Four Songs: One Man, One Dragon, & Sheer Badassery

If you don't want to be introduced to any spoilers then I suggest that you leave this article and go read the book "Fire & Blood." Sure, you can watch the show, but you'll finish reading the book before the T.V. series wraps itself up.

You've been warned.

"House of The Dragon" has had a spectacular second season, despite the differences between the book and the tv series itself (which deserve their own article entirely going over those discrepencies). Such a fantastical TV series based on the grimdark fantasy series book "Fire & Blood" needs to have its own fantastic music score.

Fans everywhere flock to their phones, tablets, and laptops like the murder of crows that they are to look up their favorite songs on YouTube, Spotify, and SHAZAM! (pun intended) Allow me to divulge about a favorite of mine and some variations of it, that have made waves amongst the fanbase.

As we delve deep into the realm of blood magic, mayhem, mystical fantasy, strained family relations, and last, but, certainly not least, dragons, we encounter what appears to be a running theme for one of the grayest characters in "Fire & Blood" and "House of the Dragon" respectively, and notably one of George R. R. Martin's favorite characters, Daemon Targaryen.

The song is first heard on scene in Season 2 Episode 2, after which Prince Regent, Daemon Targaryen, had an argument with his beloved wife (and niece (yes, they're Targaryens, they adhere to the traditions of Old Valyria)).

First, let's start off with a Thavien Tangential Tangent by providing some backstory.

Season 2 episode 01 ends on a dark note, which the series "A Song of Ice and Fire" is known to do. The writing itself is more capricious than the mood swings of dragons. Daemon Targaryen used to be in charge of the city watch in King's Landing. Under the cover of hooded veils he makes a dark deal, "a son for a son." This leads to the scene where we have Blood and Cheese infiltrating the Red Keep.

Upon here is where we have tragedy strike Helaena Targaryen, Rhaenyra Targaryen's half-sister. In the book Blood and Cheese intervene Helaena and her three children as they were on their way to visit Alicent Hightower, respectively Helaena's mother and her childrens' grandmother. Blood and Cheese demand that Helaena chooses which of her sons is to die. Jaehaerys Targaryen is six years old, and Maelor Targaryen is only of the age of two.

Under pressure of having all of her children murdered and even threatened with the possibility of her daughter, Jaehaera Targaryen, being raped, Helaena is forced into a heart-wrenching decision. Although offering her own life to preserve the lives of her children, Blood and Cheese refuse her offer as she is a woman and not a son.

She chooses Maelor...

Cheese looks at Maelor, and tells him that his mother wishes for his death. Then, Cheese's blade strikes out at Jaehaerys.

Back on Dragonstone, in the T.V. series, our rogue prince is confronted by Rhaenrya for having put a price on the head of an innocent. As Prince Daemon's words to those he held sway over back in King's Landing were "a son for a son." Sadly, the wrong son was taken from the world a second time. As Rhaenrya would never wish for such cruelty against her own flesh, nor would Daemon.

Here, in the episode, at around 22:50 mark, is where even the title of the song is cleverly alluded to. It's so sly and sudden that most people might've missed it upon watching the episode for the first time around. I know I did.

Intently listening to the scene again, it appears that the song begins around the 24:44 mark. Less I digress, let us continue.

Offended at the accusations hurled at him, our beloved prince storms out and off from Dragonstone astride his symbol of royalty, the Blood Wyrm, Caraxes.

The song's title is rather fitting for the crimes that were paid for and done in the secrecy of shadows. Uploaded by WaterTower Music and composed by Ramin Djawadi, ladies and gentlemen, please, "Indulge in Darkness" with me.

This song starts with a sense of somberness. Its tempo and pace pick up, but, it never plays its notes in an overt fortissimo way. The beginning of the song, the first six seconds of it immediately harkens back to "Dracarys" by Ramin Djawadi. When paying close attention to "Dracarys," you hear that around the 0:56 - 1:07 mark, "Indulge in Darkness" starts off the same way, but maybe just an octave deeper. When you think about how "House of the Dragon" is the prequel to "Game of Thrones," in the universe of "A Song of Ice and Fire," it's rather fitting as to how much heritage is instilled within "Dracarys." You can almost feel the connection that Daenerys has to the most notoriously brutal and ferocious of her ancestors. Both of them were exiles, both of them left the Seven Kingdoms, and both of them have two birthrights; one that they've felt has been denied to them, and the other a more ancient power that hasn't been witnessed since the days of Old Valyria.

