Teasing out crescendos from synergetic refrains, “Wicked Games” drives home the soundtrack’s melding of techno and orchestral sounds. The Game of Thrones season 7 soundtrack’s “The Night King” and season 6’s “Light of the Seven” both exemplify the sonic cliff Djawadi favors in orienting his complete album. While Westworld’s characters embark into the unknown technological world beyond the parks, audiences are given a similar experience through Djawadi’s soundscape.ĭurational epic compositions are staples to many of Djawadi’s television soundtracks. Immediately following “Dissolved Girl,” “MOTO” takes listeners into a purely synthetic world with exclusively electric instrumentation. In place of these traditional composition forms and tropes are electric signals blaring between orchestral melodies. “Dissolved Girl” begins with familiar orchestral sounds before rapidly evolving into a hail to modernity with classic rock rhythms and harmonies. Gone are the western piano saloon and grappling buccaneer beats. Westworld’s third season consists of an unfamiliar landscape for a show governed by the physical constraints of its spatial-narrative parks. Djawadi’s soundtrack follows these first steps into a new, unknown world with an alien orchestra. Through synthetic instruments, Djawadi creates a sonic storyline of liberty. From its use of synthetic, modern instruments to its homage to rock and roll, Westworld: Season 3 subverts all expectations for another classically-tinged Djawadi album.

Written by German-Iranian composer Ramin Djawadi, the third season’s music is defined by a daring abandonment of tradition in favor of innovative scores. However, the one familiar aspect that accompanies these transformations is Westworld’s heralded soundtrack. Following the burning of sets, a plotline that called for new settings, and the departure of familiar characters, the show opened its third season in the unknown. Westworld: Season 3 is defined by its unfamiliarities.

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