{"id":2072568,"date":"2026-07-29T18:23:09","date_gmt":"2026-07-29T15:23:09","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=2072568"},"modified":"2026-07-29T18:23:09","modified_gmt":"2026-07-29T15:23:09","slug":"ludwig-goransson-played-the-odyssey-soundtrack-for-us-on-sonus-fabers-30k-usd-olympica-g3-speakers","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=2072568","title":{"rendered":"Ludwig G\u00f6ransson Played &#8216;The Odyssey&#8217; Soundtrack for Us on Sonus Faber&#8217;s $30K USD Olympica G3 Speakers"},"content":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-tw.jpg?w=1080&amp;cbr=1&amp;q=90&amp;fit=max&#8221;]<\/p>\n<div class=\"col-post-body col\">\n<div class=\"row post-body\">\n<aside class=\"post-body-sidebar\">\n<div class=\"post-body-sidebar-upper\">\n<div class=\"post-body-sidebar-category d-none d-lg-block\">\n<p>    Music\n                                                                                                    <\/p><\/div>\n<div class=\"post-body-sidebar-published d-none d-lg-block\"><time>Jul 29, 2026<\/time><\/div>\n<ul class=\"post-body-sidebar-hype-comments-container list-unstyled d-none d-lg-block\">\n<li><span class=\"hype-count grey\"><br \/>\n             941<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<\/li>\n<li><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-sm-inline text\">Comments<\/span><\/span>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<\/li>\n<li><span class=\"text\">Save<\/span><\/li>\n<\/ul>\n<div class=\"post-body-sidebar-author d-none d-lg-block\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Elaina Bernstein<\/span><\/div>\n<hr class=\"sidebar-divider d-none d-lg-block\">\n<div class=\"post-body-sidebar-share d-none d-lg-block\">\n<h6>Share this article<\/h6>\n<\/div>\n<\/div>\n<\/aside>\n<article class=\"post-body-article\">\n<div id=\"post-body-top-bar\" class=\"post-body-top-bar d-block d-lg-none\">\n<div class=\"row\">\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Music<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>Jul 29, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             941<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<div class=\"post-body-content\">\n<p><em>The Odyssey<\/em> is a story in which sound is central, so it was only right that Christopher Nolan enlist some of the 21st century\u2019s sharpest sonic storytellers to contribute to his adaptation of Homer\u2019s epic.<\/p>\n<p>After collaborating with Nolan on <em>Tenet<\/em> in 2020 and again <em>Oppenheimer<\/em> in 2023, award-winning musician, composer, and record producer Ludwig G\u00f6ransson takes the reins once again for <em>The Odyssey<\/em>\u2019s original score: the only soundtrack you can find both Travis Scott (spitting an offshoot of the Bard\u2019s opening delivery) and a straight-outta-the-Bronze Age selection of flutes and lyres on consecutive tracks.<\/p>\n<p>Surrounding himself with a selection of sourced bronze instruments was the first thing G\u00f6ransson did when beginning work on the grandiose aural venture, he told Hypebeast in an intimate conversation at Sonus faber\u2019s New York City House of Sound townhome. However, it was ultimately a careful balance of this Bronze Age tradition with modern-era experimentation that guided his creative process.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-2.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>\u201cI got a bunch of huge gongs,\u201d he laughs, \u201cand then I had to figure out how to record them using modern techniques and play these instruments in ways we haven\u2019t heard before.\u201d\n<\/p>\n<p>G\u00f6ransson also got to work on the aulos \u2013 what he refers to as the electric guitar-adjacent \u201crockstar instrument\u201d of ancient Greece \u2013 and began toying with different microphone placements and angles. This sort of experimentation is his favorite. The end result? A \u201cSiren Song\u201d rooted in the original texts, yet reimagined through an innovative, modern lens. A gut-wrenching final bow contest entirely void of a traditional orchestral background. And one of hip-hop\u2019s biggest stars playing the role of the blind Bard.\n<\/p>\n<p>\u201cA face\u2026 a fleet\u2026 a war\u2026 a man\u2026 a thought\u2026 a trick\u2026 a trick to break the walls of Troy\u2026 and burn it screaming to the ground,\u201d are Scott\u2019s opening lines to the film, also sprinkled into the closing track, a three-part collaboration between G\u00f6ransson, Scott, and James Blake. Aptly entitled \u201cWhen I\u2019m Home,\u201d the cut marks the second collaboration between G\u00f6ransson and Scott (who first worked together on <em>Tenet<\/em> single \u201cTHE PLAN\u201d), but more importantly, points to the Swedish composer\u2019s masterful ability to meld the history of the Bronze Age with production tactics and technology of the 21st century.\n<\/p>\n<p>Between Scott\u2019s role as the Bard \u2013 arguably one of the most important characters in the tale \u2013 and G\u00f6ransson on the score, Nolan\u2019s closest creative collaborators ensure that the director\u2019s version of <em>The Odyssey<\/em> stays true to the epic\u2019s emphasis on sound and music. Fresh off the film\u2019s global premiere, G\u00f6ransson gathered a collection of press at the House of Sound to share more about his creative process, as well as to play some of the score on what might be the only speaker outside of an IMAX theater to do it justice: Sonus faber\u2019s Olympica G3.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-4.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><strong>With a story that holds such weight as <em>The Odyssey<\/em>, where do you even start?<\/strong><\/p>\n<p><strong>Ludwig G\u00f6ransson:<\/strong> Reading the script is the first thing I do, and then I immediately start having conversations with Chris to learn more about what his vision is for the film and where he wants the music to go.\n<\/p>\n<p><strong>Are you in talks with Nolan from the beginning of the process?<\/strong><\/p>\n<p>Yes. We\u2019re constantly in conversations, and I\u2019m talking about my creative ideas, and I\u2019m listening to his, and it\u2019s together that we find and take the first steps. That\u2019s important in any kind of collaborative relationship. Every week when we\u2019re in pre-production, I\u2019m invited into the office to see what he and the rest of the team are working on with costume design, to see the production set design, etc, so immediately I\u2019m getting immersed in this world that\u2019s starting to be created.\n<\/p>\n<p>But it is really important for me to write music before I have any visuals, because once you sit down and try to write music to a scene, you\u2019re not really writing. You\u2019re tied to a time, like, \u201cThis has to be two minutes long,\u201d or \u201cThis has to start and end here.\u201d You don\u2019t have full creative freedom anymore to just work with your own mind.\n<\/p>\n<p><strong>What was Nolan\u2019s vision for this film in particular?<\/strong><\/p>\n<p>On this one, he wanted to make something very different \u2013 something that we haven\u2019t experienced before in the theater. Typically, when you see this type of ancient Greek movie, it comes with the same, very romanticized, 1950s orchestral score. Chris wanted to do something different. The challenge is to take the audience\u2019s preconceived notion of the score, flip that on its head, and take a different approach to it, while still trying to be kind of true to the times. We wanted to use some of these ancient Greek instruments and elaborate on that sound.\n<\/p>\n<p><strong>How do you toe that line of balancing tradition with experimentation?<\/strong><\/p>\n<p>I love experimenting. One of the first things I did was get a bunch of bronze instruments, since this takes place in the Bronze Age. I got a bunch of huge gongs. Then I had to figure out how to record these using modern techniques and play the instruments in ways we haven\u2019t heard before. What if we put a mic super close, and turn the mic up all the way, and then hit it super soft? I just started seeing what would come out of different ways of playing each instrument. That was my first venture in experimenting: just surrounding myself with all of these bronze instruments.