As the music continues, much like how the Targaryens are to all of the Westerosi: the First Men, the Andals, the Rhoynar, and the IronBorn, this song feels almost alien. It's truly strange, otherworldly even. Which fits for us, being the audience to the world of "A Song of Ice and Fire." As the existence of their world is as alien and even compounded more so than the alien existence of dragons to the Westerosi. Even in the Dothraki legends, a people as foreign to the Westerosi as the Valryians are to everyone else, say that "it is known" that the first dragons hatched from a moon that flew too close to the sun. Thus displaying how such fantastical creatures are otherworldly even to this realm of fantasy.

The introduction of the string instruments harkens to the darkness that's been evoked and perpetrated against one another. As kinslaying is considered to be one of the most forbidden acts against humanity, the strings play to a tune that's almost serpentine like. Much like how Caraxes slithers his neck out of the darkness, the strings slither their notes into the song itself, representing the bloody crimes that have been perpetrated in darkness will always come to light. "A son for a son" is really just "a sin for a sin." Truly when an unkindness is done to one, another is paid in full towards the other. Though, much like the original serpent from our own holy books, our sins betray us and harm the ones that we love, which we would never wish for such maliciousness to tragically strike. As these notes slither, slinking their way into our ears, much like the Blood Wyrm does from Dragonstone, the inner darkness emanates from within, almost as if the brass propels the wind underneath such wings carrying it forth into the world.

There's a brief moment near the end were the music hints at the potential for redemption, but even redemption cannot wash off the blood that stains for unscrupulous actions perpetrated against the innocent.

Now, that is the original song. Whilst trying to find "Indulge in Darkness" I encountered three other lovely songs that spoke to my heart, each in their own unique way. Let us close the gates on this wonderful piece and turn out attention towards three remarkable artists and their respective works.

I hope that I can give a fair assessment of their works as well. I aim to provide my humble opinion of the enjoyment that I've derived from their works as well as any bits of dissatisfaction that's arisen within me. Please, feel free to leave your own judgments in the comments' section below. I look forward to reading them.

"House Of The Dragon Soundtrack - Daemon Leaves Dragonstone (Ft. Targaryen Theme) | EPIC VERSION" by Crystilo.

Whilst looking for the original, I quickly discovered this song, or should I type that it discovered me? Unlike "Indulge in Darkness," this song's tempo is faster, fiercer, indicating that war is imminent and already upon us. What are you doing? What are you sitting around for? What are you waiting for? Make haste! We must take flight! While soldiers are afoot upon the ground you and I must meet our opponents in the sky! For we are to have a "Dance of Dragons."

Crystilo's song, when I first heard it, almost made me cry. For it reminded me of the very scene that had the same effect upon me years ago when I first saw it, and it still almost makes me eyes water 'til this very day.

What Crystilo does here is pay homage. As much as I want to say that it pays reverence to Ramin Djawadi's "Dracarys," which would make sense, and it still does, this reverence is made toward Ramind Djawadi's "The Spoils of War (Part 1)," specifically the parts around 0:49 and 2:22. Other songs that have this similarity include "Reign" around the 1:02 mark, "The Winds of Winter" at its 1:09 mark, and (if you're a fan of the mobile game) "Game of Thrones: Conquest™ OST - Combat" at its 0:38 mark.

Just like the scenes where Drogon descends from the clouds surprising the Lannister army, along with the rest of Westeros that dragons are no longer extinct after more than a century since their passing and whilst lighting their supply line afire, the vocals in Crystilo's song evoke the imagery of soaring above the clouds. As Viserys Targaryen, Daenerys' older brother who was killed by having a pot of molten gold poured onto his head, is quoted, "A horse grants man dominion over the land, a ship, over the sea. But dragons gave us the sky, and everything, and everyone beneath it."

Just like the sight of Drogon first descending from the clouds and breathing perdition onto his enemies,

this song nearly brought me to tears and almost does whenever I listen to it. For this melody fills my heart with the symbol of power and freedom.

