 - Vol.1 (Chapters 9-12) is released !*

By https://www.amazon.com/dp/B00449GXLS/ref=dm_ws_ps_adp (Ludwig Göransson)


----------



## KEM

muziksculp said:


> Just a heads up.. *The Mandalorian : Season 2 - Vol.1 (Chapters 9-12) is released !*
> 
> By https://www.amazon.com/dp/B00449GXLS/ref=dm_ws_ps_adp (Ludwig Göransson)



Been waiting for this!!


----------



## MGdepp

I think the theme for the show was great, but most of the rest of the score is pretty boring and forgettable. It is as if he put a lot of work and effort into making that theme great and then had to hastily finish all the episodes. Especially in the first 4 Episodes of season 2 I was really bored by the music.

Apart from the reoccurring theme everything was very forgettable in season 2, no further memorable tunes or themes, while there were many chances for that. That is not very Starwars-like and by that I do not mean to necessarily copy Williams' symphonic style! No, I find the direction of the theme memorable, different to what is known to be Starwars yet Starwarsy - all at the same time! That is, what makes it great. So, it is regrettable that the season 2 couldn't keep up with that good start, so far ...


----------



## Bman70

It's an interesting, impressive score. I especially like the originality of the beginning. It's odd though because I didn't feel inspired to listen to all of it, even though I was like "wow!" about some of the choices. It seems more appealing in the sense of expert facile use of the tools, than having a lyrical or emotive appeal. Even the "flute" theme in the beginning isn't so much a melody or lyric, as it is a hemiolic play on chords. So there's nothing you'd really walk away humming. Fun stuff though.


----------



## KEM




----------



## KEM

All the music from season 2 is out now and it is absolutely incredible!!


----------



## Andrajas

just started watching the show. man Ludwig is the real deal. Amazing


----------



## KEM

Andrajas said:


> just started watching the show. man Ludwig is the real deal. Amazing



The best in the business!!!


----------



## Andrajas

KEM said:


> The best in the business!!!


Ye, happy to be from the same country as him!


----------



## Rick McGuire

Finally binged this show last week. Great plot and score. At first I wasn’t a fan but it’s grown on me. Interesting to push the Star Wars sonic universe beyond the orchestra for once.


----------



## Nate Johnson

That last cue in the season 2 finale was breathtaking! Nice work, Ludwig!


----------



## JonS

robgb said:


> Composer Takes Music for the ‘Star Wars’ Series ‘The Mandalorian’ to a New Universe
> 
> 
> Ludwig Göransson, the Oscar- and Grammy-winning composer of “Black Panther,” faced a tricky assignment when he took on “The Mandalorian,” the new “Star Wars” series launching this week on the Disne…
> 
> 
> 
> 
> variety.com



I just remember watching this movie and feeling the score did not fit with the picture at all. It feels like it belongs to a completely different movie IMHO.


----------



## proxima

The theme took a while to grow on me, and now I really like it. But I'm struck, having finished season 2, that there are no other themes I can discern. Lots of variation on the main theme, but that's it. It risks being repetitive. Even a reprise of some classic themes, when appropriate, would have been welcome.


----------



## KEM

proxima said:


> The theme took a while to grow on me, and now I really like it. But I'm struck, having finished season 2, that there are no other themes I can discern. Lots of variation on the main theme, but that's it. It risks being repetitive. Even a reprise of some classic themes, when appropriate, would have been welcome.



They did bring back one of them... not going to say anything more though.


----------



## proxima

KEM said:


> They did bring back one of them... not going to say anything more though.


Ah, I think I missed it on first viewing. Thanks!


----------



## KEM

proxima said:


> Ah, I think I missed it on first viewing. Thanks!



Last episode, towards the end. They brought it back perfectly.


----------



## Jorgakis

Finally watched the whole show and I have to say I really liked the soundtrack, although I was absolutely sceptical about it. But I think the main theme is really unusual and great sounding in the orchestral , and in its hybrid form. 
I really liked the balance between really organic soundstage-dry orchestral parts and ofc the electronic side. 

