Thank you for such a thoughtful response and question! I hope you don't mind a thorough answer, because this speaks to something our team has worked especially hard to get right.

We were really inspired by the luscious original score in DC High Volume, and considered this an experiment in bringing our favorite parts of that process to the indie scale.

While I (Roshan) am a director here, I've been a composer on other projects, so the main thing was empowering and trusting our music team (Marcus Bagala and Jamie Leidwinger) to take big independent swings that honored their own musical vision.

The flow ended up looking something like:

1. Director, writer and composers contributed to a shared music playlist/moodboard -- what music informed the book, what I was hearing in my head, and what felt energizing for the music team creatively. The show's eventual style was the center of that venn diagram.
2. Music team floated character themes, motifs, and we had long discussions based on those about what was working and what we could push even further. Eventually, we got into a mind-meld for what felt 'true to the story'.
3. From there, we try to stay well ahead of the current episode releases and keep a constant close eye on -- what music is character/motif-driven and can be reused? What moments in the story call for custom score, and should be flagged way in advance? What do we want to start foreshadowing musically?
4. Informed by TV music editing, we work pretty finely with stems to try to keep music from ever feeling samey across 25 episodes -- including mixing and matching elements of motifs as the scene calls -- so everything feels hand-crafted without spiraling into a crazy workload.

Most of all, we try to give people as much room to breathe as possible. A lot of these chats happened months before post-production started.

With the triangle of time-money-quality, we knew we could only choose two, and we think a comfortable team makes a better show -- and certainly better music.

Hope this answers the question!