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-3.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><strong>Aside from the gong, what were some of the other instruments you sourced?<\/strong><\/p>\n<p>You can see some of the instruments they played at the time on paintings or on pots. The lyre, for example, was one. There\u2019s another ancient Greek instrument called the aulos, which is almost like two oboes that you play at the same time. It\u2019s a double reed instrument, and that was the most popular instrument at that time. It was like the rockstar instrument of ancient Greece, like the electric guitar. It was so popular, and so eventually, I can\u2019t remember exactly what year, but I think when the Roman Church took over, they actually said, \u201cYou can\u2019t play this instrument anymore.\u201d So somewhere, I think 500 BC or something, the instrument actually disappeared for 2,000 years.\n<\/p>\n<p><strong>When does the cast get to hear the music?<\/strong><\/p>\n<p>For this film, we needed to have a lot of music before the cast arrived because there\u2019s actual singing in the movie. There have also been times when I send the music to the director, and then they play it for the cast on set or on the sound stage, or let them listen to something that can help them find their character.\n<\/p>\n<p><strong>This is now your second time working with Travis Scott, after collaborating first on \u201cTHE PLAN\u201d for <em>Tenat<\/em>\u00a0back in 2020. Could you share more about what it\u2019s like working together?<\/strong><\/p>\n<p>It\u2019s incredible getting to work with both Travis and James Blake. Obviously, Travis plays the Bard in the film. He has such an incredible voice, and it was just so special to be there when we made the song together. I started phrasing out those words from the film \u2013 his lines from the film \u2013 and I told Travis like, \u201cYou know, I think this sounds pretty cool, but like if you want to do something else, feel free,\u201d and then he started just building around it. He was adding lines in between and adding on to the storytelling.\n<\/p>\n<p><strong>You\u2019ve also been working closely with James Blake for quite some time now too. Could you elaborate on your collaborative relationship with him?<\/strong><\/p>\n<p>James\u2019s first album came out almost 15 years ago now, and like Travis\u2019s, his voice is known all over the world. With James, the emotional aspect of his voice makes people feel a lot of things, and I wanted to utilize and draw that into this world \u2013 even if we don\u2019t have access to the traditional strings that would typically pull the audience\u2019s heartstrings. What\u2019s better to use than the human voice? And especially one that\u2019s so powerful like James Blake\u2019s voice.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-5.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><strong>What do you listen to for inspiration?<\/strong><\/p>\n<p>I listen to a lot of contemporary music. I like to figure out how to expand narrative worlds through production, and in terms of like getting ideas for productions in particular, I\u2019m listening to a lot of contemporary music, classical, or jazz.\n<\/p>\n<p><strong>What is your goal when building a score for a film?<\/strong><\/p>\n<p>For the music to make the audience feel like they\u2019re in the room where the action is happening, I\u2019ve been working with Ryan Coogler since I started. On our first project,<em> Fruitvale Station<\/em>, we started recording the BART train, and then we used that in the score and turned it into a rhythmic element. On Creed, we started recording a lot of the boxing training sessions, and I started making beats and rhythms out of that. I\u2019m always trying to integrate these sounds that are actually taking place in the film and put those into the music, and I think that is a really interesting way to shape that world.\n<\/p>\n<p><strong>You have been working with both Ryan and Chris closely for a while. Could you share more about building relationships with such iconic directors and what it\u2019s been like working alongside them?<\/strong><\/p>\n<p>One of the most fun things is being able to work and learn things at the same time; whenever you can work and evolve as a human being, on both a musical level and also on a personal level with people who are from completely different backgrounds is incredible. I feel very grateful to have that. I might not be able to speak their language, but we both speak the musical language, so we can meet right in the middle. Ryan and Chris put so much effort and time and research into writing the script, so why wouldn\u2019t I do the same as a musician?\n<\/p>\n<p><strong>Is there anything in particular you want people to look (and listen) out for?<\/strong><\/p>\n<p>It really is all an experience. It\u2019s a full experience \u2013 one with incredible visuals, and seeing it on that big screen is special. I was sitting at the premiere and just looking out at the audience and seeing these incredible visuals, the colors that were washing over the audience, you know, the orange and the blue, and I think that\u2019s what I want the music to do, you know? Be a part of that experience.<\/p>\n<div class=\"show-article\">\n<p>                                                            Read Full Article<\/p><\/div>\n<\/div>\n<footer>\n<div class=\"related-stories-main-wrapper\">\n<h3>Related Stories<\/h3>\n<div class=\"stories-container\" data-layer-list-name=\"related_stories\" data-layer-list-offset=\"0\" data-layer-list-child-selector=\".story-item\">\n<div class=\"story-item\" data-layer-item-id=\"6761048\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Travis Scott Drops Self-Directed Music Video for &#8216;The Odyssey&#8217; Track &#8220;When I&#8217;m Home&#8221;\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6761275\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Cactus Jack Launches Exclusive Clothing Capsule for \u2018The Odyssey\u2019 and IMAX\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6761493\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Travis Scott Drops &#8216;Odyssey&#8217; Merch &amp; SS27 Trends Heat up in This Week&#8217;s Top Fashion News\n                                                                        <\/div>\n<\/div>\n<\/div>\n<div class=\"article-email-signup-wrapper impression-tracker\">\n<h3>We got you covered. Don\u2019t miss out on the latest news by signing up for our newsletters.<\/h3>\n<div class=\"terms\">By subscribing, you agree to our Terms of Use and Privacy Policy.<\/div>\n<\/div>\n<div class=\"post-body-author d-block d-lg-none\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Elaina Bernstein<\/span><\/div>\n<div class=\"post-body-share d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<h6>Share this article<\/h6>\n<\/div>\n<div class=\"post-body-content-tags\">\n<div class=\"body collapsed\">\n<p>    Christopher NolanJames BlakeTravis ScottLudwig GoranssonSonus FaberThe Odyssey\n                                                            <\/p><\/div>\n<\/div>\n<section class=\"post__body__author_info\">\n<div class=\"post__body__author_info__inner\"><img decoding=\"async\" src=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F05%2Felaina-300.jpg?w=100&amp;cbr=1&amp;q=90&amp;fit=max\" alt=\"Elaina Bernstein\" class=\"post__body__author_info__avatar\"><\/p>\n<div class=\"post__body__author_info__body\">\n<p>                    Elaina Bernstein<\/p>\n<p>                                    <span class=\"post__body__author_info__title\">Editor<\/span><\/div>\n<\/div>\n<div class=\"post__body__author_info__bio_wrapper\">\n<p class=\"post__body__author_info__bio\">Elaina Lauren Bernstein is a New York-based writer and editor, overseeing Hypebeast&#8217;s music vertical, Hypetrak. She handles both editorial and social coverage for Hypetrak, and served as the Deputy Editor for Summer 2025&#8217;s Hypetrak Magazine \u2014 the first in 10 years. With a particular affinity for underground hip hop, she has racked up a wide range of interviews and cover stories, spanning A$AP Rocky, Larry June, Shaboozey, Leon Thomas, Rihanna, Brent Faiyaz, Jean Dawson, and Miguel, and has covered major music tentpole events including the Grammys and Coachella. The intersection of fashion and music guides her coverage as well.