Artist: Ramin Djawadi
Album: Westworld: Season 3 (Music From The HBO Series)
Genre: Soundtrack
Release Date: 2020
Audio Format:: FLAC (tracks) 24 bit, 44,1 kHz
Duration: 01:34:35
Total Tracks: 29
Total Size: 907 MB

Tracklist:

1-01. Ramin Djawadi – Main Title Theme – Westworld (01:41)
1-02. Ramin Djawadi – Start a Revolution (02:36)
1-03. Ramin Djawadi – Caleb (04:38)
1-04. Ramin Djawadi – Rehoboam (02:39)
1-05. Ramin Djawadi – Dissolved Girl (03:27)
1-06. Ramin Djawadi – MOTO (02:40)
1-07. Ramin Djawadi – Unsubscribe (03:15)
1-08. Ramin Djawadi – You Are Not Even You (02:04)
1-09. Ramin Djawadi – I Don’t Do Personals (03:09)
1-10. Ramin Djawadi – Sweet Child O’ Mine (01:25)
1-11. Ramin Djawadi – Serac (03:17)
1-12. Ramin Djawadi – The Winter Line (04:14)
1-13. Ramin Djawadi – It’s Our Choice (02:41)
1-14. Ramin Djawadi – Doomed (04:01)
1-15. Ramin Djawadi – Decoherence (02:54)
1-16. Ramin Djawadi – Hunter (03:40)
1-17. Ramin Djawadi – Why Are We Here? (02:39)
1-18. Ramin Djawadi – Wicked Games (05:31)
1-19. Ramin Djawadi – Hope (04:42)
1-20. Ramin Djawadi – Who’s to Blame (02:58)
1-21. Ramin Djawadi – Activate (03:47)
1-22. Ramin Djawadi – Space Oddity (03:49)
1-23. Ramin Djawadi – The Choice Is Yours (03:29)
1-24. Ramin Djawadi – Main Title from The Shining (02:01)
1-25. Ramin Djawadi – Brain Damage (03:55)
1-26. Ramin Djawadi – Divergence (04:05)
1-27. Ramin Djawadi – Choose the Beauty (03:29)
1-28. Ramin Djawadi – Welcome to the End (02:01)
1-29. Ramin Djawadi – Free Will (03:34)

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In Westworld, music isn’t just atmospheric; it’s thematic. It both builds the fictional world and communicates something about that world to a viewer. Composer Ramin Djawadi (Game of Thrones) accomplishes the first feat easily enough with the opening ear warm (can you hear it already? Do-do-do-dodododo, do-do-dooo. So catchy). But Djawadi is also able to achieve something more interesting.The use of cover music, for instance, communicates something of the series’ other-worldliness—something familiar and yet not. In season 1, the Rolling Stones’ “Paint it Black” orchestral cover overlaid rock and roll with western gun fights and saloon robberies. The music suited neither the American Western era nor the future world in which the series takes place. Again, familiar but also not. It’s a kind of displacement appropriate for a show that constantly bends and twists its own medium, pulling the rug out from under the reader with alternating timelines and slight-of-hand editing—it’s also a movie that feels familiar (the western), but is not (the sci-fi).

Then there’s music’s image—the orchestra, the conductor, the visual order of sound. Throughout every season, the one consistent image in the opening credits remains the fingers playing the saloon’s piano. The fingers then lift off the keys, the keys play on regardless. Robert Ford—Westworld’s conductor—often plays the piano both in the park and the digital representation of the park’s data. The image is one of orchestration and the illusion of agency; the hosts, programmed to run on “loops,” play what they are programmed to play. They are the keys that sound even when Ford isn’t operating them.