star trek picard season 3 soundtrack vinyl uk

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Star Trek: Picard: Season 3 Volume 1 - Sky Blue and White Burst Vinyl

£34.99

Released: 11th August 2023. Scored by award winning British composer Stephen Barton and German Emmy winning composer Frederik Wiedmann. Barton accrued an extensive background as a producer, conductor, music arranger and programmer in composing music for several video games. He is also considered an expert in the burgeoning spatial-and-immersive audio field. Wiedmann has been a main stay in the DC cinematic universe starting with his work on Green Lantern - The Animated Series, which was followed by his work on Green Lantern (for which he earned 2 consecutive Annie Nominations). This led to tremendous DC projects such a Justice League - The Flashpoint Paradox, Son of Batman, Justice League Throne of Atlantis, Justice League - Gods and Monsters.

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Star Trek: Picard Season 3 Volume 1 (Soundtrack) vinyl

Stephen BARTON / FREDERIK WIEDMANN

Star trek: picard season 3 volume 1 (soundtrack), lakeshore us.

Star Trek Picard is a TV series that has been as healed for its great soundtrack as much as any of the on screen action. The award winning British composer Stephen Barton (also known for his work on Star Wars Jedi Fallen) is behind it and his work on the third season might be the best yet. Pulled out of retirement once more, Jean-Luc Picard (played by the legendary Patrick Stewart) seeks help from Captain Riker to answer a distress call and uncovers a conspiracy reaching to the furthest corners of the Federation as well as the unwelcome return of an old foe. Thematic is dramatic, absorbing and emotive and is all captured on this record.

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Star Trek: Picard Season 3 Volume 1

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£ 31.99

Cat:LKS36331     Barcode:780163633122

Limited Edition Sky Blue with White Burst 2LP

Double LP on Sky Blue with White Burst coloured vinyl, with full colour gatefold sleeve and inserts …

Record Label: Lakeshore Records

Format: Album

Genre: Soundtrack

Release Date: 11/08/2023

Out of Stock

Double LP on Sky Blue with White Burst coloured vinyl, with full colour gatefold sleeve and inserts.

Scored by award winning British composer Stephen Barton ( Star Wars Jedi: Fallen Order, Call of Duty 4: Modern Warfare, Titanfall,12 Monkeys, Apex: Legends ) & German Emmy winning composer Frederik Wiedmann ( All Hail King Julien, Green Lantern: The Animated Series, Justice League: The Flashpoint Paradox, Son of Batman, Justice League: Throne of Atlantis and Justice League: Gods and Monsters ).

Barton accrued an extensive background as a producer, conductor, music arranger and programmer in composing music for several video games. He is also considered an expert in the burgeoning spatial-and-immersive audio field.

Wiedmann has been a main stay in the DC cinematic universe starting with his work on Green Lantern – The Animated Series , which was followed by his work on Green Lantern (for which he earned 2 consecutive Annie Nominations ). This led to tremendous DC projects such a Justice League – The Flashpoint Paradox, Son of Batman, Justice League Throne of Atlantis, Justice League – Gods and Monsters .

Limited Edition Vinyl Pressing.

• Hello, Beautiful
• Leaving Spacedock
• No Win Scenario
• Blood In The Water
• Flying Blind
• Invisible Rescue
• Get Off My Bridge
• Frontier Day
• Hail The Fleet
• Where It All Began
• The Last Generation
• The Missing Part Of Me
• Must Come To An End
• Names Mean Everything
• The Stars – End Credits

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"Star Trek: Picard Season 3 Volume 1 (Original Soundtrack)" LP by Star Trek

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Stephen Barton | Frederik Wiedmann - Star Trek: Picard Season 3 Volume 1 [Sky Blue with White Burst colored vinyl]

Lakeshore Records

Format: 2 x LP, Coloured Catalogue No.: LKS36331 Barcode: 780163633122 Release Date: 11 Aug 2023 Genre: Soundtrack

Double LP on Sky Blue with White Burst colored vinyl, with full color gatefold sleeve and inserts Scored by award winning British composer Stephen Barton (Star Wars Jedi: Fallen Order, Call of Duty 4: Modern Warfare, Titanfall,12 Monkeys, Apex: Legends) & German Emmy winning composer Frederik Wiedmann (All Hail King Julien, Green Lantern: The Animated Series, Justice League: The Flashpoint Paradox, Son of Batman, Justice League: Throne of Atlantis and Justice League: Gods and Monsters) Barton accrued an extensive background as a producer, conductor, music arranger and programmer in composing music for several video games. He is also considered an expert in the burgeoning spatial-and-immersive audio field. Wiedmann has been a main stay in the DC cinematic universe starting with his work on Green Lantern - The Animated Series, which was followed by his work on Green Lantern (for which he earned 2 consecutive Annie Nominations). This led to tremendous DC projects such a Justice League - The Flashpoint Paradox, Son of Batman, Justice League Throne of Atlantis, Justice League - Gods and Monsters. Limited Edition Vinyl Pressing

Track Listing: Side A – 18:28 mins approx Hello, Beautiful Leaving Spacedock No Win Scenario Blood In The Water Flying Blind