<\/p>\n<\/div>\n<\/section>\n<\/footer>\n<\/article>\n<\/div>\n<div id=\"post-footer\" class=\"post-footer row\">\n<div class=\"col-shopping-break\">\n<hr>\n<\/div>\n<div class=\"col-comments\">\n<div id=\"comments\" class=\"post-comments none \">\n<header>\n<div class=\"heading\"><span class=\"comment-count\">0<\/span><span>Comments<\/span><\/div>\n<div class=\"comment-dropdown-tooltip\">\n<ul>\n<li>\n<li><\/ul>\n<\/div>\n<\/header>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"row post-body\">\n<aside class=\"post-body-sidebar\">\n<div class=\"post-body-sidebar-upper\">\n<div class=\"post-body-sidebar-category d-none d-lg-block\">\n<p>    Music\n                                                                                                    <\/p><\/div>\n<div class=\"post-body-sidebar-published d-none d-lg-block\"><time>Jul 29, 2026<\/time><\/div>\n<ul class=\"post-body-sidebar-hype-comments-container list-unstyled d-none d-lg-block\">\n<li><span class=\"hype-count grey\"><br \/>\n             941<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<\/li>\n<li><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-sm-inline text\">Comments<\/span><\/span>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<\/li>\n<li><span class=\"text\">Save<\/span><\/li>\n<\/ul>\n<div class=\"post-body-sidebar-author d-none d-lg-block\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Elaina Bernstein<\/span><\/div>\n<hr class=\"sidebar-divider d-none d-lg-block\">\n<div class=\"post-body-sidebar-share d-none d-lg-block\">\n<h6>Share this article<\/h6>\n<\/div>\n<\/div>\n<\/aside>\n<article class=\"post-body-article\">\n<div id=\"post-body-top-bar\" class=\"post-body-top-bar d-block d-lg-none\">\n<div class=\"row\">\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Music<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>Jul 29, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             941<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<div class=\"post-body-content\">\n<p><em>The Odyssey<\/em> is a story in which sound is central, so it was only right that Christopher Nolan enlist some of the 21st century\u2019s sharpest sonic storytellers to contribute to his adaptation of Homer\u2019s epic.<\/p>\n<p>After collaborating with Nolan on <em>Tenet<\/em> in 2020 and again <em>Oppenheimer<\/em> in 2023, award-winning musician, composer, and record producer Ludwig G\u00f6ransson takes the reins once again for <em>The Odyssey<\/em>\u2019s original score: the only soundtrack you can find both Travis Scott (spitting an offshoot of the Bard\u2019s opening delivery) and a straight-outta-the-Bronze Age selection of flutes and lyres on consecutive tracks.<\/p>\n<p>Surrounding himself with a selection of sourced bronze instruments was the first thing G\u00f6ransson did when beginning work on the grandiose aural venture, he told Hypebeast in an intimate conversation at Sonus faber\u2019s New York City House of Sound townhome. However, it was ultimately a careful balance of this Bronze Age tradition with modern-era experimentation that guided his creative process.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-2.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>\u201cI got a bunch of huge gongs,\u201d he laughs, \u201cand then I had to figure out how to record them using modern techniques and play these instruments in ways we haven\u2019t heard before.\u201d\n<\/p>\n<p>G\u00f6ransson also got to work on the aulos \u2013 what he refers to as the electric guitar-adjacent \u201crockstar instrument\u201d of ancient Greece \u2013 and began toying with different microphone placements and angles. This sort of experimentation is his favorite. The end result? A \u201cSiren Song\u201d rooted in the original texts, yet reimagined through an innovative, modern lens. A gut-wrenching final bow contest entirely void of a traditional orchestral background. And one of hip-hop\u2019s biggest stars playing the role of the blind Bard.\n<\/p>\n<p>\u201cA face\u2026 a fleet\u2026 a war\u2026 a man\u2026 a thought\u2026 a trick\u2026 a trick to break the walls of Troy\u2026 and burn it screaming to the ground,\u201d are Scott\u2019s opening lines to the film, also sprinkled into the closing track, a three-part collaboration between G\u00f6ransson, Scott, and James Blake. Aptly entitled \u201cWhen I\u2019m Home,\u201d the cut marks the second collaboration between G\u00f6ransson and Scott (who first worked together on <em>Tenet<\/em> single \u201cTHE PLAN\u201d), but more importantly, points to the Swedish composer\u2019s masterful ability to meld the history of the Bronze Age with production tactics and technology of the 21st century.\n<\/p>\n<p>Between Scott\u2019s role as the Bard \u2013 arguably one of the most important characters in the tale \u2013 and G\u00f6ransson on the score, Nolan\u2019s closest creative collaborators ensure that the director\u2019s version of <em>The Odyssey<\/em> stays true to the epic\u2019s emphasis on sound and music. Fresh off the film\u2019s global premiere, G\u00f6ransson gathered a collection of press at the House of Sound to share more about his creative process, as well as to play some of the score on what might be the only speaker outside of an IMAX theater to do it justice: Sonus faber\u2019s Olympica G3.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-4.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><strong>With a story that holds such weight as <em>The Odyssey<\/em>, where do you even start?<\/strong><\/p>\n<p><strong>Ludwig G\u00f6ransson:<\/strong> Reading the script is the first thing I do, and then I immediately start having conversations with Chris to learn more about what his vision is for the film and where he wants the music to go.\n<\/p>\n<p><strong>Are you in talks with Nolan from the beginning of the process?<\/strong><\/p>\n<p>Yes. We\u2019re constantly in conversations, and I\u2019m talking about my creative ideas, and I\u2019m listening to his, and it\u2019s together that we find and take the first steps. That\u2019s important in any kind of collaborative relationship. Every week when we\u2019re in pre-production, I\u2019m invited into the office to see what he and the rest of the team are working on with costume design, to see the production set design, etc, so immediately I\u2019m getting immersed in this world that\u2019s starting to be created.\n<\/p>\n<p>But it is really important for me to write music before I have any visuals, because once you sit down and try to write music to a scene, you\u2019re not really writing. You\u2019re tied to a time, like, \u201cThis has to be two minutes long,\u201d or \u201cThis has to start and end here.\u201d You don\u2019t have full creative freedom anymore to just work with your own mind.\n<\/p>\n<p><strong>What was Nolan\u2019s vision for this film in particular?<\/strong><\/p>\n<p>On this one, he wanted to make something very different \u2013 something that we haven\u2019t experienced before in the theater. Typically, when you see this type of ancient Greek movie, it comes with the same, very romanticized, 1950s orchestral score. Chris wanted to do something different. The challenge is to take the audience\u2019s preconceived notion of the score, flip that on its head, and take a different approach to it, while still trying to be kind of true to the times. We wanted to use some of these ancient Greek instruments and elaborate on that sound.\n<\/p>\n<p><strong>How do you toe that line of balancing tradition with experimentation?