The string arrangement in the last episode is so cool btw.


----------



## Gerbil

I love the recorders in the recent episodes. The counterpoint was fun. 



Spoiler



I almost blubbed at the end. It was like watching E.T. again!


----------



## Kent

KEM said:


> They did bring back one of them... not going to say anything more though.





Spoiler



Two of them. Don't forget Season 1, Episode 3, just over three minutes in, when Kylo Ren's theme appeared for some reason...


----------



## brek

kmaster said:


> Spoiler
> 
> 
> 
> Two of them. Don't forget Season 1, Episode 3, just over three minutes in, when Kylo Ren's theme appeared for some reason...



(No spoilers about the show, just mentioning some leitmotifs that make an appearance)...



Spoiler



March of the Resistance and Yoda's theme make an appearance in Season 2.

I also thought I heard a possible reference to Kylo Ren's redemption theme, but not sure about that one.


----------



## KEM

My favorite tracks


----------



## quickbrownf0x

Hey, I just saw the season 2 finale and this is probably just me, but does anyone else feel the music for that specific episode felt a bit... off? I mean (in the words of Bill Burr/Ol' Billy Staajjjwaaajs 'I'm not trying to be a d*ck here'), I'm not saying I could've made it sound a whole lot better - fat chance; it would be an absolute sh*tshow obviously, but still - I felt Göransson could've done so, since I think overall his work for The Mandalorian, the new themes, etc. are just awesome. Some cues, in S02 I'd go 'Jesus, that's some clever counterpoint, right there, I like!'.

But you know- maybe I'm just an old fart, comparing Williams Apples To Ludwig Oranges, or maybe it's a combination of orchestration, time constraints, the editing and direction, etc. 

But to me, some parts just fell flat and had a real lack of tension, in parts where you'd expect loads of it. During at least two major fight scenes it had me going 'meeh' 🤷‍♂️ instead. It didn't make a whole lot of sense.

Sure, there was a hint and a nod to one particularly famous theme, but that lasted about 5 seconds total. Took me out of the story a bunch of times, along with some very janky CGI.

Anyway, I was just wondering if I'm alone in this. Anyone else think I'm an idiot for saying/thinking this (out loud)?  My wife thinks so - because ahwmagaawd look at how darn cute Baby Yoda was!


----------



## IFM

Well I'm really late and we just started watching Season one yesterday (ep 1 - 6) and will finish the last two tonight for Season 1. I am in the came of I really don't like most of the music. Far too often it took me completely out of the story and I had to work to ignore it.

I know some people liked it, and when there were orchestral parts it finally blended but as soon a the synth loops started I was shocked back out of it. 

I'm hoping what you all say about Season 2 is that it finally improves but honestly, it just doesn't match what I'm seeing. I'm not saying the music is awful, but rather it doesn't make sense for StarWars universe. 

I guess I've turned into an old fuddy duddy.

EDIT: Listened to the YT example above and ugh more of the same.


----------



## Sean

I think there are good parts of the score (only have seen season 1 so far), but much of it feels disjointed at times. Sometimes I feel like a cue is totally out of place for the scene, other times I feel like it switches from orchestral to synth and just totally feels wrong. I don't think the music is bad on it's own, but when watching the show sometimes it really distracts from what's going on.


----------



## JohnG

Sean said:


> I think there are good parts of the score (only have seen season 1 so far), but much of it feels disjointed at times. Sometimes I feel like a cue is totally out of place for the scene, other times I feel like it switches from orchestral to synth and just totally feels wrong. I don't think the music is bad on it's own, but when watching the show sometimes it really distracts from what's going on.


I agree -- honestly I find it a bit of a dog's breakfast. It could be the music editing of course, but it is all over the place and often jarring.

Possibly, my reaction owes in part to the fact that I can't stand the show itself.


----------



## Sean

JohnG said:


> I agree -- honestly I find it a bit of a dog's breakfast. It could be the music editing of course, but it is all over the place and often jarring.
> 
> Possibly, my reaction owes in part to the fact that I can't stand the show itself.


