August 18, 2022

[Editor’s note: The following contains spoilers for Westworld, Season 4 Episode 1, “The Auguries.”]

The return of Westworld for its fourth season means an entire new set of challenges for sequence composer Ramin Djawadi, who’s been with the sequence for the reason that starting, and thus accountable for the soundtrack’s compelling mix of classical and digital sounds (to not point out its at all times thrilling covers of pre-existing tracks).

“I really feel just like the present at all times pushes ahead,” he says, within the first of a sequence of episode-specific conversations with Consequence this season. “With the characters, musically talking, we at all times speak about, ‘Okay, do we want new themes? Or are we staying with previous themes, and will we organize them otherwise?’”

The season premiere, “The Auguries,” virtually instantly pushed Djawadi on this regard due to Christina, the brand new character being performed by Evan Rachel Wooden. A younger author who seems to be dwelling in a futuristic New York Metropolis, Christina is launched with pictures that intentionally invoke reminiscences of Wooden as Dolores, the decided host who fought for freedom within the first three seasons.

However whereas the pictures is likely to be comparable, says Djawadi, “Each time we see her, that’s all just about new materials… we thought, let’s simply do one thing new. That’s why it’s not the music that we now have in Season 1 the place we now have her waking up.”

Normally, he says, Season 4 follows Season 3 in the way it continues utilizing “numerous tech and numerous electronics” within the rating, versus Seasons 1 and a pair of. The rating for the premiere’s chilly open leans on that fashion whereas intentionally attempting to maintain viewers on their toes (says Djawadi, “We see the Man in Black, however we’re probably not enjoying the Man in Black theme. That’s very a lot new materials, that complete opening”). It’s an apt alternative, provided that this primary scene of the season is a jarring introduction to shady businessman Hugo Mora (Arturo del Puerto), who we see falling underneath the management of the Man in Black as a part of some bigger plan earlier than dying by suicide.

“After we see Caleb and Maeve [played by Aaron Paul and Thandiwe Newton], these are acquainted themes, however yeah, a bunch of the fabric is new,” Djawadi says, including that figuring out how a lot new music to create for the present, versus revisiting previous themes, is “at all times difficult… You at all times need it to really feel prefer it’s a part of the present, however generally I take advantage of the identical sounds. I’m simply attempting to attach all of the dots with the instrumentation.”

The ultimate minutes of the episode include what’s undoubtedly this week’s most memorable musical second: an orchestral cowl of Lana Del Rey’s 2011 breakout monitor “Video Video games,” which builds to a crescendo as long-thought-dead Teddy (James Marsden) emerges from the shadows exterior Christina’s house. Djawadi credit govt producer Lisa Pleasure with developing with that exact needle drop. “I assumed was a beautiful alternative — it’s an amazing tune.”

In creating his model of the tune for the present, Djawadi says he went with Pleasure’s suggestion to “really begin it out small with the piano, and even sort of break it down a bit bit so that you simply may not acknowledge it immediately. As a result of clearly, the tune is so recognizable with these chords when it actually will get going, so she requested for me to simply gradual it down a bit bit first after which get into it extra — then you definitely slowly acknowledge, ‘Oh wait, is that? Oh, sure it’s!’”

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