<\/strong><\/p>\n<p>I love experimenting. One of the first things I did was get a bunch of bronze instruments, since this takes place in the Bronze Age. I got a bunch of huge gongs. Then I had to figure out how to record these using modern techniques and play the instruments in ways we haven\u2019t heard before. What if we put a mic super close, and turn the mic up all the way, and then hit it super soft? I just started seeing what would come out of different ways of playing each instrument. That was my first venture in experimenting: just surrounding myself with all of these bronze instruments.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-3.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><strong>Aside from the gong, what were some of the other instruments you sourced?<\/strong><\/p>\n<p>You can see some of the instruments they played at the time on paintings or on pots. The lyre, for example, was one. There\u2019s another ancient Greek instrument called the aulos, which is almost like two oboes that you play at the same time. It\u2019s a double reed instrument, and that was the most popular instrument at that time. It was like the rockstar instrument of ancient Greece, like the electric guitar. It was so popular, and so eventually, I can\u2019t remember exactly what year, but I think when the Roman Church took over, they actually said, \u201cYou can\u2019t play this instrument anymore.\u201d So somewhere, I think 500 BC or something, the instrument actually disappeared for 2,000 years.\n<\/p>\n<p><strong>When does the cast get to hear the music?<\/strong><\/p>\n<p>For this film, we needed to have a lot of music before the cast arrived because there\u2019s actual singing in the movie. There have also been times when I send the music to the director, and then they play it for the cast on set or on the sound stage, or let them listen to something that can help them find their character.\n<\/p>\n<p><strong>This is now your second time working with Travis Scott, after collaborating first on \u201cTHE PLAN\u201d for <em>Tenat<\/em>\u00a0back in 2020. Could you share more about what it\u2019s like working together?<\/strong><\/p>\n<p>It\u2019s incredible getting to work with both Travis and James Blake. Obviously, Travis plays the Bard in the film. He has such an incredible voice, and it was just so special to be there when we made the song together. I started phrasing out those words from the film \u2013 his lines from the film \u2013 and I told Travis like, \u201cYou know, I think this sounds pretty cool, but like if you want to do something else, feel free,\u201d and then he started just building around it. He was adding lines in between and adding on to the storytelling.\n<\/p>\n<p><strong>You\u2019ve also been working closely with James Blake for quite some time now too. Could you elaborate on your collaborative relationship with him?<\/strong><\/p>\n<p>James\u2019s first album came out almost 15 years ago now, and like Travis\u2019s, his voice is known all over the world. With James, the emotional aspect of his voice makes people feel a lot of things, and I wanted to utilize and draw that into this world \u2013 even if we don\u2019t have access to the traditional strings that would typically pull the audience\u2019s heartstrings. What\u2019s better to use than the human voice? And especially one that\u2019s so powerful like James Blake\u2019s voice.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-5.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><strong>What do you listen to for inspiration?<\/strong><\/p>\n<p>I listen to a lot of contemporary music. I like to figure out how to expand narrative worlds through production, and in terms of like getting ideas for productions in particular, I\u2019m listening to a lot of contemporary music, classical, or jazz.\n<\/p>\n<p><strong>What is your goal when building a score for a film?<\/strong><\/p>\n<p>For the music to make the audience feel like they\u2019re in the room where the action is happening, I\u2019ve been working with Ryan Coogler since I started. On our first project,<em> Fruitvale Station<\/em>, we started recording the BART train, and then we used that in the score and turned it into a rhythmic element. On Creed, we started recording a lot of the boxing training sessions, and I started making beats and rhythms out of that. I\u2019m always trying to integrate these sounds that are actually taking place in the film and put those into the music, and I think that is a really interesting way to shape that world.\n<\/p>\n<p><strong>You have been working with both Ryan and Chris closely for a while. Could you share more about building relationships with such iconic directors and what it\u2019s been like working alongside them?<\/strong><\/p>\n<p>One of the most fun things is being able to work and learn things at the same time; whenever you can work and evolve as a human being, on both a musical level and also on a personal level with people who are from completely different backgrounds is incredible. I feel very grateful to have that. I might not be able to speak their language, but we both speak the musical language, so we can meet right in the middle. Ryan and Chris put so much effort and time and research into writing the script, so why wouldn\u2019t I do the same as a musician?\n<\/p>\n<p><strong>Is there anything in particular you want people to look (and listen) out for?<\/strong><\/p>\n<p>It really is all an experience. It\u2019s a full experience \u2013 one with incredible visuals, and seeing it on that big screen is special. I was sitting at the premiere and just looking out at the audience and seeing these incredible visuals, the colors that were washing over the audience, you know, the orange and the blue, and I think that\u2019s what I want the music to do, you know? Be a part of that experience.<\/p>\n<div class=\"show-article\">\n<p>                                                            Read Full Article<\/p><\/div>\n<\/div>\n<footer>\n<div class=\"related-stories-main-wrapper\">\n<h3>Related Stories<\/h3>\n<div class=\"stories-container\" data-layer-list-name=\"related_stories\" data-layer-list-offset=\"0\" data-layer-list-child-selector=\".story-item\">\n<div class=\"story-item\" data-layer-item-id=\"6761048\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Travis Scott Drops Self-Directed Music Video for &#8216;The Odyssey&#8217; Track &#8220;When I&#8217;m Home&#8221;\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6761275\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Cactus Jack Launches Exclusive Clothing Capsule for \u2018The Odyssey\u2019 and IMAX\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6761493\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Travis Scott Drops &#8216;Odyssey&#8217; Merch &amp; SS27 Trends Heat up in This Week&#8217;s Top Fashion News\n                                                                        <\/div>\n<\/div>\n<\/div>\n<div class=\"article-email-signup-wrapper impression-tracker\">\n<h3>We got you covered. Don\u2019t miss out on the latest news by signing up for our newsletters.<\/h3>\n<div class=\"terms\">By subscribing, you agree to our Terms of Use and Privacy Policy.