My only gripe that I have for this song is that unlike "Indulge in Darkness" Crystilo's "House Of The Dragon Soundtrack - Daemon Leaves Dragonstone (Ft. Targaryen Theme) | EPIC VERSION" does repeat itself. Alas, if you're a fan of Two Steps From Hell, especially their song "Strength of a Thousand Men (Archangel)," and also Brand X Music, much like myself, then this isn't much of a problem at all, but just a difference to take note of. As you get to relive those emotions for a second time, having them last longer. Meanwhile, with "Indulge in Darkness" you savor each note for the time that it's played, almost as if you won't see it again. Almost as if they're about to jump off a cliff into flight and that may be the last time you hear them in that string of harmony.

"Flight of the Rogue Prince - Daemon & Caraxes Theme (from "House of the Dragon")" by Diego Mitre.

Diego Mitre's work starts off with one of the most humbling lessons that this artist has taken to heart when crafting this musical wonder. "Less is more." As with less it allows for the invitation of more to introduce itself. Much like when Daemon leaves, almost as if he's a shadow of his former self, we see that there is less than nothing. There is just a sheer sheet of pure pitch darkness. However, everything is not what it seems. For a cry, a whine, a whistle is heard from within the abyss. Perhaps from a deviated septum? It is said when staring deep into the abyss the abyss stares back, and so the beast within it does. Slinking its way from the shadows, advancing into the light, Caraxes emerges. Much like the uncontrollable, untamable, nature that such a capricious creature embodies, its rider is just as rogue as the sins he's committed.

This less truly does give way to more. As the initial instrument gives way to that alien tune, that exotic theme, which is accompanied by war drums steadily carrying the heartbeat of this composition until the vocals join them as the tempo increases.

This is the song of someone who knows that they've put a marker on their back. They refuse to sit idly by. Words are but whispers in the wind and action is the only commitment that needs to be spoken. Two wrongs do not make a right. Alas, who is to take on the weight of all the atrocities so that others may be safe and viewed of highly; not just out of fear, but respect as well. It speaks to the meditation of our rogue prince, and what he aims to do.

As the music swells, increasing in volume as other instruments join in, the tempo increases. As it starts off with less, the song is almost mourning. It's saddened, but knowing that tears won't bring loved ones back or unite a many people together, the only way out is through. As "the path of good intentions is paved through hell." Thus, the sadness turns into self-loathing, anger, and action.

Then as the vocals join in. The imagery of the painted table comes into view. Letters are written, ravens are sent, armies are hastily gathered in preparation for the war, but the war has arrived to visit us at our very gates. Dragons take to the wing as the sky is filled with talons, claws, and mangled-teeth filled jaws. As the younger dragons rely upon their flames, the older dragons turn to brutal savagery to tear each other asunder. With scales stronger than steel and hides that arrows bounce off of, only enraging such terrors of the sky, it's not always the larger one that wins, but the more daring of the combatants.

A complaint that I would have for this song is that the sinister serpentine strings that's so prevalent in "Indulge in Darkness" seems to be missing. Although this is the "Flight of the Rogue Prince," what makes this prince rogue is the grayness in his character that seems to be so seamlessly transmutable onto the page. Yes, Crystilo's song is missing the those strings as well, but Crystilo's throws us right into dragon's den as we leave and take flight, for such is the burden of royalty. Meanwhile when we listen to Diego's it crafts the story at the beginning with mourning. As if our rogue prince's heart is already darkened by the darkness he's indulged in. As those sinister serpentine strings seemed to have been replaced with strings singing sad sorrows. These strings tend to meld in with that alien like tune, even adopting part of it as they're played. We first hear them at 0:11, where they fade and make their resurgence again at 0:50.

Something to remember is that Daemon has lost a daughter before the war's even started. Rhaenyra's pregnancy had some complications, notably upon learning the death of her father was kept secretly hidden from her and her half-brother was crowned. Sadly, her baby was born prematurely, stillborn, and malformed. For both Rhaenyra and Daemon are grieving. We must also remember that the dragons are connected to their riders. Hence, they probably channel and express the emotions of their riders as well, along with their pain. Examples include: the scene where Caraxes screeches out when Daemon is struck with a blazing arrow, the scene when Rhaenrya was in pain during birthing her stillborn daughter and Syrax is seen vocalizing almost in sync with her, and the sense of commitment that Rhaenys expressed to Meleys even though things weren't in their favor. It's possible that Caraxes senses the regret, hurt, and grief within our rogue prince's heart.