The show is fun to me but not quite living up to the hype that surrounds it. Jarring is exactly how the music feels often.


----------



## SupremeFist

Anyone else notice that they seemed to dumb down the theme (as played in the end credits) for season two, so that the high tied note extends a crotchet less into bar 7?


----------



## José Herring

SupremeFist said:


> Anyone else notice that they seemed to dumb down the theme (as played in the end credits) for season two, so that the high tied note extends a crotchet less into bar 7?


Okay you can't start throwing around those British terms without explanations. I can never remember what a crotchet is or a quaver or semi quaver. Urggg...


----------



## SupremeFist

José Herring said:


> Okay you can't start throwing around those British terms without explanations. I can never remember what a crotchet is or a quaver or semi quaver. Urggg...


A crotchet is what our American friends call a quarter note, because for some mad reason they count everything as subdivisions of a breve.


----------



## José Herring

SupremeFist said:


> A crotchet is what our American friends call a quarter note, because for some mad reason they count everything as subdivisions of a breve.


It's because the Bible was written in 4/4.


----------



## babylonwaves

José Herring said:


> It's because the Bible was written in 4/4.


... the bible is really old, things have changed. i'm writing in 16/16 now - it sounds much better with a higher resolution!


----------



## Jean Wilder

Apparently, Ludwig composed it on Cubase. There is a Mandalorian video showing a Cubase project open. This caught my attention as I am trying to decide between Logic and Cubase for film scoring. I'm an Ableton freak, but it can't handle video or serious film scoring.


----------



## ProfoundSilence

Jean Wilder said:


> Apparently, Ludwig composed it on Cubase. There is a Mandalorian video showing a Cubase project open. This caught my attention as I am trying to decide between Logic and Cubase for film scoring. I'm an Ableton freak, but it can't handle video or serious film scoring.


I'm sure either are fine -
I wouldn't worry THAT much about it


----------



## KEM

Jean Wilder said:


> Apparently, Ludwig composed it on Cubase. There is a Mandalorian video showing a Cubase project open. This caught my attention as I am trying to decide between Logic and Cubase for film scoring. I'm an Ableton freak, but it can't handle video or serious film scoring.


He still uses Ableton as well, but yeah, Cubase!!


----------



## Jean Wilder

KEM said:


> He still uses Ableton as well, but yeah, Cubase!!


Yeah, I’m an Ableton user, and so far I’m finding Cubase to be most similar. I’m finding Logic to be illogical.


----------



## KEM

Well, this video just made me realize I suck…


----------



## Henning

I have never regreted buying that same Yamaha bass recorder. It's really usable for lots of settings. Thanks Ludwig


----------



## DoubleTap

Just saw this thread. Fascinating to see the early pages. Just one thing - everyone knows that Star Wars is a space western, right? So leaning into the western motifs for the main character's theme is simultaneously ironic and a homage? It's whatever the musical equivalent of intertextualisation is? I can't tell if that's so obvious to everybody that it's assumed in the posts, or if they're puzzled by it.


----------



## Bluemount Score

Watched season one and I liked the Soundtrack quite a bit, it stuck with me.


----------



## Kent

I’m still lost on the ‘John Williams has one style’ bit myself, hah


----------



## Kent

And, to be honest, why the Kylo Ren theme was quoted.


----------



## anderslink

To me John Williams' score is the least cheesy part of the original films - and those films are so imaginative and fun but by no means dramatic masterpieces LOL. LG's music references that in a great way while still actually being fresh in some places. It definitely stuck out in places but I loved some of the musical sound design and motifs. One thing that might rub people the wrong way no matter what is the synth sound they use when spaceships are flying by - the gated tremolo synth sound - to me that was definitely a modern sound used very heavily but it didn't bother me in the end.


----------



## Uiroo

Haven't seen the Mandalorian, still on my list, but watched this scene:



Now, I get that others feel different, and their opinion is as valid as mine, but wow is the music bad. Also the whole scene doesn't work for me at all.