<\/div>\n<\/div>\n<div class=\"post-body-author d-block d-lg-none\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Elaina Bernstein<\/span><\/div>\n<div class=\"post-body-share d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<h6>Share this article<\/h6>\n<\/div>\n<div class=\"post-body-content-tags\">\n<div class=\"body collapsed\">\n<p>    Christopher NolanJames BlakeTravis ScottLudwig GoranssonSonus FaberThe Odyssey\n                                                            <\/p><\/div>\n<\/div>\n<section class=\"post__body__author_info\">\n<div class=\"post__body__author_info__inner\"><img decoding=\"async\" src=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F05%2Felaina-300.jpg?w=100&amp;cbr=1&amp;q=90&amp;fit=max\" alt=\"Elaina Bernstein\" class=\"post__body__author_info__avatar\"><\/p>\n<div class=\"post__body__author_info__body\">\n<p>                    Elaina Bernstein<\/p>\n<p>                                    <span class=\"post__body__author_info__title\">Editor<\/span><\/div>\n<\/div>\n<div class=\"post__body__author_info__bio_wrapper\">\n<p class=\"post__body__author_info__bio\">Elaina Lauren Bernstein is a New York-based writer and editor, overseeing Hypebeast&#8217;s music vertical, Hypetrak. She handles both editorial and social coverage for Hypetrak, and served as the Deputy Editor for Summer 2025&#8217;s Hypetrak Magazine \u2014 the first in 10 years. With a particular affinity for underground hip hop, she has racked up a wide range of interviews and cover stories, spanning A$AP Rocky, Larry June, Shaboozey, Leon Thomas, Rihanna, Brent Faiyaz, Jean Dawson, and Miguel, and has covered major music tentpole events including the Grammys and Coachella. The intersection of fashion and music guides her coverage as well.<\/p>\n<\/div>\n<\/section>\n<\/footer>\n<\/article>\n<\/div>\n<div class=\"post-body-sidebar-upper\">\n<div class=\"post-body-sidebar-category d-none d-lg-block\">\n<p>    Music\n                                                                                                    <\/p><\/div>\n<div class=\"post-body-sidebar-published d-none d-lg-block\"><time>Jul 29, 2026<\/time><\/div>\n<ul class=\"post-body-sidebar-hype-comments-container list-unstyled d-none d-lg-block\">\n<li><span class=\"hype-count grey\"><br \/>\n             941<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<\/li>\n<li><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-sm-inline text\">Comments<\/span><\/span>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<\/li>\n<li><span class=\"text\">Save<\/span><\/li>\n<\/ul>\n<div class=\"post-body-sidebar-author d-none d-lg-block\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Elaina Bernstein<\/span><\/div>\n<hr class=\"sidebar-divider d-none d-lg-block\">\n<div class=\"post-body-sidebar-share d-none d-lg-block\">\n<h6>Share this article<\/h6>\n<\/div>\n<\/div>\n<div class=\"post-body-sidebar-category d-none d-lg-block\">\n<p>    Music\n                                                                                                    <\/p><\/div>\n<div class=\"post-body-sidebar-published d-none d-lg-block\"><time>Jul 29, 2026<\/time><\/div>\n<div class=\"post-body-sidebar-author d-none d-lg-block\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Elaina Bernstein<\/span><\/div>\n<div class=\"post-body-sidebar-share d-none d-lg-block\">\n<h6>Share this article<\/h6>\n<\/div>\n<article class=\"post-body-article\">\n<div id=\"post-body-top-bar\" class=\"post-body-top-bar d-block d-lg-none\">\n<div class=\"row\">\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Music<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>Jul 29, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             941<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<div class=\"post-body-content\">\n<p><em>The Odyssey<\/em> is a story in which sound is central, so it was only right that Christopher Nolan enlist some of the 21st century\u2019s sharpest sonic storytellers to contribute to his adaptation of Homer\u2019s epic.<\/p>\n<p>After collaborating with Nolan on <em>Tenet<\/em> in 2020 and again <em>Oppenheimer<\/em> in 2023, award-winning musician, composer, and record producer Ludwig G\u00f6ransson takes the reins once again for <em>The Odyssey<\/em>\u2019s original score: the only soundtrack you can find both Travis Scott (spitting an offshoot of the Bard\u2019s opening delivery) and a straight-outta-the-Bronze Age selection of flutes and lyres on consecutive tracks.<\/p>\n<p>Surrounding himself with a selection of sourced bronze instruments was the first thing G\u00f6ransson did when beginning work on the grandiose aural venture, he told Hypebeast in an intimate conversation at Sonus faber\u2019s New York City House of Sound townhome. However, it was ultimately a careful balance of this Bronze Age tradition with modern-era experimentation that guided his creative process.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-2.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>\u201cI got a bunch of huge gongs,\u201d he laughs, \u201cand then I had to figure out how to record them using modern techniques and play these instruments in ways we haven\u2019t heard before.\u201d\n<\/p>\n<p>G\u00f6ransson also got to work on the aulos \u2013 what he refers to as the electric guitar-adjacent \u201crockstar instrument\u201d of ancient Greece \u2013 and began toying with different microphone placements and angles. This sort of experimentation is his favorite. The end result? A \u201cSiren Song\u201d rooted in the original texts, yet reimagined through an innovative, modern lens. A gut-wrenching final bow contest entirely void of a traditional orchestral background. And one of hip-hop\u2019s biggest stars playing the role of the blind Bard.\n<\/p>\n<p>\u201cA face\u2026 a fleet\u2026 a war\u2026 a man\u2026 a thought\u2026 a trick\u2026 a trick to break the walls of Troy\u2026 and burn it screaming to the ground,\u201d are Scott\u2019s opening lines to the film, also sprinkled into the closing track, a three-part collaboration between G\u00f6ransson, Scott, and James Blake. Aptly entitled \u201cWhen I\u2019m Home,\u201d the cut marks the second collaboration between G\u00f6ransson and Scott (who first worked together on <em>Tenet<\/em> single \u201cTHE PLAN\u201d), but more importantly, points to the Swedish composer\u2019s masterful ability to meld the history of the Bronze Age with production tactics and technology of the 21st century.\n<\/p>\n<p>Between Scott\u2019s role as the Bard \u2013 arguably one of the most important characters in the tale \u2013 and G\u00f6ransson on the score, Nolan\u2019s closest creative collaborators ensure that the director\u2019s version of <em>The Odyssey<\/em> stays true to the epic\u2019s emphasis on sound and music. Fresh off the film\u2019s global premiere, G\u00f6ransson gathered a collection of press at the House of Sound to share more about his creative process, as well as to play some of the score on what might be the only speaker outside of an IMAX theater to do it justice: Sonus faber\u2019s Olympica G3.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-4.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><strong>With a story that holds such weight as <em>The Odyssey<\/em>, where do you even start?<\/strong><\/p>\n<p><strong>Ludwig G\u00f6ransson:<\/strong> Reading the script is the first thing I do, and then I immediately start having conversations with Chris to learn more about what his vision is for the film and where he wants the music to go.\n<\/p>\n<p><strong>Are you in talks with Nolan from the beginning of the process?<\/strong><\/p>\n<p>Yes. We\u2019re constantly in conversations, and I\u2019m talking about my creative ideas, and I\u2019m listening to his, and it\u2019s together that we find and take the first steps. That\u2019s important in any kind of collaborative relationship. Every week when we\u2019re in pre-production, I\u2019m invited into the office to see what he and the rest of the team are working on with costume design, to see the production set design, etc, so immediately I\u2019m getting immersed in this world that\u2019s starting to be created.\n<\/p>\n<p>But it is really important for me to write music before I have any visuals, because once you sit down and try to write music to a scene, you\u2019re not really writing. You\u2019re tied to a time, like, \u201cThis has to be two minutes long,\u201d or \u201cThis has to start and end here.\u201d You don\u2019t have full creative freedom anymore to just work with your own mind.\n<\/p>\n<p><strong>What was Nolan\u2019s vision for this film in particular?