Side B – 18:47 mins approx. Legacies Evolution LaForges Invisible Rescue Dominion Side C – 19:34 mins approx. Get Off My Bridge Frontier Day Hail The Fleet Make It So Where It All Began Side D – 17:00 mins approx. The Last Generation The Missing Part Of Me Must Come To An End A New Day Names Mean Everything The Stars – End Credits

More From This Artist: Frederik Wiedmann Stephen Barton

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Star Trek: Picard Season 3 Volume 1 - Stephen Barton | Frederik Wiedmann

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Side A – 18:28 mins approx Hello, Beautiful Leaving Spacedock No Win Scenario Blood In The Water Flying Blind Side B – 18:47 mins approx. Legacies Evolution LaForges Invisible Rescue Dominion Side C – 19:34 mins approx. Get Off My Bridge Frontier Day Hail The Fleet Make It So Where It All Began Side D – 17:00 mins approx. The Last Generation The Missing Part Of Me Must Come To An End A New Day Names Mean Everything The Stars – End Credits

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Stephen Barton/Frederik Wiedmann

Star Trek: Picard Season 3 Volume 1

• Released: 11/08/2023
• Label:  Lakeshore Records , 
• Genre:  Soundtracks , 
• Regular price £32.99
• Unavailable

Double LP on Sky Blue with White Burst colored vinyl, with full color gatefold sleeve and inserts Scored by award winning British composer Stephen Barton (Star Wars Jedi: Fallen Order, Call of Duty 4: Modern Warfare, Titanfall,12 Monkeys, Apex: Legends) & German Emmy winning composer Frederik Wiedmann (All Hail King Julien, Green Lantern: The Animated Series, Justice League: The Flashpoint Paradox, Son of Batman, Justice League: Throne of Atlantis and Justice League: Gods and Monsters) Barton accrued an extensive background as a producer, conductor, music arranger and programmer in composing music for several video games. He is also considered an expert in the burgeoning spatial-and-immersive audio field. Wiedmann has been a main stay in the DC cinematic universe starting with his work on Green Lantern - The Animated Series, which was followed by his work on Green Lantern (for which he earned 2 consecutive Annie Nominations). This led to tremendous DC projects such a Justice League - The Flashpoint Paradox, Son of Batman, Justice League Throne of Atlantis, Justice League - Gods and Monsters

Side A – 18:28 mins approx Hello, Beautiful Leaving Spacedock No Win Scenario Blood In The Water Flying Blind Side B – 18:47 mins approx. Legacies Evolution LaForges Invisible Rescue Dominion Side C – 19:34 mins approx. Get Off My Bridge Frontier Day Hail The Fleet Make It So Where It All Began Side D – 17:00 mins approx. The Last Generation The Missing Part Of Me Must Come To An End A New Day Names Mean Everything The Stars – End Credits

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Star trek: picard season 3 original soundtrack volume 1 blue 2lp vinyl 12" album.

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Star Trek Picard (Original Series Soundtrack - Season 3) - Stephen Barton & Frederik Wiedmann

Double lp on sky blue with white burst colored vinyl, with full color gatefold sleeve and inserts, “one of the best things about this season of picard the music” junkee.com.

Scored by award winning British composer Stephen Barton (Star Wars Jedi: Fallen Order, Call of Duty 4: Modern Warfare, Titanfall,12 Monkeys, Apex: Legends) & German Emmy winning composer Frederik Wiedmann (All Hail King Julien, Green Lantern: The Animated Series, Justice League: The Flashpoint Paradox, Son of Batman, Justice League: Throne of Atlantis and Justice League: Gods and Monsters)

Star Trek: Picard features Sir Patrick Stewart reprising his iconic role as Jean-Luc Picard, which he played for seven seasons on Star Trek: The Next Generation and in 4 feature length films.  The new series will follow this iconic character into the next chapter of his life.

Pulled out of retirement (again) by a distress call from old flame Beverly Crusher (Gates McFadden), Jean-Luc Picard (Patrick Stewart) enlists the help of Captain Riker (Jonathan Frakes) and sets out to save the day.  What he uncovers, however, is a conspiracy reaching to the furthest corners of the Federation, and the return of an old foe, long thought defeated.

Track Listing: Side A – 18:28 mins approx Hello, Beautiful Leaving Spacedock No Win Scenario Blood In The Water Flying Blind

Side B – 18:47 mins approx. Legacies Evolution LaForges Invisible Rescue Dominion

Side C – 19:34 mins approx. Get Off My Bridge Frontier Day Hail The Fleet Make It So Where It All Began

Side D – 17:00 mins approx. The Last Generation The Missing Part Of Me Must Come To An End A New Day Names Mean Everything The Stars – End Credits

Release on or around 05/12

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Star Trek: Picard, Season 3 (Original Series Soundtrack)

Stephen Barton & Frederik Wiedmann

45 SONGS • 2 HOURS AND 30 MINUTES • APR 20 2023

• TRACKS TRACKS
• DETAILS DETAILS

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Original Soundtrack Star Trek: Picard [Original Series Soundtrack - Season 3 - Volume 1] - Sky Blue Vinyl US 2-LP vinyl set

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Star Trek: Picard Season 3 Volume 1

Stephen barton & frederik wiedmann, sku: lks36331, barcode: 0780163633122.