There are probably great scenes with great music, but that cue in isolation just made me cringe pretty hard. Am I really the only one, are you all digging this?


----------



## KEM

Uiroo said:


> Haven't seen the Mandalorian, still on my list, but watched this scene:
> 
> 
> 
> Now, I get that others feel different, and their opinion is as valid as mine, but wow is the music bad. Also the whole scene doesn't work for me at all.
> 
> There are probably great scenes with great music, but that cue in isolation just made me cringe pretty hard. Am I really the only one, are you all digging this?




Yes, this is FAR better than anything John Williams has ever written for Star Wars, along with all the rest of the music Ludwig wrote for Mando.

I know I’ll get some backlash for saying that but John Williams music just bores me to death, Ludwig’s music is so much more exciting


----------



## Pier

KEM said:


> I know I’ll get some backlash for saying that but John Williams music just bores me to death, Ludwig’s music is so much more exciting


It's probably a generational thing. Obviously completely unrelated to the technical skill of the composer as it's really a matter of taste.

Another factor is that after making the first SW movie he was required to keep writing in that style. but he has other stuff which is more modern and minimalistic:


----------



## KEM

Pier said:


> It's probably a generational thing. Obviously completely unrelated to the technical skill of the composer as it's really a matter of taste.
> 
> Another factor is that after making the first SW movie he was required to keep writing in that style. but he has other stuff which is more modern and minimalistic:




Exactly right, I’m very much a product of the 21st century, I grew up in the era of djent and trap, so I love low tuned guitars and hard clipped 808s, both of which are heavily used elements of Ludwig’s music.

I’m by no means saying John Williams is bad, he’s great for studying harmony, melody, orchestration, etc. and I recognize his skill and respect him very much but his music just doesn’t align itself to my personal taste at all


----------



## KEM

Ludwig confirmed for the Boba Fett series, now I’m excited!!






Ludwig Göransson Scoring Disney+’s ‘The Book of Boba Fett’ | Film Music Reporter


Ludwig Göransson (Black Panther, Creed, Tenet, Venom, Community) is returning as composer for the upcoming Disney+ original series The Book of Boba Fett. The s



filmmusicreporter.com


----------



## doctoremmet

KEM said:


> Ludwig confirmed for the Boba Fett series, now I’m excited!!
> 
> 
> 
> 
> 
> 
> Ludwig Göransson Scoring Disney+’s ‘The Book of Boba Fett’ | Film Music Reporter
> 
> 
> Ludwig Göransson (Black Panther, Creed, Tenet, Venom, Community) is returning as composer for the upcoming Disney+ original series The Book of Boba Fett. The s
> 
> 
> 
> filmmusicreporter.com


I kind of hoped it would be @Tatiana Gordeeva because I felt her latest demo (which for reasons I still cannot fathom or come to terms with, she actually dedicated to… ME!) would be a perfect fit for that Mandalorian season 2 finale post-credits scene.






Alcazaba, my new track (now a demo) brought to you by the desert wind...


Update: Now an official demo for Soundiron Tiny Thumb Pianos :) Here's my latest track entitled Alcazaba, a short ethno-musical experiment... Sit down to exchange stories and share the daily news at the end of a long day in Andalusia, while enjoying the rhythms of the desert in the cool...




vi-control.net


----------



## KEM

doctoremmet said:


> I kind of hoped it would be @Tatiana Gordeeva because I felt her latest demo (which for reasons I still cannot fathom or come to terms with, she actually dedicated to… ME!) would be a perfect fit for that Mandalorian season 2 finale post-credits scene.
> 
> 
> 
> 
> 
> 
> Alcazaba, my new track (now a demo) brought to you by the desert wind...
> 
> 
> Update: Now an official demo for Soundiron Tiny Thumb Pianos :) Here's my latest track entitled Alcazaba, a short ethno-musical experiment... Sit down to exchange stories and share the daily news at the end of a long day in Andalusia, while enjoying the rhythms of the desert in the cool...
> 
> 
> 
> 
> vi-control.net



Very cool!! Throw me in on that action too, I'll provide the hard clipped 808s, downtuned guitars, and gated synths


----------



## KEM

Lemur?


