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Film Soundtracks - Released November 12, 2019 | Walt Disney Records

Forging an uncharted pathway in that galaxy far, far away, creator, writer, and show runner Jon Favreau introduced a new character to the Star Wars universe in 2019 with The Mandalorian. Like fan favorite antihero Boba Fett, the streaming television show's protagonist was also a bounty hunter with questionable morals, bound to a professional code that was challenged by a vulnerable target that would change his life forever. Unbound from the restrictions of the decades-long Skywalker film saga and its beloved scores by John Williams, Favreau and composer Ludwig Goransson (Black Panther, Creed) embrace the relative freedom and push the Star Wars limits into fresh visual, sonic, and storytelling territory. For each episode (referred to as "Chapters"), Goransson crafted individual soundtracks that morphed alongside the ever-changing television series format, delving into wildly inventive (for the Star Wars universe) areas that incorporated electronic textures, hip-hop beats, and non-orchestral instrumentation like guitars and synths. In The Mandalorian: Chapter 1, Goransson introduces this new character to the Star Wars canon with an appropriately bombastic theme for the swaggering gunslinger. Both triumphant and instantly memorable, "The Mandalorian" is familiar enough to connect to the rich Williams legacy -- with all the fanfare and strings that entails -- but is just outside-the-box enough to establish a whole crop of future possibilities. Like "Rey's Theme," it's a welcome addition to the 2010s Star Wars era. Elsewhere, "HammerTime" boasts pounding drums and unnerving synth effects, while the tribal "Blurg Attack" harkens back to Goransson's excellent work on Black Panther. The clearest indication of how far the composer is willing to push the limits arrives on the skittering "Bounty Droid," which amplifies the dramatic bombast of the scene's intense shoot-out attack with something akin to '90s electronica mashed with Hans Zimmer's work in the Christopher Nolan movie-verse. This is not your grandfather's John Williams score. Rather, like the show itself, Goransson's work injects a much-needed freshness to the franchise that hints at the possibilities to come once the Skywalker saga ends with Episode IX. Synths, electric guitars, and hip-hop beats are now part of the Star Wars musical canon, bringing these soundtracks into the 21st century with Baby Yoda in tow. © Neil Z. Yeung /TiVo
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Film Soundtracks - Released March 16, 2018 | Hollywood Records

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Film Soundtracks - Released November 15, 2019 | Walt Disney Records

Having established the general parameters of where he planned to take fans with this new story, composer Ludwig Goransson pushes the sonic boundaries of the Star Wars universe even further with the score for The Mandalorian: Chapter 2. While variations on the Mandalorian theme popped up throughout ("Walking on Mud," "The Next Journey"), Goransson matched the moods of the episode's barren, deep-space planet with both expansive soundscapes and mysterious, tension-building atmospherics. The blood-pumping action set piece of "Jawas Attack" offers a thrilling car chase energy, while the magical "To the Jawas" sparkles and excites, fleshing out the rascally scavengers in a way that the original trilogy never managed. Goransson's "outside-the-box" moments on this episode arrive with the enigmatic "The Egg," and its immediate follow-up "The Mudhorn" is a wildly visceral piece that features stabbing synth noise and building drums that once again echo his work on Black Panther. By focusing on supporting characters like the Jawas and new creatures like the Mudhorn, The Mandalorian continues to flesh out the Star Wars universe one episode at a time, free from the restraints of the films and benefitting from the space and time to fully commit to these fresh stories and sounds. © Neil Z. Yeung /TiVo
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Film Soundtracks - Released November 16, 2018 | Sony Classical

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Film Soundtracks - Released November 22, 2019 | Walt Disney Records

With Arvala-7 behind him and his pint-sized quarry, the Mandalorian continues his journey of self-discovery in Chapter 3 of the Disney streaming television show The Mandalorian. On this third installment, composer Ludwig Goransson slides into a relative comfort zone (it's the shortest installment thus far) and uses "The Mandalorian" theme motif as the backbone to further develop Mandalorian culture on the gritty "Mandalore Way," to add triumphant swell to the grand "I Need One of Those," and, on "Signet Forging," to amplify drama to Game of Thrones-level intensity. A few sonic surprises appear on "Second Thoughts" and "Whistling Bird," but those are overshadowed by the exciting catharsis of "Mando Rescue." Given the short run time of both the episode and soundtrack, The Mandalorian: Chapter 3 doesn't stand out as much as other installments in the series. However, it's just short enough that listeners can quickly pick out highlights to warrant continued pleasure of this surprisingly solid series. © Neil Z. Yeung /TiVo
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Film Soundtracks - Released December 27, 2019 | Walt Disney Records

