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Game Of Thrones: Season 6 by Ramin Djawadi (Review)

posted Aug 10, 2016, 8:38 PM by Kaya Savas

Season 6 gave us as an audience many great memorable lines and moments that were accented beautifully by Ramin’s music. Thematically, we heard heavy use of lots of our favorite motifs that make this season feel much more robust than the last few. The score here does a lot of building, and it does a great job of foreboding and anticipating big things. We feel the water begin to boil almost to a tipping point, and the music does a great job of feeling reserved all at the same time. Season 6 truly feels like a culmination of everything that has come before it, and it really does make it the most immersive score for the series thus far.

The season finale is of course the episode that has everyone talking, even general fans of the show who don't specifically care for the score beyond the main theme. Everyone fell in love with the track “Light Of The Seven”, which structured a nearly 10min sequence that ended with a big bang. Is the piece of music great? Sure, but let me throw in an opposing argument against it that prevents this whole season from being absolute Game Of Thrones musical perfection. Does the music fit in the soundscape of Game Of Thrones? Not so much. The first thing I said when I heard the piano start up in the scene was, oh did they license a piece of music not by Ramin? It really jumped out, the style and instrumentation is nothing like we’ve heard before in the entirety of the series. It's highly likely they temp-tracked that entire impressively edited sequence with something that Ramin had to mimic. But it seems to be the track that people remember from this season, so that must mean it’s good right? In the end, yes the cue works very well for the scene and I think because it’s so stylistically different that it made the scene itself memorable. So that's the reason why people are gravitating to that cue specifically. That might have been the intention overall too, and hey, you may have loved it. I personally think it called too much attention to itself even though the entire sequence was very well done. But for the rest of the season, everything is in fine form as the music continues to guide us through the intertwining storylines and different locations. Ramin has impressively begun to bring this journey home.

Season 6 was executed nearly flawlessly when it came to music and thematic variation. The score worked so much better in Season 6 than in previous seasons, and that’s because the show is going their own route now. They are still borrowing elements from Martin’s novels and outlines, but you can clearly tell the show has a more film/TV structure and pace now. If you imagine the show as a thick hearty cut of prime rib, the music has evolved from being a seasoning like salt and pepper to now being a full on side dish like hearty mashed potatoes. The music compliments the main course better than ever even if there were a few stylistic choices that felt out of place.