----------



## Vlzmusic

DoubleTap said:


> Just one thing - everyone knows that Star Wars is a space western, right?


Well... not exactly. Star Wars always heavily relied on melodrama and operatic kind of cheesiness. Mandalorian changes the genre for the better A LOT, and in ideal world anything done after 1983 should have been scraped, leaving the original trilogy and Mandalorian as its direct, and only ATM sequel.
I've witnessed people who hate any SW, watch Mandalorian and enjoy it, its that good.


----------



## KEM

Vlzmusic said:


> Well... not exactly. Star Wars always heavily relied on melodrama and operatic kind of cheesiness. Mandalorian changes the genre for the better A LOT, and in ideal world anything done after 1983 should have been scraped, leaving the original trilogy and Mandalorian as its direct, and only ATM sequel.
> I've witnessed people who hate any SW, watch Mandalorian and enjoy it, its that good.



I think Mando is better than any Star Wars movie


----------



## Fidelity

KEM said:


> I think Mando is better than any Star Wars movie


Mandon't. Manjustdon't. You're both heretics.

The score was pretty great though.


----------



## Vlzmusic

KEM said:


> I think Mando is better than any Star Wars movie


Agree. But it owes a lot to the original trilogy in terms of overall setting.


----------



## KEM

Vlzmusic said:


> Agree. But it owes a lot to the original trilogy in terms of overall setting.



No doubt about it, Mando just feels much more refined and it takes itself a bit more seriously, the setting and everything is consistent with the rest of the franchise but the tone and vibe is more up my alley


----------



## DoubleTap

Vlzmusic said:


> Well... not exactly. Star Wars always heavily relied on melodrama and operatic kind of cheesiness. Mandalorian changes the genre for the better A LOT, and in ideal world anything done after 1983 should have been scraped, leaving the original trilogy and Mandalorian as its direct, and only ATM sequel.
> I've witnessed people who hate any SW, watch Mandalorian and enjoy it, its that good.


I was being brief, and you’re right, it’s not exactly, but to elaborate - it’s a space opera with heavy space western themes: farm boy, wants to join the cavalry, practices sharp shooting, lives in the desert near a lawless frontier town, gets involved in a bar fight, allies with a bounty hunter, (and his mentor duels the bad guy who wears a black hat). 

It becomes more of a space opera after they go into space, and the subsequent movies in the trilogy owe less to space westerns, but the series was rooted in the space western genre, which in itself is very prominent in science fiction from the 30s to the 70s, from Astounding and Heinlein to Star Trek. 

The point I was making was that the Mandalorian and the Book of Bobba Fett are built very much on the themes of the first movie.


----------



## Vlzmusic

DoubleTap said:


> The point I was making was that the Mandalorian and the Book of Bobba Fett are built very much on the themes of the first movie.


And do them justice, unlike prequels/sequels.

Overall its a great lesson in artistic vision. If you have people raving for decades about a dude in a helmet, your answer should be an adequately worthy dude in a helmet, like a knight/samurai protecting a baby, for example, and not a whimpy Vader-wanabe with Paganini haircut and fake distorted low-voice.


----------



## MP

Love that theme !
Had to record it 😃


----------



## RonOrchComp

Just started watching. Have watched EP 1-3

Is there anything I can do to convince @robgb to change the thread title to:
*
The Mandalorian - HORRIBLE Score*

???

Because that is what it is. Horrible. It is bland, with no substance, and is distracting. It doesn't fit, and doesn't sound like it belongs in the SW universe. I am not of the mindset that every SW spin-off has to have JW music, but it should be at least _some semblance_ of JW music. This is just a piss-poor attempt at scoring what is otherwise an entertaining show.


----------



## Uiroo

RonOrchComp said:


> Is there anything I can do to convince @robgb


Maybe if you convince @KEM, that could impress him.


