August 18, 2022

[Editor’s note: The following contains spoilers for Westworld, Season 4 Episode 2, “Well Enough Alone.” To read about the music of Episode 1, click here.]

There may not be a giant epic cowl within the latest episode of Westworld, however there’s nonetheless loads to debate, music-wise, with composer Ramin Djawadi. That’s as a result of Episode 2, “Effectively Sufficient Alone,” continues exploring key questions for Season 4, ending with the revelation that Delos Locations, the company behind the high-tech amusement parks the place this future dystopia was born, is as much as its outdated tips — with a model new theme park setting that made Djawadi very comfortable.

“I like jazz and truly studied jazz in school as effectively, and I by no means get to do a lot jazz in rating. So each time there’s alternative, I bounce on it immediately,” he tells Consequence concerning the introduction of a Twenties-era park, as a part of our ongoing collection of conversations concerning the music of Westworld this season.

Episode 2 begins with the return of Clementine (Angela Sarafyan), now residing in peaceable anonymity in a distant Latin city. Till, that’s, the arrival of the Man in Black (Ed Harris), who drags her again into service. Djawadi took this as a possibility to offer the character her personal theme — or, effectively, not precisely a theme, however a “motif,” in Djawadi’s phrases.

Tonally, the motif is used very otherwise throughout its two appearances within the episode: After we first see Clementine within the opening scene, “there’s way more a way of freedom, it’s purported to really feel peaceable, till all of it goes south when the Man in Black reveals up,” Djawadi says. However when the theme reemerges as we see Clementine have interaction with the Secret Service brokers, it’s “a very completely different association, as a result of she’s way more robust.”

Provides Djawadi, “I needed to be sure that I wrote one thing that works extra idyllically within the entrance of this episode, however that I can then flip and make extra cool.”

A lot of the episode focuses on Maeve (Thandiwe Newton) and Caleb (Aaron Paul) reunited after a protracted absence and in search of solutions, together with a protracted sequence on the home of a senator (Jack Coleman) who they uncover to be a number duplicate. What stands out concerning the rating of this sequence is that initially, as Maeve and Caleb begin trying across the grounds of the senator’s home, the music is actually current, however you may not even realize it’s there — which is by design.

“In a present like this, the place we have now lots of music — Westworld just about has wall-to-wall music — one factor to contemplate at all times is when to tug again or when to push,” Djawadi says. “I felt [that sequence] was a very good alternative to essentially pull again with rating. They’re strolling, they’re exploring, they’re discovering issues, and it’s eerie and mysterious. So I believed the rating can undoubtedly pull again, so that you’re actually listening to simply the environment, and dealing with sound results. Then, when issues go off, you’ll be able to open up the rating once more. I feel that’s one thing that may be very efficient.”

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