• Genre: Soundtrack
• Label: Lakeshore
• Released Date: 11th August 2023
• Buying Format: 2LP Coloured Vinyl

Out of stock

• Description
• Product Info

Scored by award-winning British composer Stephen Barton (‘Star Wars Jedi: Fallen Order’, ‘Call of Duty 4: Modern Warfare’, ‘Titanfall’, ‘12 Monkeys’, ‘Apex: Legends’) and German Emmy- winning composer Frederik Wiedmann (‘All Hail King Julien’, ‘Green Lantern: The Animated Series’, ‘Justice League: The Flashpoint Paradox’, ‘Son of Batman’, ‘Justice League: Throne of Atlantis’ and ‘Justice League: Gods and Monsters’).

Barton accrued an extensive background as a producer, conductor, music arranger and programmer in composing music for several video games. He is also considered an expert in the burgeoning spatial and immersive audio field.

Wiedmann has been a main stay in the DC cinematic universe, starting with his work on ‘Green Lantern – The Animated Series’, which was followed by his work on ‘Green Lantern’ (for which he earned two consecutive Annie nominations). This led to tremendous DC projects such ‘Justice League – The Flashpoint Paradox’, ‘Son of Batman’, ‘Justice League Throne of Atlantis’ and ‘Justice League – Gods and Monsters’.

Double LP on Sky Blue with White Burst coloured vinyl, with full colour gatefold sleeve and inserts.

Track Listings

• Hello, Beautiful
• Leaving Spacedock
• No Win Scenario
• Blood In The Water
• Flying Blind
• Invisible Rescue
• Get Off My Bridge
• Frontier Day
• Hail The Fleet
• Where It All Began
• The Last Generation
• The Missing Part Of Me
• Must Come To An End
• Names Mean Everything
• The Stars - End Credits

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Star Trek Picard (Original Series Soundtrack Season 3 Volume 1)

• Vinyl $75.47 10 New from $63.71

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Double vinyl LP pressing.

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• Product dimensions ‏ : ‎ 30.99 x 30.99 x 1.02 cm; 476.27 Grams
• Manufacturer ‏ : ‎ Lakeshore Records
• Original Release Date ‏ : ‎ 2023
• Label ‏ : ‎ Lakeshore Records
• ASIN ‏ : ‎ B0BZLLZY8S
• Number of discs ‏ : ‎ 2
• 451 in Movie Soundtracks

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Barton, Stephen: Star Trek Picard (Original Series Soundtrack Season 3 Volume 1)

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Star Trek Picard Original Series Soundtrack Season 3 Volume 1 (Vinyl)

• LP Record $49.78 1 Used from $72.68 12 New from $44.44

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Double vinyl LP pressing.

Product details

• Product Dimensions ‏ : ‎ 30.99 x 30.99 x 1.02 cm; 476.27 g
• Manufacturer ‏ : ‎ Lakeshore Records, Vinyl Only
• Original Release Date ‏ : ‎ 2023
• Label ‏ : ‎ Lakeshore Records, Vinyl Only
• ASIN ‏ : ‎ B0BZLLZY8S
• Country of origin ‏ : ‎ Canada
• Number of discs ‏ : ‎ 2
• #3 in Television Soundtracks

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Soundtrack Information

Star Trek: Picard - Season 3

Lakeshore Records

Release Date: April 20, 2023

Formats: Digital, Vinyl

• Star Trek: Picard (2020) [TV Series]
• Stephen Barton
• Frederik Wiedmann

Purchase Soundtrack

• Buy the album from iTunes
• Buy Vinyl Record from Amazon.com

Track Listing

Related albums.

Star Trek: Picard - Season 2 Lakeshore Records

Released: April 29, 2022

Format: Digital (84 min)

Star Trek: Picard - Season 1 Lakeshore Records

Released: April 3, 2020

Format: Digital (157 min)

Star Trek: Picard: Blue Skies (Single) Lakeshore Records

Released: March 26, 2020

Format: Digital (3 min)

Star Trek: Picard - Season 1 - Chapter 1 Lakeshore Records

Released: February 7, 2020

Format: Digital (67 min)

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TREKCORE: One of the standout things to me through the first six episodes is the score for the season. It’s got a real classic feeling — compared to the classic films and the older shows. What was your edict, or were you given an edict when you guys came on board for Picard  Season 3?

STEPHEN BARTON: I think I think the biggest thing was — well, the first thing was, when I saw it had pretty much already been shot. I was on set a few times, so I think the biggest edict was a personal edict of “Don’t screw it up.”

Because, you know, when you watch… I’ve been on shows where you watch it and you’re like, “Eh, it’s pretty good.” This one, you watch it. I just sat and I binged and I watched it three or four times, and I’m like, “Oh my goodness me, this is really good.” So I think that was a big one.