----------



## robgb

RonOrchComp said:


> Is there anything I can do to convince @robgb to change the thread title to:
> 
> *The Mandalorian - HORRIBLE Score*


Why would I want to change the title to a lie? The score is outstanding. As for it not fitting in the Star Wars universe, that's ridiculous. Not every SW score has to be full of Williams's bombast. We're following a different character now, not the Skywalker family. And calling it bland is just silly.


----------



## Pier

Uiroo said:


> Maybe if you convince @KEM, that could impress him.


He was banned so that'd be a bit difficult


----------



## SupremeFist

Pier said:


> He was banned so that'd be a bit difficult


Wait, what? Why?


----------



## Zanshin

For over limiting?!


----------



## Pier

SupremeFist said:


> Wait, what? Why?


It wasn't the first time but I guess this time it was permanent.

Not sure what happened. It was something in this thread:






Hip Hop sample libraries?


Hi I need to make some hip hop cues. I have Heavyocity's DM, which is useful, but that's about it. What else is good? What's good for drums? Also some sounds... I have Omnisphere, and have found a few useful sounds in there, but not many. Looking to do stuff like Eminem, and Lady Gaga: I...



vi-control.net


----------



## RonOrchComp

robgb said:


> We're following a different character now, not the Skywalker family.



Yeah, but lok at what it says at the beginning of each episode:


----------



## aaronventure

RonOrchComp said:


> It doesn't fit, and doesn't sound like it belongs in the SW universe. I am not of the mindset that every SW spin-off has to have JW music, but it should be at least _some semblance_ of JW music.


Yeah, I had the same initial impression, Star Wars was just John Williams in my mind. Then I just started singing it in the shower randomly. Still doing it 2.5 years later. Fuck this theme for being so groovy


----------



## José Herring

MP said:


> Love that theme !
> Had to record it 😃



Dude. I like this better than the original.


----------



## robgb

RonOrchComp said:


> Yeah, but lok at what it says at the beginning of each episode:


So?


----------



## DoubleTap

RonOrchComp said:


> Just started watching. Have watched EP 1-3
> 
> Is there anything I can do to convince @robgb to change the thread title to:
> 
> *The Mandalorian - HORRIBLE Score*
> 
> ???
> 
> Because that is what it is. Horrible. It is bland, with no substance, and is distracting. It doesn't fit, and doesn't sound like it belongs in the SW universe. I am not of the mindset that every SW spin-off has to have JW music, but it should be at least _some semblance_ of JW music. This is just a piss-poor attempt at scoring what is otherwise an entertaining show.



Star Wars is a space western among other things so it’s entirely appropriate that a series that plays up the western elements should have a score to emphasise it. And it’s kept the Firefly obsessives a bit quieter too. Also, it sounds good.


----------



## MP

José Herring said:


> Dude. I like this better than the original.


Thanks man !
It's a really fun piece to play


----------



## GtrString

You can't win by commenting in this thread, can you?


----------



## KEM

Whoever wrote this article just made me furious, all the Ludwig slander… unacceptable









Andor Crowns a New King of Star Wars Composers


There are many great aspects of Andor, but composer Nicholas Britell's music makes the Disney+ series stand out beyond the Star Wars universe.




www.cbr.com


----------



## Living Fossil

KEM said:


> Whoever wrote this article just made me furious, all the Ludwig slander… unacceptable
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Andor Crowns a New King of Star Wars Composers
> 
> 
> There are many great aspects of Andor, but composer Nicholas Britell's music makes the Disney+ series stand out beyond the Star Wars universe.
> 
> 
> 
> 
> www.cbr.com


It would be interesting to hear Britell's music.