The solid first season of The Mandalorian ends with a thrilling finale, both onscreen and on Ludwig Goransson's score. The best moments coincide with the droid IG-11's heart-pounding heroics, including the wild electronics of "Nurse and Protect" (which sounds like something Trent Reznor and Atticus Ross could create), the swelling "Sacrifice," and, spoiler alert, "A Warrior's Death." It's high drama throughout, as Goransson amplifies the dread on "The Ewebb" and cranks up the intensity for the final conflict of "Mando Flies." As far as successful scores go, The Mandalorian: Chapter 8 -- and the series as a whole -- succeeds in firmly bonding Goransson's stylistic vision and the catchy leitmotifs to this property, becoming an indelible part of the entire experience. He's taken a pressure-loaded, decades-spanning legacy and created something fresh and new for Star Wars, just as creator Jon Favreau's television show has done for the universe's visual element. © Neil Z. Yeung /TiVo
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Film Soundtracks - Released November 29, 2019 | Walt Disney Records

In the series' first "standalone" episode, the Mandalorian and his companion seek sanctuary on the secluded planet Sorgan, home to a village of krill farmers in desperate need of a hero. As the first installment to break away from the introductory trilogy's Nevarro narrative, Ludwig Goransson's The Mandalorian: Chapter 4 score also makes a split, adding appropriately folk-based elements to complement the temporary pastoral setting. With acoustic guitars and harps, the calm "Off the Grid" and warm "Can I Feed Him?" bring wistful nostalgia and heart to the otherwise fast-paced and swaggering series. Goransson is also sure to insert the Mandalorian theme here and there, further grounding the show's signature sound even when he's experimenting with new elements for each episode's specific planetary setting. The most exciting moments naturally mirror the episode, with the thrilling one-two punch of "Camp Attack" and "Spirit of the Woods" penetrating the orchestral swell and martial percussion with jagged synths and urgent beats that sound as if Underworld dropped in to DJ a festival in the Sorgan woods. As the gorgeous "Mando Says Goodbye" closes the episode and soundtrack installment, Goransson continues his run as the unseen MVP responsible for a bulk of the show's personality. © Neil Z. Yeung /TiVo
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Film Soundtracks - Released December 13, 2019 | Walt Disney Records

Flipping the relative inaction of Chapters 4 and 5 on its head, The Mandalorian: Chapter 6 stands as one of the best of the season, not only in terms of onscreen excitement and entertainment but also through Ludwig Goransson's inventive score. Heavy with electronics and digital dread, this soundtrack installment delivers thrills, amplifies tension and dread, and even drops some welcome hip-hop energy into the Star Wars sonic galaxy. "The Gang" is a perfect example, thumping along an infectious beat that is punctuated with haunting strings and a fresh take on the Mandalorian leitmotif. Elsewhere, "Hyperspace" and "Nice Family" are urgent thrills that launch listeners headfirst into a rush of sonic anxiety before pulling back in a delightfully breathless fashion. With the longest runtime thus far, Chapter 6 doesn't squander a moment and is also a series peak. Heading into the first season's thrilling conclusion, Goransson delivers one last batch of surprises with a standout score to match an equally potent standalone episode. © Neil Z. Yeung /TiVo
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Film Soundtracks - Released December 18, 2019 | Walt Disney Records

On the thrilling two-part finale to the first season of The Mandalorian, the puzzle pieces of the main plot finally come together in thrilling fashion, joining characters from throughout the season against a common enemy. Score-wise, composer Ludwig Goransson keeps it simple, toying with the main Mandalorian leitmotif without adding too many bits and baubles to distract from the narrative. While not as exciting or novel as previous installments, Goransson's work on The Mandalorian: Chapter 7 serves to subtly compliment the show, adding depth and wonder with "Reprogram" and providing an honorable twist on the main theme with "Kuiil." "The Standoff" is appropriately tense and unnerving, while the cacophonous "Black Skies" mirrors onscreen events as everything comes crashing down. Ending on the edge of a knife, just like the episode, Chapter 7 eases the anxiety of the cliffhanger with an orchestral version of "The Mandalorian" theme. While it doesn't pack as much of a punch as hearing Chapter 1 for the first time, it ties the series together and maintains focus on the now-familiar soundscape that Goransson created for the show. © Neil Z. Yeung /TiVo
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Film Soundtracks - Released December 6, 2019 | Walt Disney Records