So, whilst Crystilo's song carries us almost immediately into battle displaying the significance of their prominent royalty, Diego's tells much more of our Daemon's backstory with this thematic song.

Much like in the first season where we see Daemon Taragaryen and Laena Velaryon astride Caraxes and Vhagar respectively, Diego Mitre's song parallels Ramin Djawadi's as beautifully as two dragons in flight.

"Daemon x Caraxes Theme - House of the Dragon | EPIC VERSION" by L'Orchestra Cinématique.

The beginning to this one starts off immacuately. The metal in the background does make it feel like it has a strong connection to the Targaryen family words, "Fire and Blood." For iron courses through all of our veins, but those who do not bend the knee, will break just like how iron is brittle. Will you bend like steel and yield as this dynasty forges itself, or will you be broken and what's left of you and yours meant to be reformed underneath the insurmountable might of this family's empire?

As imagination takes over, letting imagery provide detail so vividly, the scene that begins is an armored knight, walking through the halls of Dragonstone, as the dragons stir deep within the depths of the Dragonmont. The war room is filled with as many counselors and allies as there are family members. As "blood is thicker than water." Plans, much like blood ties and relations to hosts within the nation, must be forged.

As the details for recruiting allies across the land is made, discord occurs, as everyone sees fit to employ their own strategy. Alas, some plans always go awry. Even though it might be the opposing side that been struck the harsh blow, it's the striking side that taxed the longest for damages.

I do enjoy the shift in tempo as the brass enters around the 0:33 mark. It's almost as if dark words have arrived on dark wings. The best hope is that those are the wings of a raven. The worst is those are the wings of an opposing dragon. As the difference between rider and fire-breathing weaponized creature have almost evaporated, the two becoming synonymous with each other.

That alien tune isn't here, as during times of war even enemies become all too common. Even those sinister serpentine strings are missing too, but something else has taken its place. A woodwind's discord of disharmony.

As the vocal's join in at 1:16 it's not the conflict that rises to a climax, but a conflict of interest about which actions to partake in. Even if there's no support in what's being done, alone there is still much strength to be found in one body. As the confirmation of choices is made around the 1:27 mark, regardless of the approval it's earned and of the ones it's scorned.

The introduction of the bell being ringed has its own sense of foreboding. As its a reminder that "those who play the game of thrones either win or die." Not everybody is destined to be a winner. Although all of the pieces may be on the board, the harshest realization is that the pieces are not the players. Sure, the pieces may have influence over others on the board, but it's not the pieces that decide their next moves.

As the rhythm continues from here until the song cuts out around the 3:12 mark this is the build up towards the finale. The apex has been climbed and the descend is in a rapid downwards spiral. Sometimes it's impossible to get the victory that's desired, but the victory that can be attained is the one that's needed.

Now, this is possibly the only part of the song that I dislike. However, whilst meditating upon it I have to admit that it provides its own unique flavor to it as well.

Around the 0:50 mark is when the woodwind's discord of disharmony makes its entrance, but its prominently heard around the 0:54 mark, ends at 0:55 and continues to 1:16 where the vocals accompany the tempo change. This discord of harmony makes its reappearance once again around the 2:13 mark and continues to repeat until the song's very end at around 3:12.

I must admit, I'm not a big fan of it. As it's rather jarring. It's of a different pitch which starkly contrasts with the rest of the song. It's also asymmetrical. I've noticed this with three pairs of earbuds (two bluetooth and one wire), a bluetooth pair of headphones and a wire connected pair of headphones, and even in my own car's stereo system. It's absent in the left side, but always ever present on the right side.

Which, if you were to take in the geography of Westeros, you could say that most the this disharmonious discord is taking place in Dragonstone compared to King's Landing as Dragonstone is East of King's Landing (and Westeros in general). Sure, there's currently a blockade causing a deficit of trade into King's Landing making the working class starve as food rations dwindle amongst the populace, but a siege is a long-drawn out way of war that turns one's people against the ruling class. On Dragonstone where war plans are being made, losses have been felt, reputations have been damaged, and the dragons stir deep within the Dragonmont as if they're sensing the impending war that will break the empire that they've forged, discord reigns supreme and is thicker than the clouds of smoke that waft from the volcano's bellows.