----------



## SupremeFist

KEM said:


> Whoever wrote this article just made me furious, all the Ludwig slander… unacceptable
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Andor Crowns a New King of Star Wars Composers
> 
> 
> There are many great aspects of Andor, but composer Nicholas Britell's music makes the Disney+ series stand out beyond the Star Wars universe.
> 
> 
> 
> 
> www.cbr.com


I'm with you dude. NB is great, esp in "Succession", but I won't hear a word said against LG's Mandalorian music. (Not to mention TENET 🤘🏻)


----------



## Pier

KEM said:


> Whoever wrote this article just made me furious, all the Ludwig slander… unacceptable
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Andor Crowns a New King of Star Wars Composers
> 
> 
> There are many great aspects of Andor, but composer Nicholas Britell's music makes the Disney+ series stand out beyond the Star Wars universe.
> 
> 
> 
> 
> www.cbr.com


Andor is really good.

Ignore those comments about Ludwig and go watch it.


----------



## KEM

Pier said:


> Andor is really good.
> 
> Ignore those comments about Ludwig and go watch it.



I’ve only heard great things and I love Mando so I’m sure I’ll love Andor, but saying Britell is better than Göransson?! One of the worst takes I’ve ever heard in my entire life and reading that article legitimately made me mad


----------



## Pier

KEM said:


> I love Mando so I’m sure I’ll love Andor


You may love Andor but it's definitely not what you're expecting. It's more of a WW2 spy thriller in Nazi Germany.

People think Andor is another SW Disney show for families but it's nothing like that. In terms of tone and pacing it's closer to something like Game of Thrones than anything you've seen in the SW universe.


----------



## davidson

Pier said:


> You may love Andor but it's definitely not what you're expecting. It's more of a WW2 spy thriller in Nazi Germany.
> 
> People think Andor is another SW Disney show for families but it's nothing like that. In terms of tone and pacing it's closer to something like Game of Thrones than anything you've seen in the SW universe.


Sounds like it may be worth watching then!


----------



## SupremeFist

KEM said:


> I’ve only heard great things and I love Mando so I’m sure I’ll love Andor, but saying Britell is better than Göransson?! One of the worst takes I’ve ever heard in my entire life and reading that article legitimately made me mad


Yeah, you absolutely don't have to say that in order to celebrate NB's work, but such is the broken economy of cultural journalism that everyone is incentivized to troll for hate clicks.


----------



## KEM

Pier said:


> You may love Andor but it's definitely not what you're expecting. It's more of a WW2 spy thriller in Nazi Germany.
> 
> People think Andor is another SW Disney show for families but it's nothing like that. In terms of tone and pacing it's closer to something like Game of Thrones than anything you've seen in the SW universe.



That’s exactly what I’m looking for!! Everyone’s been praising the tone and pacing of the show and that it leans into a more adult oriented experience, something Star Wars has needed


----------



## Lionel Schmitt

why does it even matter what some person writes in an article?
Some people are just too arrogant to realize that most things are down to subjectivity rather than bedda/worze


----------



## isu89

I am loving the Andor score. I have read a few interviews from NB, but nothing that talks about the instruments he uses (that I will never be able to afford). Is there anything out there that breaks it down a bit?


----------



## LamaRose

Just started watching The Mandalorian last week... the music fits really well with the visual/story vibe... sounds older/under produced which I appreciate.

No need to defend any of these successful composers as they are making good livings doing what they love and most likely don't give a rat's arse what others think.


----------



## DoubleTap

I mean, the piece is pretty complimentary about Ludwig G. The writer just thinks Britell is better. That’s quite a long way from click bait. Describing it as trolling is a bit over the top.


----------



## KEM

DoubleTap said:


> I mean, the piece is pretty complimentary about Ludwig G. The writer just thinks Britell is better. That’s quite a long way from click bait. Describing it as trolling is a bit over the top.



