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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 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 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 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 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 November 15, 2019 | Geek Music

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Film Soundtracks - Released October 5, 2018 | Sony Classical

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Film Soundtracks - Released February 23, 2018 | Sony Classical

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Film Soundtracks - Released May 12, 2017 | Sony Classical

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Symphonic Music - Released January 18, 2020 | Club Unicorn

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Film Soundtracks - Released April 3, 2018 | H.M. Chapel Music

Electronic - Released March 6, 2020 | Sleen Mp

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Soundtracks - Released July 19, 2020 | Trap Geek

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Film Soundtracks - Released October 16, 2020 | HM Chapel Music

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Film Soundtracks - Released November 13, 2020 | HM Chapel Music

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Miscellaneous - Released September 17, 2020 | Megaraptor

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Film Soundtracks - Released December 5, 2019 | Geek Music

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Film Soundtracks - Released April 3, 2018 | H.M. Chapel Music

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Film Soundtracks - Released December 5, 2019 | Geek Music

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Film Soundtracks - Released December 5, 2019 | Geek Music

Composer

Ludwig Goransson in the magazine
  • Tenet: The Score of a Lifetime! Ludwig... Goransson?
    Tenet: The Score of a Lifetime! Ludwig... Goransson? The soundtrack to a film that begins with a chilling sequence in a concert hall (Rainy night in Tallinn) and written by a man named Ludwig could be nothing less than promising! The Swede, Ludwig Göransson replaces Hans Zimmer (Christopher Nolan’s usual collaborator) in this complex spy thriller. ...