<\/strong><\/p>\n<p>On this one, he wanted to make something very different \u2013 something that we haven\u2019t experienced before in the theater. Typically, when you see this type of ancient Greek movie, it comes with the same, very romanticized, 1950s orchestral score. Chris wanted to do something different. The challenge is to take the audience\u2019s preconceived notion of the score, flip that on its head, and take a different approach to it, while still trying to be kind of true to the times. We wanted to use some of these ancient Greek instruments and elaborate on that sound.\n<\/p>\n<p><strong>How do you toe that line of balancing tradition with experimentation?<\/strong><\/p>\n<p>I love experimenting. One of the first things I did was get a bunch of bronze instruments, since this takes place in the Bronze Age. I got a bunch of huge gongs. Then I had to figure out how to record these using modern techniques and play the instruments in ways we haven\u2019t heard before. What if we put a mic super close, and turn the mic up all the way, and then hit it super soft? I just started seeing what would come out of different ways of playing each instrument. That was my first venture in experimenting: just surrounding myself with all of these bronze instruments.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-3.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><strong>Aside from the gong, what were some of the other instruments you sourced?<\/strong><\/p>\n<p>You can see some of the instruments they played at the time on paintings or on pots. The lyre, for example, was one. There\u2019s another ancient Greek instrument called the aulos, which is almost like two oboes that you play at the same time. It\u2019s a double reed instrument, and that was the most popular instrument at that time. It was like the rockstar instrument of ancient Greece, like the electric guitar. It was so popular, and so eventually, I can\u2019t remember exactly what year, but I think when the Roman Church took over, they actually said, \u201cYou can\u2019t play this instrument anymore.\u201d So somewhere, I think 500 BC or something, the instrument actually disappeared for 2,000 years.\n<\/p>\n<p><strong>When does the cast get to hear the music?<\/strong><\/p>\n<p>For this film, we needed to have a lot of music before the cast arrived because there\u2019s actual singing in the movie. There have also been times when I send the music to the director, and then they play it for the cast on set or on the sound stage, or let them listen to something that can help them find their character.\n<\/p>\n<p><strong>This is now your second time working with Travis Scott, after collaborating first on \u201cTHE PLAN\u201d for <em>Tenat<\/em>\u00a0back in 2020. Could you share more about what it\u2019s like working together?<\/strong><\/p>\n<p>It\u2019s incredible getting to work with both Travis and James Blake. Obviously, Travis plays the Bard in the film. He has such an incredible voice, and it was just so special to be there when we made the song together. I started phrasing out those words from the film \u2013 his lines from the film \u2013 and I told Travis like, \u201cYou know, I think this sounds pretty cool, but like if you want to do something else, feel free,\u201d and then he started just building around it. He was adding lines in between and adding on to the storytelling.\n<\/p>\n<p><strong>You\u2019ve also been working closely with James Blake for quite some time now too. Could you elaborate on your collaborative relationship with him?<\/strong><\/p>\n<p>James\u2019s first album came out almost 15 years ago now, and like Travis\u2019s, his voice is known all over the world. With James, the emotional aspect of his voice makes people feel a lot of things, and I wanted to utilize and draw that into this world \u2013 even if we don\u2019t have access to the traditional strings that would typically pull the audience\u2019s heartstrings. What\u2019s better to use than the human voice? And especially one that\u2019s so powerful like James Blake\u2019s voice.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-5.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><strong>What do you listen to for inspiration?<\/strong><\/p>\n<p>I listen to a lot of contemporary music. I like to figure out how to expand narrative worlds through production, and in terms of like getting ideas for productions in particular, I\u2019m listening to a lot of contemporary music, classical, or jazz.\n<\/p>\n<p><strong>What is your goal when building a score for a film?<\/strong><\/p>\n<p>For the music to make the audience feel like they\u2019re in the room where the action is happening, I\u2019ve been working with Ryan Coogler since I started. On our first project,<em> Fruitvale Station<\/em>, we started recording the BART train, and then we used that in the score and turned it into a rhythmic element. On Creed, we started recording a lot of the boxing training sessions, and I started making beats and rhythms out of that. I\u2019m always trying to integrate these sounds that are actually taking place in the film and put those into the music, and I think that is a really interesting way to shape that world.\n<\/p>\n<p><strong>You have been working with both Ryan and Chris closely for a while. Could you share more about building relationships with such iconic directors and what it\u2019s been like working alongside them?<\/strong><\/p>\n<p>One of the most fun things is being able to work and learn things at the same time; whenever you can work and evolve as a human being, on both a musical level and also on a personal level with people who are from completely different backgrounds is incredible. I feel very grateful to have that. I might not be able to speak their language, but we both speak the musical language, so we can meet right in the middle. Ryan and Chris put so much effort and time and research into writing the script, so why wouldn\u2019t I do the same as a musician?\n<\/p>\n<p><strong>Is there anything in particular you want people to look (and listen) out for?<\/strong><\/p>\n<p>It really is all an experience. It\u2019s a full experience \u2013 one with incredible visuals, and seeing it on that big screen is special. I was sitting at the premiere and just looking out at the audience and seeing these incredible visuals, the colors that were washing over the audience, you know, the orange and the blue, and I think that\u2019s what I want the music to do, you know? Be a part of that experience.<\/p>\n<div class=\"show-article\">\n<p>                                                            Read Full Article<\/p><\/div>\n<\/div>\n<footer>\n<div class=\"related-stories-main-wrapper\">\n<h3>Related Stories<\/h3>\n<div class=\"stories-container\" data-layer-list-name=\"related_stories\" data-layer-list-offset=\"0\" data-layer-list-child-selector=\".story-item\">\n<div class=\"story-item\" data-layer-item-id=\"6761048\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Travis Scott Drops Self-Directed Music Video for &#8216;The Odyssey&#8217; Track &#8220;When I&#8217;m Home&#8221;\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6761275\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Cactus Jack Launches Exclusive Clothing Capsule for \u2018The Odyssey\u2019 and IMAX\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6761493\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Travis Scott Drops &#8216;Odyssey&#8217; Merch &amp; SS27 Trends Heat up in This Week&#8217;s Top Fashion News\n                                                                        <\/div>\n<\/div>\n<\/div>\n<div class=\"article-email-signup-wrapper impression-tracker\">\n<h3>We got you covered. Don\u2019t miss out on the latest news by signing up for our newsletters.<\/h3>\n<div class=\"terms\">By subscribing, you agree to our Terms of Use and Privacy Policy.