But I mean, musically, for me, I think it was a little bit about bringing the sort of naval thing from Wrath of Khan and some of what James Horner brought, as well as obviously, the Jerry Goldsmith theme. But a bit more of that sort of militaristic feeling. Weaving that into it in a way that didn’t feel like it was sort of a time warp but in a way that felt sort of right for now, kind of.

I mean, [showrunner Terry Matalas] and I often talked about, like, what would James Horner do if he were here now? Kind of thing. And I think that was a lot of the approach. Yeah.

FREDERIK WIEDMANN: I think the big challenge was, times have changed slightly since The Next Generation  was on the air. So how do we take this material and bring it into this current aesthetic of filmmaking without it feeling that we’ve pushed it too far into something modern, but still having the nostalgia feel alive and stay in the spirit of what fans want and want to go back to.

Here is the brilliant ⁦ @ComposerBarton ⁩ conducting his Titan theme with all those wonderful nods to Horner in his arrangement. String section only. It’s been stuck in my head for over a year. #StarTrekPicard pic.twitter.com/f5YCKXI6MS — Terry Matalas (@TerryMatalas) March 4, 2023

BARTON: The biggest part of it for me also, is the themes. You have to use and treat them like absolute nuggets of gold. And one of the things you can’t do is plaster them everywhere. You can’t literally use them like the wallpaper on some kid’s bedroom or something.

We want to have that sort of sense of like we’re telling a story and not just sort of going… you don’t want the music to be a commentator the whole time going, “You’re watching Star Trek !” “Did you forget you’re watching Star Trek ?” I mean, we get it. We know. So it’s using them in a very respectful way and then sort of finding ways to develop them.

Because, I mean, that’s the other thing. Every time you look at Jerry Goldsmith’s work, in particular, every movie, he found a new way of putting a spin on it. When we re-recorded certain pieces of music — because there are a few — we would go back and I would look at the movies and they were different speeds in different movies and go back and say, “Okay, well, do we want to be the speed from Nemesis , or do we want to look at this? What are we trying to say with this?”

TREKCORE: Yeah, because certainly, like in the end titles, you use the main theme from Star Trek: First Contact , but then you also use the theatrical film version of the  Next Generation main title theme.

BARTON: The funny thing is where we’ve recorded any of those [with the orchestra] and some of the players had played on those movies, and it was one of those things where they would just sit there — our French horn player is a fabulous French horn player, he’s the principal of the Hollywood Bowl, a guy called Dylan Hart. And you could just see every time he came up on the sheet music in front of him, we looked over at him and he just smiled back and it’s like, “Okay, this is going to be fun.”

TREKCORE: But I also noticed along the way, especially in “The Bounty,” there’s things like that little thread of the STAR TREK IV theme — just a little nugget along the way.

BARTON: Well spotted, firstly!

TREKCORE: Well, it’s one of my favorite films. Was it a challenge to use any of that score that was produced for film in a television production. Was there stuff where we had to fight battles?

WIEDMANN: I don’t think at all, because all of this is so timeless to me, at least. And musically speaking, none of it feels old or dated — so whatever we were given as material to use and incorporate, it felt very natural and organic.

BARTON: From just a standpoint with Paramount, I think it was one of those Paramount-CBS things, they both realized what we were trying to do. It was one of those ones if you show, not tell. And we sort of said, okay, there’s certainly moments specifically in [“The Bounty”] where we come back to five separate themes — and so, it’s like you couldn’t not do that.

I mean, if we didn’t do that, it would seem like a sort of disservice. But I mean, part of doing that was also then to say, how do you present it in a way that honors it and isn’t just like hitting a button exactly like a needle drop? And so I think a lot of what we did was look at the heart of why those tunes worked and what they were saying.

Particularly with Voyager’s tune, I think that was one that every time… we don’t use it much, but when we do use it, we want it to mean something.

TREKCORE: There’s a lot of contemporary needle drops, as you put it, in the first several episodes as well. Were you involved with any of those choices or is that separate from your department?

BARTON: Most of those are courtesy of Drew Nichols, our editor, who is also one of the most phenomenal music editors. He’s someone who’s able to cut those and really choose incredibly well.

Especially source music for Liam Shaw for the dinner sequence and a couple of the other scenes where you really want it to say something — it’s not just background music, but you’re sort of saying something about the character. And he understands that innately. So most of that was in when we got there.

This interview has been lightly edited for clarity.

Lakeshore Records has announced the release date for  Star Trek: Picard’s Season 3 soundtrack, a whopping 45-track collection of score from composers Stephen Barton and Frederick Wiedmann.

Arriving digitally on April 20, 2023  (coinciding with the  Picard series finale), the extensive collection of music spans the entire ten-episode run of the show’s final adventure. There will also be a special vinyl release for the Season 3 soundtrack:

You can pre-save the digital soundtrack release here through Spotify, iTunes, and deezer, and check out the full track listing below.