Following The Mandalorian: Chapter 4's brief foray into folksy acoustic on the previously unseen planet Sorgan, Chapter 5 continues the mid-season departure from the main plot by returning viewers to a setting familiar (and quite beloved) in the Star Wars universe. Composer Ludwig Goransson applies a few fresh touches to the score but is sure to serve enough familiar elements to connect this episode to the past. Another standalone adventure for the titular bounty hunter, Chapter 5's mission on Tatooine delivers overt nostalgia (Mos Eisley, Dewbacks, another roguish bounty hunter) with an unresolved plot line that ends up being one of the more forgettable watches of the season. In the same vein, this soundtrack installment provides just a few moments that distinguish it from the season's strong opening run. Exciting, different, and heroic, "Speederbikes" rises to the top of the pack, incorporating smoky guitar with traditional orchestral swell. While "Raiders" and "Night Riders" lean on familiarity, "The Hangar" surprises with stabbing effects that amplify the dread and tension onscreen. Overall, like its immediate predecessor, Chapter 5 is one of the least engaging installments of the first season, barely salvaged by a few truly immediate thrills. © Neil Z. Yeung /TiVo
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Film Soundtracks - Released October 5, 2018 | Sony Classical

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Film Soundtracks - Released November 20, 2015 | Sony Classical

Accompanying a collection of vibrant rap and R&B tunes ranging from 2Pac and Meek Mill to Harold Melvin & the Blue Notes that was released on a separate various-artists soundtrack from the film, Ludwig Göransson's original score to the poignant boxing drama Creed offers elegant counterpart. Rousing marches, such as "Conlan (Redemption);" quiet flute and guitar passages, like in "Adonis;" sentimental strings and piano, as highlighted in "Rocky Is Sick," and electro-choral ambience, as on "Shed You [Interlude]" are all in play but never disjointed. Bill Conti's Rocky themes are cannily worked into Creed, including "Gonna Fly Now (Theme from Rocky)," an undisguised version of which opens "You're a Creed," and pieces of dialogue set the stage on some tracks. So, the drama is high, and the score plays well on its own. A Swedish composer known mostly for his TV work including U.S. sitcoms New Girl and Community, Göransson is new to the Rocky franchise but, with a big assist from well-familiar musical motifs, holds his own. © Marcy Donelson /TiVo
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Film Soundtracks - Released February 16, 2018 | Hollywood Records

As the Swedish composer's third collaboration with director Ryan Coogler and actor Michael B. Jordan, Ludwig Göransson's original score for Marvel's Black Panther was also his most adventurous and cross-cultural to date. Pushed by Coogler to utilize as much traditional African music as possible, Göransson traveled to the International Library of African Music in Grahamstown, South Africa, where he collected hundreds of sounds that would find their way into the score (such as the tambin flute that was central to Killmonger's recurring theme). Göransson also recruited Senagalese singer Baaba Maal, whose haunting vocals appear throughout the album, most prominently on the grand anthem "Wakanda" and the moving "A King's Sunset." Throughout, tribal chants, a crew of percussionists, and a 40-person Xhosa choir collided with American hip-hop trap beats and Western string orchestration, supporting the multicultural sound of the fictional kingdom of Wakanda, especially on standout moments like "Killmonger's Challenge" and "United Nations/End Titles." Motifs from the triumphant score also found their way onto the Kendrick Lamar-curated soundtrack, like on the Jay Rock single, "King's Dead," which shared vocal samples with the exhilarating "Casino Brawl." In the same week that the soundtrack topped the charts, the score also landed in the Top 100. © Neil Z. Yeung /TiVo
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Film Soundtracks - Released August 17, 2018 | Hollywood Records

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Film Soundtracks - Released May 12, 2017 | Sony Classical

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Film Soundtracks - Released February 23, 2018 | Sony Classical

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Film Soundtracks - Released September 14, 2018 | Lakeshore Records

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Film Soundtracks - Released December 16, 2016 | Walt Disney Records

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Film Soundtracks - Released November 18, 2016 | Walt Disney Records