<\/div>\n<\/div>\n<div class=\"post-body-author d-block d-lg-none\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Elaina Bernstein<\/span><\/div>\n<div class=\"post-body-share d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<h6>Share this article<\/h6>\n<\/div>\n<div class=\"post-body-content-tags\">\n<div class=\"body collapsed\">\n<p>    Christopher NolanJames BlakeTravis ScottLudwig GoranssonSonus FaberThe Odyssey\n                                                            <\/p><\/div>\n<\/div>\n<section class=\"post__body__author_info\">\n<div class=\"post__body__author_info__inner\"><img decoding=\"async\" src=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F06%2F05%2Felaina-300.jpg?w=100&amp;cbr=1&amp;q=90&amp;fit=max\" alt=\"Elaina Bernstein\" class=\"post__body__author_info__avatar\"><\/p>\n<div class=\"post__body__author_info__body\">\n<p>                    Elaina Bernstein<\/p>\n<p>                                    <span class=\"post__body__author_info__title\">Editor<\/span><\/div>\n<\/div>\n<div class=\"post__body__author_info__bio_wrapper\">\n<p class=\"post__body__author_info__bio\">Elaina Lauren Bernstein is a New York-based writer and editor, overseeing Hypebeast&#8217;s music vertical, Hypetrak. She handles both editorial and social coverage for Hypetrak, and served as the Deputy Editor for Summer 2025&#8217;s Hypetrak Magazine \u2014 the first in 10 years. With a particular affinity for underground hip hop, she has racked up a wide range of interviews and cover stories, spanning A$AP Rocky, Larry June, Shaboozey, Leon Thomas, Rihanna, Brent Faiyaz, Jean Dawson, and Miguel, and has covered major music tentpole events including the Grammys and Coachella. The intersection of fashion and music guides her coverage as well.<\/p>\n<\/div>\n<\/section>\n<\/footer>\n<\/article>\n<div id=\"post-body-top-bar\" class=\"post-body-top-bar d-block d-lg-none\">\n<div class=\"row\">\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Music<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>Jul 29, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             941<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Music<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>Jul 29, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Music<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>Jul 29, 2026<\/time><\/span><\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             941<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<div class=\"post-body-content\">\n<p><em>The Odyssey<\/em> is a story in which sound is central, so it was only right that Christopher Nolan enlist some of the 21st century\u2019s sharpest sonic storytellers to contribute to his adaptation of Homer\u2019s epic.<\/p>\n<p>After collaborating with Nolan on <em>Tenet<\/em> in 2020 and again <em>Oppenheimer<\/em> in 2023, award-winning musician, composer, and record producer Ludwig G\u00f6ransson takes the reins once again for <em>The Odyssey<\/em>\u2019s original score: the only soundtrack you can find both Travis Scott (spitting an offshoot of the Bard\u2019s opening delivery) and a straight-outta-the-Bronze Age selection of flutes and lyres on consecutive tracks.<\/p>\n<p>Surrounding himself with a selection of sourced bronze instruments was the first thing G\u00f6ransson did when beginning work on the grandiose aural venture, he told Hypebeast in an intimate conversation at Sonus faber\u2019s New York City House of Sound townhome. However, it was ultimately a careful balance of this Bronze Age tradition with modern-era experimentation that guided his creative process.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-2.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>\u201cI got a bunch of huge gongs,\u201d he laughs, \u201cand then I had to figure out how to record them using modern techniques and play these instruments in ways we haven\u2019t heard before.\u201d\n<\/p>\n<p>G\u00f6ransson also got to work on the aulos \u2013 what he refers to as the electric guitar-adjacent \u201crockstar instrument\u201d of ancient Greece \u2013 and began toying with different microphone placements and angles. This sort of experimentation is his favorite. The end result? A \u201cSiren Song\u201d rooted in the original texts, yet reimagined through an innovative, modern lens. A gut-wrenching final bow contest entirely void of a traditional orchestral background. And one of hip-hop\u2019s biggest stars playing the role of the blind Bard.\n<\/p>\n<p>\u201cA face\u2026 a fleet\u2026 a war\u2026 a man\u2026 a thought\u2026 a trick\u2026 a trick to break the walls of Troy\u2026 and burn it screaming to the ground,\u201d are Scott\u2019s opening lines to the film, also sprinkled into the closing track, a three-part collaboration between G\u00f6ransson, Scott, and James Blake. Aptly entitled \u201cWhen I\u2019m Home,\u201d the cut marks the second collaboration between G\u00f6ransson and Scott (who first worked together on <em>Tenet<\/em> single \u201cTHE PLAN\u201d), but more importantly, points to the Swedish composer\u2019s masterful ability to meld the history of the Bronze Age with production tactics and technology of the 21st century.\n<\/p>\n<p>Between Scott\u2019s role as the Bard \u2013 arguably one of the most important characters in the tale \u2013 and G\u00f6ransson on the score, Nolan\u2019s closest creative collaborators ensure that the director\u2019s version of <em>The Odyssey<\/em> stays true to the epic\u2019s emphasis on sound and music. Fresh off the film\u2019s global premiere, G\u00f6ransson gathered a collection of press at the House of Sound to share more about his creative process, as well as to play some of the score on what might be the only speaker outside of an IMAX theater to do it justice: Sonus faber\u2019s Olympica G3.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-4.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><strong>With a story that holds such weight as <em>The Odyssey<\/em>, where do you even start?<\/strong><\/p>\n<p><strong>Ludwig G\u00f6ransson:<\/strong> Reading the script is the first thing I do, and then I immediately start having conversations with Chris to learn more about what his vision is for the film and where he wants the music to go.\n<\/p>\n<p><strong>Are you in talks with Nolan from the beginning of the process?<\/strong><\/p>\n<p>Yes. We\u2019re constantly in conversations, and I\u2019m talking about my creative ideas, and I\u2019m listening to his, and it\u2019s together that we find and take the first steps. That\u2019s important in any kind of collaborative relationship. Every week when we\u2019re in pre-production, I\u2019m invited into the office to see what he and the rest of the team are working on with costume design, to see the production set design, etc, so immediately I\u2019m getting immersed in this world that\u2019s starting to be created.\n<\/p>\n<p>But it is really important for me to write music before I have any visuals, because once you sit down and try to write music to a scene, you\u2019re not really writing. You\u2019re tied to a time, like, \u201cThis has to be two minutes long,\u201d or \u201cThis has to start and end here.\u201d You don\u2019t have full creative freedom anymore to just work with your own mind.\n<\/p>\n<p><strong>What was Nolan\u2019s vision for this film in particular?<\/strong><\/p>\n<p>On this one, he wanted to make something very different \u2013 something that we haven\u2019t experienced before in the theater. Typically, when you see this type of ancient Greek movie, it comes with the same, very romanticized, 1950s orchestral score. Chris wanted to do something different. The challenge is to take the audience\u2019s preconceived notion of the score, flip that on its head, and take a different approach to it, while still trying to be kind of true to the times. We wanted to use some of these ancient Greek instruments and elaborate on that sound.\n<\/p>\n<p><strong>How do you toe that line of balancing tradition with experimentation?<\/strong><\/p>\n<p>I love experimenting. One of the first things I did was get a bunch of bronze instruments, since this takes place in the Bronze Age. I got a bunch of huge gongs. Then I had to figure out how to record these using modern techniques and play the instruments in ways we haven\u2019t heard before. What if we put a mic super close, and turn the mic up all the way, and then hit it super soft? I just started seeing what would come out of different ways of playing each instrument. That was my first venture in experimenting: just surrounding myself with all of these bronze instruments.