1. Beverly Crusher (3:02) 2. Old Communicator (1:58) 3. Hello, Beautiful (1:57) 4. Leaving Spacedock (3:44) 5. I Like That Seven! (3:29) 6. Breaking the Beam (3:59) 7. The Shrike (3:34) 8. Picard’s Answer (4:08) 9. Riker and Jack (2:08) 10. Call Me Number One (2:02) 11. No Win Scenario (3:57) 12. Blood in the Water (2:58) 13. Let’s Go Home (3:24) 14. Flying Blind (5:51) 15. A New Family (4:16) 16. Klingons Never Disappoint (5:32) 17. I Do See You (5:26) 18. Legacies (3:15) 19. Evolution (2:44) 20. La Forges (2:08) 21. Invisible Rescue (3:34) 22. Catch Me First (2:32) 23. Proteus (3:46) 24. Dominion (7:04) 25. Lower the Partition (3:38) 26. Get Off My Bridge (4:26) 27. Family Reunion (3:17) 28. Impossible (1:37) 29. Frontier Day (2:43) 30. Hail the Fleet (4:03) 31. You Have the Conn (3:44) 32. Make It So (6:02) 33. This Ends Tonight (3:07) 34. Battle On the Bridge (2:58) 35. All That’s Left (2:02) 36. Annihilate (3:05) 37. Trust Me (2:06) 38. The Last Generation (2:51) 39. Where It All Began (2:19) 40. The Missing Part of Me (4:30) 41. Must Come to an End (1:32) 42. A New Day (3:22) 43. Legacy and Future (1:44) 44. Names Mean Everything (1:43) 45. The Stars – End Credits (2:59)

Star Trek: Picard Season 3 will continue with “Dominion” on March 30 on Paramount+ in the United States and on CTV Sci Fi Channel and Crave in Canada — following the next day in the UK, Australia, Italy, France, Germany, Austria and Switzerland. The series is also available on Amazon’s Prime Video service in most other international locations.

• Behind The Scenes
• Frederick Wiedmann
• Lakeshore Records
• PIC Season 3
• Soundtracks
• Star Trek: Picard
• Stephen Barton

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Published Jun 26, 2024

The Diplomacy of Discovery

The final season sheds light on the galaxy's political past.

StarTrek.com

Star Trek: Discovery 's final season chronicles the Federation's pursuit of the same technology the Progenitors used to spread the humanoid form throughout the galaxy. The adventure picks up on an enduring mystery from Star Trek: The Next Generation 's " The Chase ," but the season's early episodes also provided insight into how several key societies — the Tholians, Orions, Promellians, Tzenkethi, and Breen — had developed in the centuries since we last encountered them in other Star Trek series.

Let's examine the Federation's history with each of those cultures and dive into all we’ve learned about their status in the late 32nd Century.

The Tholians

"Future Tense"

Considered to be xenophobic by the Vulcan High Command in the 22nd Century, the Tholians were a non-humanoid species who thrived in searing temperatures and rarely traveled far from their own territory. The Tholians made an exception when they assigned several ships to try to steal a time-traveling 31st Century craft from Captain Archer's Enterprise in 2152. Possibly working for another faction in the Temporal Cold War, the Tholians bested Suliban cell ships but could not secure their quarry (" Future Tense ").

"In A Mirror, Darkly, Part I"

As outlined by the Mirror Universe's Dr. Phlox, the Tholians' crystalline body structures possessed both male and female characteristics and could act as a natural transmitter (" In a Mirror, Darkly "). Prime Spock and the U.S.S. Enterprise dealt with the Tholian Assembly in the late 2260s, and while the Tholians presented an abrasive demeanor, they were amenable to diplomatic overtures… to an extent. Renowned for their punctuality, the Tholians punished the Enterprise 's delay in completing its mission by momentarily capturing the Federation vessel in an energy web.

Another Federation-Tholian conflict took place in 2353, and William Riker's father was the only survivor from a Starfleet facility that the Tholians had bombarded. Political tensions cooled by the early 2370s, as a Tholian ambassador was stationed at Deep Space 9 and a Tholian observer attended a conference on Earth. By late 2373, the Tholians had agreed to a non-aggression pact with the Dominion. President T'Rina provided us with our 32nd Century status check on the Tholians, expressing concern that the Tholian Republic might be able to exert influence over a coalition of smaller worlds (" Red Directive "). Her commentary can be seen as a positive, as the Tholians' influence was undoubtedly less dangerous than a Tholian invasion !

"The Serene Squall"

By the time Captain Archer's Enterprise made direct contact with the Orion Syndicate in the 2150s, the Orions had established a distasteful reputation for crime and violence . They regularly kidnapped and enslaved passengers from passing ships, auctioning off their prisoners to the highest bidders (" Borderland "). The Federation's negative assumptions about the Orions remained steady over the course of the next century, as Captain Pike dealt with another Orion "privateer" aboard the Serene Squall (" The Serene Squall ") and doubted that the Orions even had science ships when one confronted the U.S.S. Enterprise near Krulmuth-B in the late 2250s (" Those Old Scientists "). In 2268, an Orion posed as an Andorian and tried to derail Coridan's admission into the Federation so that Orion smugglers could continue raiding the planet (" Journey to Babel ").

