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Soundtrack review: Person of interest (seasons 3 and 4) (Ramin Djawadi – 2016)


Soundtrack review: Person of interest (seasons 3 and 4) (Ramin Djawadi – 2016)


“Person of interest” is my favorite show of this decade. The adventures of Harold, John, Root, Agent Carter and Fusco always bring something extra and I’ve grown to love these characters. One very important character in the show is Ramin Djawadi’s music. I loved the music of the first two seasons and I had almost lost hope that we would get the music from the next two seasons as well. To my joy the album was announced and I couldn’t wait for it because seasons 3 and 4 is where the show really took off and got way more emotional and intense. The character development was in full swing and by now the composer had most of his themes in place.

Not only this but the PoI sound was also fully developed so from the first cue of this album I know what I’m listening to. Just as life in that universe is fully affected by The Machine and Samaritan, two artificial intelligence gods so Ramin Djawadi’s music for the series always has that dark electronic component in the background always watching, affecting every cue. The music of seasons 3 and 4 also feels stronger and richer than the previous two albums. It’s as if the body of the PoI sound started from being attractive but thin and had time to grow, beef up and now it’s reached physical maturity. The music isn’t contained anymore and gives me that feeling of absence of restrictions that I get from the artificial intelligence in the show. The music travels all paths and makes everything its home.

I was looking forward to the new themes introduced here for characters like Control, Samaritan, Brotherhood or the one for the new villain assassin Martine. “Control” gets a loud and grand piece that reminds me how much power the character has. “Samaritan” starts off quietly as if it wants to watch and know the world first before spreading its wings and taking it over. “Martine” is quiet, sneaky and determined. “The brotherhood” is shadowy and menacing. Every single theme form this score brings the images of the show to mind and makes me nod my head as I associate them with the sound.

Surprises like the lighter and more melodic cues “Game over” or “Jury summons” also work because they break the serious and bleak mood of the score. They seem to come from another world, a world of hope and joy and they are lonely and lovely blank spots under the all-seeing eyes of the machines. Fans of the brilliant episode “If then else” will get their fix with the funky theme that played over those infinite scenarios.

I mentioned how emotional the show got during these two seasons and a theme like “The bridge” captures the goose bumps and the choking feeling I used to get watching certain episodes. This cue grabs the heart and squeezes on until it smothers every other feeling except the sadness. It would have been wrong for a theme like this to not see the light of day. “Till death do us part” is another stunning moment.

I wouldn’t have minded even getting a separate score for each of the two seasons. Ramin Djawadi’s music for “Person of interest” is tightly woven in the fabric of the show and for me, is one of his best works. The composer creates a musical world as rich and rewarding as the on screen world of the TV show and this collection of scores will be part of his legacy. The regret of the show ending with the 5th season is doubled by the realization that we won’t get to explore this musical world more.

Cue rating: 93 / 100

Total minutes of excellence: 54 / 74

Album excellence: 74%


Analogue Interface

End Game


The Bridge

Finch Takes Flight


Nothing To Hide

The Devils Share

Jury Summons

If Then Else

Til Death Do Us Part

Can You Hear Me

Reese On Ice

Veni vidi vici



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Mihnea Manduteanu

I have been listening to film music for 25 years and writing about it since 2014. I've written over 1000 reviews and I can't imagine myself doing anything else. I am also a member of IFMCA (International Film Music Critics Association).

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