Along with “The Movement Image” and “Subsequent Era,” Goldsmith additionally wrote the themes to the movies  “Star Trek V: The Ultimate Frontier,” in addition to “Star Trek: First Contact,” “Star Trek: Rebel,” and “Star Trek: Nemesis.” He additionally did the theme music for “Star Trek: Voyager.” For a lot of Trekkies, Goldsmith’s sound is as synonymous with Trek as John Williams’ scores are to “Star Wars.” Because of this it was so bizarre to listen to Russell Watson sing “Religion of the Coronary heart” because the theme for “Star Trek: Enterprise.” It was simply … off. 

“Star Trek: Picard” does not simply recreate the Goldsmith sound, however actually reuses his scores. “Picard” abandons the theme it utilized in its first two seasons (written by Jeff Russo) and strikes its title sequence to the top of every episode. The music over the top credit is Goldsmith’s precise rating for “First Contact.” It isn’t even a re-orchestration. It is simply the identical music once more. All through “Picard” as properly, different Goldsmith quotations are used fairly closely, together with the infamous “BWAAAAM” sound used all through “The Movement Image.” 

These musical quotations do not feel like a mere retread, nonetheless, and are not included for mere nostalgia. They, as an alternative, give “Picard” a classical feeling, subconsciously legitimizing the present within the minds of Trekkies in all places. For years, it appeared that newer Trek reveals had been hellbent on skewing so far as potential from the franchise’s established hallmarks. The newer reveals had been extra violent, and centered extra on warfare and motion and the brand new scores had been altered appropriately. The music now not indicated frontiersmanship, however mayhem. The music is ok, however the temper was simply as … off because the presence of Russell Watson. 

As such, having the music again in place for the brand new season of “Picard” is a boon.