There’s definitely a lot of digs at Ludwig, just look at this quote in the last paragraph for example: “Göransson played it relatively safe by not stepping too far outside the predetermined confines that John Williams laid out.” Like what…? Ludwig single-handedly reinvented the sound of Star Wars with Mando; trap drums, spaghetti western guitars, 70s prog rock synths, and modern hybrid scoring production, all of which were never a part of the Star Wars sound, and all of which he also blended beautifully with John Williams classic sound. Sure he gives Ludwig some credit, but when I read it I certainly got the sense that he think Britell is just objectively better than Ludwig and come on… really? He even says Britell “transcends him”, and I don’t even think I should have to explain why that’s just a dumb comment to make


----------



## R.G.

KEM said:


> ...when I read it I certainly got the sense that he think Britell is just objectively better than Ludwig and come on… really? He even says Britell “transcends him”, and I don’t even think I should have to explain why that’s just a dumb comment to make


Learning that some people have opinions that are not aligned with your own might provide you with an excellent opportunity for personal growth. I once heard a woefully ignorant film scoring fanboy make a derogatory comment about Mozart and didn't think twice about it since it doesn't matter.


----------



## KEM

R.G. said:


> Learning that some people have opinions that are not aligned with your own might provide you with an excellent opportunity for personal growth. I once heard a woefully ignorant film scoring fanboy make a derogatory comment about Mozart and didn't think twice about it since it doesn't matter.



Yes I agree, but Ludwig slander is not something I can just brush off easily, Ludwig is the GOAT and I’ll fight and die on that hill


----------



## DoubleTap

KEM said:


> There’s definitely a lot of digs at Ludwig, just look at this quote in the last paragraph for example: “Göransson played it relatively safe by not stepping too far outside the predetermined confines that John Williams laid out.” Like what…? Ludwig single-handedly reinvented the sound of Star Wars with Mando; trap drums, spaghetti western guitars, 70s prog rock synths, and modern hybrid scoring production, all of which were never a part of the Star Wars sound, and all of which he also blended beautifully with John Williams classic sound. Sure he gives Ludwig some credit, but when I read it I certainly got the sense that he think Britell is just objectively better than Ludwig and come on… really? He even says Britell “transcends him”, and I don’t even think I should have to explain why that’s just a dumb comment to make


Look, I’m not saying he’s necessarily right or that you’re wrong about the composers, but I really don’t think you’re right that he’s intending to have a dig at Goransson. It’s clearly his opinion and presented in good faith rather than as click bait or trolling as has been suggested by others. Who would write clickbait about film composers? It’s entirely fair for you to disagree with the writer but please don’t assume they’re malign (I don’t know them, I’m just pissed off with the way gamer culture and social media are poisoning the world.)


----------



## MarkKouznetsov

KEM said:


> Yes I agree, but Ludwig slander is not something I can just brush off easily, Ludwig is the GOAT and I’ll fight and die on that hill


----------



## KEM

This is the greatest piece of music ever written for Star Wars I do not care what anyone says


----------



## Dystopian84

KEM said:


> This is the greatest piece of music ever written for Star Wars I do not care what anyone says



You are gonna be on a minuscule minority on this , or maybe even alone . That disney star wars track was funny as hell


----------



## KEM

Dystopian84 said:


> You are gonna be on a minuscule minority on this , or maybe even alone . That disney star wars track was funny as hell



The path I’ve chosen is not an easy one, but I stand vigilant


----------



## Dystopian84

KEM said:


> The path I’ve chosen is not an easy one, but I stand vigilant


I once heard a dude trying to argue that david guetta was better than pink floyd


----------



## DoubleTap

Dystopian84 said:


> I once heard a dude trying to argue that david guetta was better than pink floyd



Are Pink Floyd doing a set in the fan zones at the world cup in Qatar? No. Is Guetta? Yes. 

Case closed.


----------



## Dystopian84

DoubleTap said:


> Are Pink Floyd doing a set in the fan zones at the world cup in Qatar? No. Is Guetta? Yes.
> 
> Case closed.


lol and they also might not be able to " perform " ( air DJ ) a pre programmed set on one note at a fixed tempo while making heart shapes with their hands


----------



## DoubleTap

Dystopian84 said:


> lol and they also might not be able to " perform " ( air DJ ) a pre programmed set on one note at a fixed tempo while making heart shapes with their hands


To be fair to Guetta, I'm sure he will actually beat match - he's not without any talent. But you know. He made the decision to go. Anyway, this is veering into politics so that's quite enough of that.


----------