A correlation between Orions and criminal enterprises persisted well into the 24th Century, and the Orion Syndicate's rumored involvement in the deaths of Starfleet Intelligence operatives prompted the Federation to send Chief O'Brien on a mission to infiltrate the organization in 2374. Though he did not meet any actual Orions, O'Brien discovered that the Dominion had hired the Syndicate to kill a Klingon ambassador and weaken the Empire's alliance with the Federation (" Honor Among Thieves "). Despite the Syndicate's ongoing, many Orions served in Starfleet by the 2380s. The U.S.S. Cerritos ' D’Vana Tendi even brought her friends Beckett Mariner and T'Lyn to Orion, where they observed her home world's unique traditions (" Something Borrowed, Something Green ").

"There Is a Tide..."

At some point after the Burn devastated the galaxy in the 31st Century, the Orions allied with the Andorians and formed a new syndicate, the Emerald Chain. Under the leadership of Osyraa, the Chain subjugated planets for their resources, operated mercantile exchanges, and served as a rival to the Federation. A failed proposal to unite the Chain with the Federation led to a brief conflict in 3189. Osyraa was killed and the Emerald Chain immediately collapsed. By 3190, the Federation had grown in strength and engaged with the Andorians about returning to the fold. " Under the Twin Moons " supplied another piece to the 32nd Century puzzle, as Captain Rayner testified that the Orions were regrouping and could potentially cause trouble for the Federation.

The Promellians

"Booby Trap"

Unfortunately for the Promellians, they fought the Menthars in a battle which resulted in both societies' mutual extinction at Orelious IX ( " Booby Trap "). Though they perished around the 14th Century, long before the Federation was founded, the Promellians' legacy endured into the 2360s and beyond. Captain Picard, who actually believed he once owned a Promellian ship-in-a-bottle when he was a child, commanded the U.S.S. Enterprise -D as it set out to chart the ruins of the fateful battle that precipitated the Promellians' demise. A Promellian battlecruiser was found at the site, with its intact Lang Cycle fusion engines and functioning bridge indicating that the Promellians built their technology to last.

The Enterprise -D's away team located a video log from Galek Sar, the Promellian captain, which praised his courageous crew and relayed that his ship had encountered aceton assimilators hidden among the battle's wreckage by the Menthars. The Promellians became stranded here by the power drain and died at their posts. When Captain Picard's ship fell into the same trap, Geordi La Forge worked out a solution the Promellians had not employed — initiate a short burst from the impulse engines, take the systems offline, and allow the momentum to carry the ship to safety. Once the Enterprise -D was free, Picard ordered Worf to fire on the Promellian battlecruiser in the hope that no one else would get stuck.

However, this deed did not erase the Promellians from the galaxy's collective memory. In the 32nd Century, Captain Burnham and Saru visited a Promellian necropolis on Q'Mau on their journey to track down a clue that Dr. Vellek had left there during the time of the Dominion War (" Under the Twin Moons "). A peaceful view belied the fact that the Promellians designed the graveyard with self-defense in mind, powering a drone security system with an electromagnetic field. Since the Menthars also had a predilection for booby traps, one can wonder whether the Promellians had been inspired by their ancient foes!

The Tzenkethi

"The Adversary"

Not much is known about the Tzenkethi, and the species has never been seen on-screen. Benjamin Sisko mentioned that he had served in the last Federation-Tzenkethi War, placing the hostilities prior to his tenure on the U.S.S. Saratoga that concluded at the Battle of Wolf 359 in 2367. Sisko's reference to the "last" conflict seemed to imply that more than one war took place, and in order for the Tzenkethi to pose such a threat, their technological capabilities must have at least matched the Federation. In 2372, Ambassador Krajensky sent Captain Sisko to Tzenkethi space aboard the U.S.S. Defiant amid rumors that a coup d'état had overthrown the autarch on the Tzenkethi home world. The entire affair was a ruse, as a Changeling had replaced the ambassador and lied about the border tensions. Sisko's crew narrowly avoided provoking a fresh round of warfare (" The Adversary ").

Over 800 years later, Captain Burnham noted that Federation diplomats needed to negotiate permission for the U.S.S. Discovery to enter Tzenkethi space and search for the next clue to the Progenitors' tech. At the time, the Federation and Tzenkethi were clearly separate entities; though, the fact that they maintained an open dialogue showed progress in their political relations. The Tzenkethi did grant Discovery the right to visit their space, which is precisely where they located a wormhole to a pocket of interdimensional space that contained the adrift I.S.S. Enterprise (" Mirrors ").

"Strange Bedfellows"

We covered the Breen's involvement in galactic politics more extensively in our recent " Who Are the Breen? " feature, but it is safe to say that the secretive nature, technological prowess, and battlefield resourcefulness that they exhibited in the final stages of the Dominion War survived into the late 32nd Century.

"Labyrinths"

The Breen nearly swung that 24th Century conflict in the Dominion 's favor with their energy-dampening weapons, and the Breen Imperium's massive 32nd century dreadnoughts were armed with equally effective shield-tunneling technology (" Labyrinths "). The Imperium operated its own exchanges, perhaps placing it at odds with the Emerald Chain. Though destabilized by their own infighting over the throne, the Breen proved to be a deadly and unpredictable foe to the Federation.

