Awesome Music: Person of Interest

"We created a 'shit-we-like' algorithm, then turned it Up to Eleven."
Greg Plageman

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    Original Score 
The original score is composed by Ramin Djawadi.note 
  • There is a separate Leitmotif for Finch, Reese, and the Machine. There is noticeable (and appropriate) overlap between the Finch theme and the Machine theme.
  • The themes evolve: for example, here are Season 2 compilations of new music pieces for Finch, Reese, and the Machine.
  • Root has a unique theme, which is usually introduced by the main notes of it being played in absence of other music. How awesome is it?
    "...we wrote the character back into the season just to hear the music again."
    Liner notes to Season 1 soundtrack album
  • The music from the Ambiguous Ending of "Cura te Ipsum", "Do People Change?" is deliciously menacing.
  • What makes "Elias" more awesome is how well it still fits him throughout his development. In the beginning, it gives an air of mystery to the man behind the name. When his motives are revealed, it highlights his quest for revenge well, fading slowly until returning loud and bombastic, like the man himself. After all is said and done, it adopts a tone that speaks very much to Elias' new power and control over New York. Truly a theme worthy of the Evolution of Organized Crime.
  • The version of "Listening With a Million Ears" from the last three minutes of "Firewall" is particularly awesome.
    • Also worthy of mention is the swank, jazzy, uptempo version used in "The Perfect Mark" when Price gets the baseball from the soda vendor.
  • Out of all Reese's Pieces, Knock Knock, featured during the scenes of action and vehicular mayhem, is the most awesome. Carter gets her own version of "Knock Knock" when committing Reese-style vehicular mayhem in "Endgame".
  • Samaritan has its own theme. A particularly fantastic version appears in "Prophets", duelling with a combination of the Machine's and Root's themes.
  • The slow, heartbreaking version of Shaw's theme that plays at the end of "If-Then-Else" during Shaw's Heroic Sacrifice and her Big Damn Kiss with Root.
  • Control's theme is gloriously sinister.

    Season 1 
  • "New York" by Cat Power, from the end of "The Fix". Summing up Zoe's love for the city and giving her a triumphant end.
  • The appropriately titled and catchy "Sinnerman" by Nina Simone, used at the end of "Witness".
  • "I Know You Are But What Am I?" by Mogwai, hauntingly beautiful at the end of "Foe".
  • "When Things Explode" by Unkle, from the end of "Number Crunch". Really emphasizes how dire the situation is.
  • The chillingly ominous "If I Had a Heart" by Fever Ray, used in "Blue Code".
  • The somber and ominous "Burn My Shadow" by UNKLE, used at the climax of "Flesh and Blood", while Reese saves Taylor Carter in spectacular fashion.

     Season 2 
  • "It Serves You Right to Suffer" by John Lee Hooker, in "High Road", very fitting for the sequence where Graham, fearing for his family's safety, leaves his wife a note confessing his hidden past and slips out to join the gang of robbers.

     Season 3 

     Season 4 
  • "Young Men Dead" by The Black Angels, used as the music bed for the 2014 San Diego Comic Con teaser reel. It returns in the episode 'Prophets' when Root engages in a massive gunfight with Mantine Rousseau across a hotel lobby.
  • Jetta's haunting cover of "I'd Love to Change the World" (also seen in the trailer), used as the team gets back on track in the end of the first episode, "Panopticon". It reflects the Season 4 Arc Words: "The world has changed."
  • The Glitch Mob's Fortune Days during each of the simulations in If-Then-Else. It both accentuates the tension of the episode and nicely compliments Team Machine getting down to business.
  • Moby's "The Violent Bear It Away" really enhanced the somber, yet still hopeful ending of "Control Alt Delete".