Throughout every season, the one consistent image in the opening credits remains the fingers playing the saloon’s piano. Then there’s music’s image-the orchestra, the conductor, the visual order of sound.
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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).
The music suited neither the American Western era nor the future world in which the series takes place. In season 1, the Rolling Stones’ “Paint it Black” orchestral cover overlaid rock and roll with western gun fights and saloon robberies. The use of cover music, for instance, communicates something of the series’ other-worldliness-something familiar and yet not. But Djawadi is also able to achieve something more interesting. 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. It both builds the fictional world and communicates something about that world to a viewer. In Westworld, music isn’t just atmospheric it’s thematic.
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