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Jay Stobie (he/him) is a freelance writer, author, and consultant who has contributed articles to StarTrek.com, Star Trek Explorer, and Star Trek Magazine, as well as to Star Wars Insider and StarWars.com. Learn more about Jay by visiting JayStobie.com or finding him on Twitter, Instagram, and other social media platforms at @StobiesGalaxy.

Star Trek: Discovery Seasons 1-4 are streaming exclusively on Paramount+ in the U.S., the UK, Canada, Switzerland, South Korea, Latin America, Germany, France, Italy, Australia and Austria. Seasons 2 and 3 also are available on the Pluto TV “Star Trek” channel in Switzerland, Germany and Austria. The series streams on Super Drama in Japan, TVNZ in New Zealand, and SkyShowtime in Spain, Portugal, Poland, The Nordics, The Netherlands, and Central and Eastern Europe and also airs on Cosmote TV in Greece. The series is distributed by Paramount Global Content Distribution.

Star Trek Fans Are Obsessing Over Picard Season 3's Soundtrack

The third season of "Star Trek: Picard" gives fans yet another opportunity for further adventures with Patrick Stuart's titular "Next Generation" captain, and it seems this installment of the series is delving deeper into franchise nostalgia than ever before. The third set of episodes is packed to the brim with major cameos from familiar USS Enterprise faces, thrilling space-bound set pieces, and entertaining easter eggs for "Star Trek" die-hards. However, for all the things that "Star Trek: Picard" Season 3 is offering to fans, some are laser-focused on the show's impressive soundtrack.

Certain viewers have taken to social media to effuse praise onto the show's Season 3 soundtrack, as well as its composers Stephen Barton and Frederik Wiedmann. "Honestly, the whole soundtrack this season is amazing," u/Rupe_Dogg wrote. "Stephen Barton has done tracks that emulate Jerry Goldsmith (First Contact) and James Horner (Wrath of Khan/Search For Spock), as well as plenty of new sounds." Particular praise has been leveled at the use of "First Contact" as the end credits theme, with u/dub4er_tx commenting: "My heart melts when the ending score starts." The positivity doesn't end there, either.

Everyone is jazzed about the soundtrack

Even before "Star Trek: Picard" Season 3 finished releasing new episodes, some fans were already hounding for a way to obtain the full soundtrack for themselves. "Please tell us the #StarTrekPicard music will be released as a CD!" @SteveBrant tweeted. Other fans, like @HLKBSTR , voiced similar words of excitement for a full release of Season 3's OST.

Fans aren't the only ones who have been getting a lot out of the "Star Trek" Season 3 soundtrack either. Even individuals involved with the show have been vocal in their enjoyment of the score. Alana actress Mica Burton tagged Stephen Barton on Twitter, writing: "You have a chokehold on my emotions with this score." Meanwhile, series showrunner Terry Matalas shared a video of Barton composing the theme for the USS Titan. "It's been stuck in my head for over a year," he wrote.

It's a good thing that the score has been so well-received, as the composer team seems to have put a gargantuan amount of effort into its development. In an interview with Broadcast Music , Barton revealed that they went through nearly every "Star Trek" TV series and movie, picking out relevant motifs to reference. "We had free rein to use the tunes, but we wanted to use them as precious gems and not just 'Star Trek' wallpaper," he explained. "There are times where I'm staying very close to the Goldsmith orchestrations, or Horner's, in particular, but also times where I've re-imagined it."

This bizarre, vague Kickstarter promises a "multimedia fantasy RPG experience" including a D&D-compatible sourcebook, an actual play series, an animated short film, a vinyl soundtrack, a scented candle, and (somehow) more

ProgCore Fantasy: Dark Age of Theer offers everything except any solid idea of what it's actually about.

In the world of tabletop roleplaying, we're certainly no strangers to over-ambitious Kickstarters, but in all my years in the hobby I don't think I've ever seen anything quite like ProgCore Fantasy: Dark Age of Theer . Not just a book, but a whole "multimedia fantasy RPG experience", it promises everything from an actual play series to custom scented candles. 

Launched this week by actor Todd Stashwick (you might recognise him from season 3 of Star Trek Picard, if you made it that far), the project is asking for $150,000 to bring ProgCore Fantasy to life, seemingly in every medium Todd could think of. That includes:

• A "system-agnostic" TTRPG sourcebook with D&D 5e conversion.
• A "documentary-style" actual play series starring Todd and his friends.
• An animated short film set in the world of Theer.
• A prog rock soundtrack album, also available in vinyl.
• An audiobook.
• A custom scented candle reflecting the smell of the setting.
• And, somehow, even more, including tons of merch, signed postcards, and opportunities to have Todd run a game for you and your friends.

So, what actually is ProgCore Fantasy? Well… it's vibes, basically. The pitch is incredibly vague, evoking nostalgia for the era of '70s and '80s fantasy and prog rock while giving almost no details about the setting. Its three core pillars are, we're told, "wonder, mystery, and danger". Well, we all like those, but if you want to know anything about how it's going to be wonderful, mysterious, or indeed dangerous, you're out of luck even after watching the full eight minute pitch video.