The disharmony plays its tune, rests and pauses for a time when all members no longer seek council with each other, and then it commences forth once they proceed to commune again. Yet, frustration forces them to seek and "follow their own paths." From those that question Rhaenrya's hesitancy and her ability to gather people to her cause, to those that want to end the main threats to their lives that have also usurped Rhaenrya and her father's wish that she is to remain his heir, Rhaenrya herself has frustration build that never truly crescendos (as evident in season 2 episode 6 ("It it my fault, I think, that you have forgotten to fear me")), and the one of the main players for such disharmony to bring such discord to Dragonstone, Daemon and even his own selfish desires regardless of his loyalty to his brother and wife. There is a reason why he is known as "The Rogue Prince." Sometimes though, there are people that are needed to commit actions in darkness so that others can live peacefully in the light. As it's impossible to live without regrets, most try to make do with the best that they've been given with. Though, there's also grief, and anger that clouds Daemon.

This disharmonious discord can also represent Daemon's behavior. As Alys Rivers says in Season 2 Episode 6, "Ah, yes, it is your way, is it not? When something does not please you, you run. Dragonstone, Stepstones, Pentos, Harrenhal." These are to name a few. The Stepstones and Pentos were evident in Season 1, and even before those places Daemon fled the Runestone (goodness, there's a lot of stones in "A Song of Ice and Fire") due to being unsatisfied in his marriage to Rhea Royce.

That's a thing about a dragon, they provide almost nearly unlimited freedom. If they're powerful enough they can go where they please. However, in the presence of a greater, stronger, opposing, threatening dragon, they can still go anywhere else. Daemon may think that he's facing the truth headon with what needs to be done, but he's also been running from himself. Kind of like when somebody becomes a workaholic instead of finding their own interests outside of work and even forgoes any necessary therapy.

Disharmony, it's able to separate the strongest of unions and sew discord even between the fondest of allies, but worst of all, it'll make us despise ourselves more than we could ever fathom.

Scoring the Scores

Let's give a small little ranking to the three songs.

By setting "Indulge in Darkness" as our bar, this is going to be what we shall judge the other three songs against.

When it comes to Thavien Tokens "Indulge in Darkness," being what the other songs are judged against, will be our 10/10 I have repeatedly listened to this song again.

In 1st place following right behind is Diego Mitre's "Flight of the Rogue Prince - Daemon & Caraxes Theme (from "House of the Dragon")," earning itself a highly respectable 9/10 Thavien Tokens.

Diego Mitre's song parallels Ramin Djawadi's beautifully. It follows the rhythm, crescendo, and much like "Indulge in Darkness," it doesn't repeat itself. Sure, there's repetitive drum beat, but there's no chorus. It is a straight shot. Pulling the car out of the garage, or in this case the Caraxes out of the Dragonstone, and taking flight. It need not double back. You savor it and when you want to listen to certain parts again, you play the whole song in its entirety.

Sure, it's similar to "Indulge in Darkness," but it still takes its own creative liberties. That's what makes it so good. For instance it has a faster pace, and gives more of a war like feeling thanks to its percussion than Ramin Djawadi's. Diego Mitre may have a "Flight of the Rogue Prince" but Ramin Djawadi's is more of a "Flight of the Lone Prince." Even the addition of vocals further differentiate Diego's work from Ramin's.

Diego, fantastic work.

2nd place goes to Crystilo's "House Of The Dragon Soundtrack - Daemon Leaves Dragonstone (Ft. Targaryen Theme) | EPIC VERSION." It follows the main beat of Ramin's "Indulge in Darkness," and adopts it into more of a motivational, awe-inspiring, war song. It has moments of quiet which nicely contrast with surge of brass, percussion, strings, and vocals. Besides repeating itself like "Strength of a Thousand Men (Archangel)," from Two Steps from Hell and Two Steps From Hell - Protectors of the Earth (Invincible) this consistency actually works in its favor for the genre of music it's transitioned to. As Ramin's song, much like the book series itself, is still well within the grimdark fantasy world, but Crystilo's, like its title, finds itself more within an epic version.

