{"id":1965,"date":"2016-12-08T13:54:11","date_gmt":"2016-12-08T18:54:11","guid":{"rendered":"https:\/\/shatontv.com\/?p=1965"},"modified":"2022-07-06T01:11:14","modified_gmt":"2022-07-06T05:11:14","slug":"take-time-listen-westworld-soundtrack-tells-just-deep-story","status":"publish","type":"post","link":"https:\/\/shatpod.com\/tv\/take-time-listen-westworld-soundtrack-tells-just-deep-story\/","title":{"rendered":"Take Time to Listen to the Westworld Soundtrack – It Tells Just as Deep of a Story"},"content":{"rendered":"
\"Westworld<\/a>

Have a Theory? Share It Now!<\/a><\/strong><\/p><\/div>\n

Hello,<\/p>\n

I would love it if you guys talked a little about how music played a role in this series. Aside from the obvious player piano themes of the rolling stones, Soundgarden, amy Winehouse, etc The Ramin Djawadi score actually paints a very vivid picture of each of the key characters. If you are not aware, the entire soundtrack is now available on iTunes and Spotify. You should give it a listen. Here are a few things that stood out to me. <\/p>\n

One of the darkest themes is titled This World, a piece usually attributed to Dolores. The song has a very sinister undertone and holds melodic tension all the way through. This song, like many of the songs attributed to hosts and the park (i.e. Sweetwater and Pariah), is an ostinato (or essentially a melodic loop). There is a distinct theme that repeats with slight variations. The thing that seemed very peculiar about this one is the chord progression wants to resolve but never does even in the end. This progression could easily build up to end on a major chord and resolve the pattern, but it doesn’t it lingers then repeats the loop. A musical metaphor for the cycle of Dolores. <\/p>\n

Another fitting theme belongs to the Man In Black. His song varies, there is not one central theme, but all the melodies attributed to him are quite dark and ominous. They seem to twist and mold the theme of sweetwater and contort it into something haunting and mysterious. Another thing to note about this piece is it is very arhythmical. The themes that show up refuse to follow the established rhythm of the tune. As if the melody ignores the structure and chooses to play by its own rules. <\/p>\n

Fords theme, Dr. Ford, is one of the most beautifully scored pieces in the collection. We were always on edge about whether or not he was the villain or the hero, and we eventually find out that his intentions were for the benefit of the hosts all along. His theme is similar to the Man in Blacks that it constantly varies, there is no central looping melody, but it never takes on any of the sinister or dark tones like that of MiB or Dolores. The melodies vary but always conclude, and they carry a sense of deep conflict patiently seeking a positive resolution. <\/p>\n

Fords theme, pops up in a few random other songs, like the conclusion of Reveries. Other themes like the one around the 3:00 mark in Tromp L’Oeil become prevalent in scenes where deep realizations are occurring in the hosts. <\/p>\n

I know in previous podcasts you’ve expressed concerns about focusing on competing theories and not taking the time to appreciate the beauty of the show itself. It seems that the score was giving us awesome hints and insights about the cast the entire time while also seamlessly driving the narrative forward. I plan on going back through and re-watching the series with this concept in mind. <\/p>\n

As always, keep up the great work!
\n-Joe

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