Experienced TTRPG players and savvy Kickstarter backers will already have spotted some other red flags here. For one, $150,000 is a small amount to raise to make even just the core products here happen—even if that goal is far exceeded, the project is unlikely to raise the kind of money realistically needed to produce a book, a web series, an animation, and a soundtrack, plus all the other physical rewards being promised across the various stretch goals and 21 (!) different pledge levels. 

Another is the book itself. "System agnostic" means there's no actual game here, just a setting. Given the incredibly scant details given (there are ancient ruins and dragons is about all we get) and promise that a significant portion of the book will just be short fiction, it's really unclear what gameable content is actually being offered. Even the promise of D&D 5e compatibility is a little misleading—it's suggested what that will consist of is mostly just advice on achieving the ProgCore Fantasy tone in a D&D game, with a few suggested house rules, rather than things like new character options or monster stats.

To be clear, I don't think it's cynically driven—there's clearly a lot of real passion for the hobby here, and I definitely share Todd's love for the era of fantasy he's evoking. The pitch video also states clearly the team's opposition to AI art and belief in paying creators fairly, which is laudable. 

But what's on offer is a whole lot of promises and fuzzy nostalgia, and precious little indication that they can actually pull all this together and deliver something substantial. Unfortunately, it's got future trainwreck written all over it—I'd really caution against backing, even if you are intrigued by the pitch. 

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The good news is that if you love '70s and '80s fantasy, retro-style role-playing, and prog rock, you're already well served in 2024. The current OSR ('Old School Revival/Renaissance') movement is already full of fantastic games suffused with exactly those influences. If you're intrigued, here are just a few recommendations to get you started.

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A weird and wonderful take on the early days of D&D, combined with bags of its own creative ideas and a huge library of really electric adventures to play. Features some of the best old school fantasy art in the business, including some dungeon maps that have to be seen to be believed.

Ultraviolet Grasslands

A strange adventure through a world inspired by psychedelic metal and apocalyptic fantasy. Brings the vibes but with loads of substance to back it up, allowing every party to carve their own unique path along its mythic journey.

Vaults of Vaarn

A series of zines and adventures detailing a surreal science-fantasy world and its bizarre inhabitants, with a simple set of rules for bringing it all to life. Features crazed clones, synthetic ferrets, and a playable race of mushroom zombies. 

Formerly the editor of PC Gamer magazine (and the dearly departed GamesMaster), Robin combines years of experience in games journalism with a lifelong love of PC gaming. First hypnotised by the light of the monitor as he muddled through Simon the Sorcerer on his uncle’s machine, he’s been a devotee ever since, devouring any RPG or strategy game to stumble into his path. Now he's channelling that devotion into filling this lovely website with features, news, reviews, and all of his hottest takes.

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Childish Gambino Sets July 2 Release for Single ‘Lithonia,’ Calls Rap Beef ‘Fun’

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Emily Zemler

Donald Glover appeared on Instagram Live last night to clarify his upcoming work with Childish Gambino and to acknowledge the feud between Kendrick Lamar and Drake . The rapper confirmed that he will release a new single, “Lithonia,” on July 2 ahead of his forthcoming LP, Bando Stone in the New World .

Glover has been teasing the new album with cryptic messages and the phrase “Bardo is coming,” however the news about “Lithonia” appears to have leaked via the streaming distributor Audiomack. “That got leaked, it kind of pissed me off,” Glover said in his Instagram Live. “And I know who did it, Audiomack, fucking no soup for you. You’re not getting the album now. That’s what time I’m on.”

The rapper said, in a lengthy rant, that “the problem is we’re not having fun,” saying that his new album rollout is “mostly about fun.”

Glover added that most of what people connect over is “fucked up.” “Even this year the most fun we had was from a fight,” he said in reference to the rap battle between Lamar and Drake. “[It] was a song from a fight, from a rap beef, which I enjoyed every minute of. It was very fun. But, still, kind of negative, in a certain light, I guess.”

In April, Glover announced two new albums, his first new solo projects in four years following 2020’s  3.15.20 . In May, he surprise-dropped Atavista  — a reimagined version of his 2020  3.15.20   LP — with two new songs. “This album is the finished version of ‘3.15.20,’ the album i put out 4 years ago. there’s a special vinyl coming soon w/ visuals for each song,” the rapper  wrote  on X (formerly Twitter). “The all new childish gambino album comes out in the summer.”

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Glover previously said he was retiring the Childish Gambino moniker,  telling HuffPo  during a promo event for  Atlanta  in 2017, “There’s nothing worse than like a third sequel, like a third movie, and we’re like, ‘again?’” he said. “You know, I like it when something’s good and when it comes back there’s a reason to come back, there’s a reason to do that.”

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He’ll bring Willow on the road with him for the North American dates before heading to Europe and the UK with Ghanaian American star Amaarae. The musician last hit the road in 2019 for the This Is America Tour. 

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