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Did you guys watch the show, or just listen to the album? Because I haven't listened to the album yet, but I thought the music fit the tone and action of the show like a glove. There wasn't a lot of adventure or derring-do (at least thus far) to necessitate big flouncy Star Wars brass.
Completely agree, the music felt just right for the first episode. I too was a bit surprised how present the music was, but thought it was a good choice. For me the only misstep was the music coming into conflict/contrast with the Mandalorian smith hammering away, which didn't work for me on first watch. The end credits music felt quite in the Star Wars grand manner, if not quite aping what has come before. though I wasn't paying close attention at that point.
My wife, who usually doesn't comment on music (though she has been well immersed in film and tv music because of my interest over the decades) also found it quite effective.
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With ease and mediocrity, unfortunately. And it's sad when people cheer a lame approach. Plus you don't get the point. The enfasis isn't on the previous scores but on the traditional style they have established and the important continuity that style represent.
It's OK to develop or upgrade the music material, push bold instrumentation, different arrangements, etc. But fundaments are the key and if you scratch them completely (as in this case) then what you have is anything else but the proper result.
It's not a matter of what you, me, or anyone likes or not. It's a matter of defined frames: if you make a SW thing then people expect it to sound like SW (same if you make Bond, or any other franchise which have endured so long in time).
This statement seems hypocritical. You champion objectivity and expectation, but also allow for "variance"? How bold should the instrumentation be? How different the arrangements? Do you determine what is or isn't scratched off? Who defines the frames (and, more importantly, who defines the frame definers)? When you conclude "And so we finally reached the point when the music of a whole generation has been destroyed in agony", you do seem histrionic, as if the previous scores were destroyed, never to return (COUGHoftheJediCOUGH).
No one is telling you to like or dislike anything, but when art is treated as a manner of metrics, it is in danger of becoming a service.
We've been discussing this so many times before that I'm already tired to repeat it. Being different doesn't mean being better, just for the sake of because it's different. There are many forms to be outstanding and respect what came before at the same time.
Nor does it mean being worse. It's the need and usage of restrictive parameters which are in question. Perhaps the topic exhausts you because there's more to it than what you proclaim it to be.
Disney doesn't release any of its television shows on Blu Ray. They do (did?) release them on streaming platforms like iTunes. But now that everyone is a competitor I don't know if you will be able to buy the series in HD in any format.
Far be it from Disneyfilm to trip up YET ANOTHER opportunity to 4X the market, which is why I'm hesitant to say "there's no WAY they're not releasing Lady & the Tramp, that's crazy talk!", but as far as their Marvel shows are concerned, then yes, Agents of SHIELD (and the post-Earth-Mightiest-Heroes animated fare) has provided the don't care video template to follow. It's Star Wars that I would consider to be the will-they-won't-they middle ground. I just hope they choose... wisely.
What they do with The Mandalorian remains to be seen, although my ten-cent bet is that they don't release it outside of D+ at all.
Me: NO, WAIT, THEY'LL HEAR-!
You: *shoots*
Me: 
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Having now watched the whole episode the music works gangbusters. It splits the difference between overtly melodic (Star Wars) and more tonal and soundscape-y. It never goes for a direct Morricone lift but it definitely gets into some of that territory.
I put the music on for the kids' ride to school this morning. They don't always identify my scores especially if there isn't a definite theme.
My daughter immediately asked "When is the next episode?" So the music is definitely identifiable.
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I think the score is new for Star Wars... but is an unoriginal rehash of musical concepts that have existed in video games for years - BORDERLANDS (2009) being the obvious source which also matches the environment and tone, and even BOUNTY HUNTER (2002). Beyond that, the score rehashes use of percussion and didgeridoo that even James Newton Howard was using in Waterworld (1995).
Point is, none of this is new. The heavy bass drops of dubstep also coincide with the braaam used in trailers and the overemphasis on similar bass drops used in soundtracks because they make an impact in the theaters... and they’re all over this score, a decade after dubstep has become irrelevant.
For those that think it fits the show - of course it does, because it’s generic. It could fit for ANYTHING as most scores nowadays do. Again, the roots of this atmospheric music are in videogames where music is meant to fade into the background and loop. And in film, it’s a merging of sound design and music which has been also happening for a long time, but it used to much more intelligent. Terminator 2 is a GREAT example of a score that did an excellent job of mixing sound design into a musical score in a way that still retained the musical quality.
Again - new for “Star Wars”, but wholly unoriginal in the musical landscape.
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Posted: |
Nov 14, 2019 - 8:45 AM
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By: |
Xebec
(Member)
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I haven't seen the show and i imagine a lot of it would work better in context, especially the Bounty Droid track, which is a harsh listen, for me.
There's a lot i like about the music that i've heard. I do like the flute theme at the start of Hey Mando! and when it appears orchestrated during Hammer Time, You Are Mandalorian and other places.
Some of the synth parts seem like they're in reference to a specific character? I might be wrong about that. Or is it just for some action scenes?
The music that sort of took me out of the listening experience the most was in The Mandalorian track, that sounded too close to Rocky for me not to think about Rocky. At least the homage to spag westerns wasn't very specific, i thought, but this seemed to be a bit to on the nose.
My least favourite tracks were Bounty Droid and the first half of Blurg attack (bad stomach?). I found them rather grating. There's no track i enjoy as a whole, but there's a few that i like bar a couple of bits within them. I rather enjoyed the quieter moments, like the first minute of Hey Mando! and Face to Face, and the flute theme when it pops up in its various iterations.
Interested to see where the music will go, although i won't get to see the show.
(I'd kill for a Strontium Dogs TV show, based on the 2000AD comic strip, which is mutant bounty hunters in space).
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So to summarize, the composer failed because he didn't completely reinvent the concept of music AND because he didn't regurgitate John Williams' music from 40 years ago. Epic fail!  And this is based on one episode score. A friend of mine recently noted that social media has caused everyone to now completely overreact to everything, so everything is now either the worst thing ever done or the best thing ever done.
My reaction: I wish he hadn't used the braaams, but I liked the riding music (and the end title which I believe incorporated some of that).
Thank you. Intelligent responses are so rare and therefore so welcome.
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