NATALIE HOLT, JOHN WILLIAMS, WILLIAM ROSS Walt Disney (download) 31 tracks – 82:54

Following the events of Revenge of the Sith, Obi-Wan Kenobi (Ewan McGregor) is in hiding out on Tatooine, but springs into action when he receives word that young Leia Organa—the daughter of his former pupil—has been abducted. Obi-Wan Kenobi is currently streaming on Disney Plus, is the latest Star Wars spin-off. Though John Williams has penned a new theme for the Jedi Master, the bulk of the scoring duties have been taken on by up-and-comer Natalie Holt.

As is the composer’s predilection, Williams’ theme for Obi-Wan comes in two parts. The A-section on trumpet ably reflects Kenobi’s world (or is it galaxy?)-weariness in light of all that’s happened, while the B-section is a circular passage for strings, with the two parts ultimately playing together. The theme is featured throughout the series, as adapted either by Holt or Williams’ collaborator William Ross.

Within moments of her first track, “Order 66,” Holt proves herself as a force to be reckoned with, as placid strings and harp give way to racing synths, pounding horns and percussion. Meanwhile, “Young Leia” receives a properly spunky-sounding motif of strings and drum beats.

Touched off by cello, “Days of Alderaan” soon turns sweeping, with exotic percussion, a string ostinato and horns. Despite strings and sampled percussion, “Bail and Leia” is dominated by woodwinds, particularly flute and oboe. Much more low-key is “Nari’s Shadow,” where cello and muted trumpet provide a melancholy atmosphere.

“Ready to Go” features popping electronics, glass harmonica and organ, leading to swelling brass. “Daiyu” goes for expansive, flowing string work with synths burbling away in the background.

“Inquisitors’ Hunt” brings to the fore a menacing three-note melody for low brass and pounding drums. In the midst of electronics and tick-tock percussion, “Cat and Mouse” further develops the motif on booming horns.

“The Path” is earmarked by chirping string work, percussive hits and what appears to be a Hardanger fiddle. A far cry from “The Imperial March,” “Sensing Vader” presents Holt’s motif for the Dark Lord in the form of imposing three-note statements for electronically-manipulated brass.

Amidst a flurry of pounding drums and techno beats, “Stormtrooper Patrol” characterizes the Empire with an oppressive march on horns. “Empire Arrival” shifts between the Inquisitors’ stomping idea and Vader’s motif, while “Dark Side Assault” continues the same musical throughline.

One of the highlights of the album is the exciting take on Obi-Wan’s theme halfway through “Hangar Escape.” “Hold Hands” goes from see-sawing strings to a rising and falling statement, with cello lending an extra twinge of regret.

“Spice Den” is one of the more exotic pieces of the album, as odd synths, chirping strings and dulcimer make for a heady brew. “Mapuzo” is just as otherworldly, with its vocals and slow bongos.

“No Further Use” mixes old and new styles in a fast-paced package, topped off with a subtle quote of the Imperial March. “Tatooine Desert Chase” is cut from the same cloth, while strings and electronics coalesce in the subdued “Who You Become.”

All told, Holt’s contributions make for a strong underscore to the series, but along the way, a decision was made to make the music sound more like Star Wars. Thus, John Williams joined the party, and composer William Ross was called upon to adapt the new theme into several prominent cues in the more traditional model of the franchise.

As such, “The Journey Begins” sees descending strings and gentle harp lead to a quiet, noble take on Obi-Wan’s motif. “First Rescue” sets racing string runs and steadily building brass against abbreviated statements of the main theme.

“I Will Do What I Must” boasts clacking percussion and a powerful choral rendition of Obi-Wan’s melody. The theme also punctuates “Some Things Can’t Be Forgotten” and “Overcoming the Past,” with soulful strings featuring in the latter.

It’s never easy “Saying Goodbye,” but the harp and the main theme on trumpet—trailing into a handful of classic melodies—try to soften the blow. “End Credit” concludes the album with rousing statements of Obi-Wan’s theme.

Purists may bemoan Holt’s music lacking the classic themes and idioms, but on its own, her work on Obi-Wan Kenobi is quite effective at expanding the musical world of Star Wars. Given her fine contributions, not to mention the new John Williams theme and Ross’ terrific additions, this album is well worth a download. —Tor Harbin

Click here for last month’s interview with Natalie Holt.