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-3.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><strong>Aside from the gong, what were some of the other instruments you sourced?<\/strong><\/p>\n<p>You can see some of the instruments they played at the time on paintings or on pots. The lyre, for example, was one. There\u2019s another ancient Greek instrument called the aulos, which is almost like two oboes that you play at the same time. It\u2019s a double reed instrument, and that was the most popular instrument at that time. It was like the rockstar instrument of ancient Greece, like the electric guitar. It was so popular, and so eventually, I can\u2019t remember exactly what year, but I think when the Roman Church took over, they actually said, \u201cYou can\u2019t play this instrument anymore.\u201d So somewhere, I think 500 BC or something, the instrument actually disappeared for 2,000 years.\n<\/p>\n<p><strong>When does the cast get to hear the music?<\/strong><\/p>\n<p>For this film, we needed to have a lot of music before the cast arrived because there\u2019s actual singing in the movie. There have also been times when I send the music to the director, and then they play it for the cast on set or on the sound stage, or let them listen to something that can help them find their character.\n<\/p>\n<p><strong>This is now your second time working with Travis Scott, after collaborating first on \u201cTHE PLAN\u201d for <em>Tenat<\/em>\u00a0back in 2020. Could you share more about what it\u2019s like working together?<\/strong><\/p>\n<p>It\u2019s incredible getting to work with both Travis and James Blake. Obviously, Travis plays the Bard in the film. He has such an incredible voice, and it was just so special to be there when we made the song together. I started phrasing out those words from the film \u2013 his lines from the film \u2013 and I told Travis like, \u201cYou know, I think this sounds pretty cool, but like if you want to do something else, feel free,\u201d and then he started just building around it. He was adding lines in between and adding on to the storytelling.\n<\/p>\n<p><strong>You\u2019ve also been working closely with James Blake for quite some time now too. Could you elaborate on your collaborative relationship with him?<\/strong><\/p>\n<p>James\u2019s first album came out almost 15 years ago now, and like Travis\u2019s, his voice is known all over the world. With James, the emotional aspect of his voice makes people feel a lot of things, and I wanted to utilize and draw that into this world \u2013 even if we don\u2019t have access to the traditional strings that would typically pull the audience\u2019s heartstrings. What\u2019s better to use than the human voice? And especially one that\u2019s so powerful like James Blake\u2019s voice.\n<\/p>\n<div class=\"shortcode-slider before-booted full-screen-enabled light\" data-width=\"100%\" data-animate=\"slide\" data-slideshow data-loop data-slideshowspeed=\"7000\" data-group-cells=\"1\">\n<div class=\"flickity-carousel\">\n<div class=\"flickity-carousel-cell\" data-gallery-index=\"1\">\n<div class=\"wp-caption alignnone\">\n                                    <source srcset=\"https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-5.jpg?q=90&amp;w=2180&amp;format=jpeg&amp;cbr=1&amp;fit=max\" media=\"<br \/>\n                                        (min-width: 1200px) and (-webkit-min-device-pixel-ratio: 2),<br \/>\n                                        (min-width: 1200px) and (min-resolution: 192dpi)<br \/>\n                                    \" \/><\/p>\n<p class=\"wp-caption-text credit-wrapper\"><span class=\"credit\">Sonus Faber<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><strong>What do you listen to for inspiration?<\/strong><\/p>\n<p>I listen to a lot of contemporary music. I like to figure out how to expand narrative worlds through production, and in terms of like getting ideas for productions in particular, I\u2019m listening to a lot of contemporary music, classical, or jazz.\n<\/p>\n<p><strong>What is your goal when building a score for a film?<\/strong><\/p>\n<p>For the music to make the audience feel like they\u2019re in the room where the action is happening, I\u2019ve been working with Ryan Coogler since I started. On our first project,<em> Fruitvale Station<\/em>, we started recording the BART train, and then we used that in the score and turned it into a rhythmic element. On Creed, we started recording a lot of the boxing training sessions, and I started making beats and rhythms out of that. I\u2019m always trying to integrate these sounds that are actually taking place in the film and put those into the music, and I think that is a really interesting way to shape that world.\n<\/p>\n<p><strong>You have been working with both Ryan and Chris closely for a while. Could you share more about building relationships with such iconic directors and what it\u2019s been like working alongside them?<\/strong><\/p>\n<p>One of the most fun things is being able to work and learn things at the same time; whenever you can work and evolve as a human being, on both a musical level and also on a personal level with people who are from completely different backgrounds is incredible. I feel very grateful to have that. I might not be able to speak their language, but we both speak the musical language, so we can meet right in the middle. Ryan and Chris put so much effort and time and research into writing the script, so why wouldn\u2019t I do the same as a musician?\n<\/p>\n<p><strong>Is there anything in particular you want people to look (and listen) out for?<\/strong><\/p>\n<p>It really is all an experience. It\u2019s a full experience \u2013 one with incredible visuals, and seeing it on that big screen is special. I was sitting at the premiere and just looking out at the audience and seeing these incredible visuals, the colors that were washing over the audience, you know, the orange and the blue, and I think that\u2019s what I want the music to do, you know? Be a part of that experience.<\/p>\n<div class=\"show-article\">\n<p>                                                            Read Full Article<\/p><\/div>\n<\/div>\n<div class=\"post-body-author d-block d-lg-none\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Elaina Bernstein<\/span><\/div>\n<div class=\"post-body-share d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<h6>Share this article<\/h6>\n<\/div>\n<div class=\"post-body-content-tags\">\n<div class=\"body collapsed\">\n<p>    Christopher NolanJames BlakeTravis ScottLudwig GoranssonSonus FaberThe Odyssey\n                                                            <\/p><\/div>\n<\/div>\n<p>[analyse_source url=&#8221;https:\/\/hypebeast.com\/2026\/7\/ludwig-goransson-the-odyssey-sonus-faber-exclusive-interview-travis-scott-james-blake-soundtrack&#8221;]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F07%2F29%2Fludwig-tw.jpg?w=1080&amp;cbr=1&amp;q=90&amp;fit=max&#8221;] Music Jul 29, 2026 941 Views 0\u00a0Comments Comments Save Text By Elaina Bernstein Share this article Music Jul 29, 2026 941 Views 0\u00a0Comments Comments Save The Odyssey is a story in which sound is central, so it was only right that Christopher Nolan enlist some of the 21st century\u2019s sharpest sonic storytellers [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[226,39],"class_list":["post-2072568","post","type-post","status-publish","format-standard","hentry","category-politics","tag-crawlmanager","tag-hypebeast-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2072568","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2072568"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/2072568\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2072568"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2072568"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2072568"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}