One may type that those two key differences counted against Crystilo's song, but it's still found a place in my playlist, and even more so in my heart. I confidently give it an 8/10 Thavien Tokens, as before I was able to find "Indulge in Darkness," or other songs similar to it that I wanted to listen to, I was playing this song on repeat, and I will continue to do so.

Crystilo, I'll continue to listen as long as its still available.

Last, and most certainly not least, 3rd place goes to L'Orchestra Cinématique's "Daemon x Caraxes Theme - House of the Dragon | EPIC VERSION." This one was the most difficult for me to judge. As it volleyed in placement for Thavien Tokens with the other two songs. Much like the last name of its creator, this song is cinématic.

The phrase "every liquid finds its own level" does not apply here. It's rather, every dragon finds their own cruising altitude. It's the most unique of the bunch, taking the most creative liberties when crafting its orchestrated cinematic storytelling. As much as I want to type the phrase "it's trying to hard," that's not it. I'd rather type "it's too rich."

I'll use this analogy, this song is much like a dish. As paintings, drawings, movies, and TV shows are a feast for our eyes, music is a buffet for our ears as food is to our bellies. Prepare, we're about to go on a Thavien Tangential Tangent.

In this analogy I'd align Ramin Djawadi's "Indulge in Darkness," to authentic Japanese Unagi Donburi - grilled barbequed eel over steamed rice. Diego Mitre's "Flight of the Rogue Prince - Daemon & Caraxes Theme (from "House of the Dragon") I'd liken to a Poke Bowl that's topped with, you guessed it, grilled barbeque eel. Since it's not the original dish it looses a little bit of the culture, but it's still highly enjoyable especially thanks to its similarities but unique flavor combinations. Crystilo's "House Of The Dragon Soundtrack - Daemon Leaves Dragonstone (Ft. Targaryen Theme) | EPIC VERSION" I'd like to a superb blackened salmon on a bed of rice pilaf. A little less exotic (and alien, as most people tend to not enjoy eel, the thought scares them), but flavorful and highly palatable. For L'Orchestra Cinématique's "Daemon x Caraxes Theme - House of the Dragon | EPIC VERSION", in this analogy, I'd liken it to shrimp scampi, especially shrimp scampi in butter sauce. The rice for all of the dishes represents the main beat, the main rhythm that all the songs have. It's their base. The meat, its preparation, its ingredients, determine the flavor, palatability, and continued consumption.

I listen to L'Orchestra Cinématique's "Daemon x Caraxes Theme - House of the Dragon | EPIC VERSION" a lot, but I'd listen to it a lot more if that discord of disharmony were to be removed. It adds to the flavor of the dish, but too much of a good thing can be bad for you. Like how if one eats food that's too rich, such as the butter sauce in a shrimp scampi dish, it can be enjoyed, but the sauce can drown out the natural flavor of the meal, when the main ingredients should speak for themselves. Sometimes, food that's too rich can be nauseating if too much is consumed in too short of a time period.

Yes, I did use the Poke Bowl analogy for Diego Mitre's, but Diego starts off with and keeps his song in a relatively "less is more" aesthetic. Hence why Ramin's is the bar. It's the bare essentials. The flavor comes out thanks to the ingredients, and the chefs that have prepared it. Though in music, it's the composers that are the chefs. Hence also why Crystilo's is ranked a little higher.

Due to L'Orchestra Cinématique's discord of disharmony being absent, appearing, retreating, and returning yet again, it causes the song to volley back and forth in ranking. It'll jockey for position with Crystilo's and then even match Diego's in uniqueness. Diego's flavors are expanded upon, Crystilo's flavors are consistent, and L'Orchestra Cinématique's are truly a feast, but it's easy to over-indulge in this song. However, like abstaining from the consumption of a good meal, one finds their way back to this song time-and-time again. A craving for it will be reignited. Mine's done so many a time.

So, for L'Orchestra Cinématique's "Daemon x Caraxes Theme - House of the Dragon | EPIC VERSION", I bestow unto thee 7/10 Thavien Tokens. For you've done more than to hold my attention, but you've also enticed my curiosity to return to this time-and-time again.

If anything, besides food, I'd probably related this songs to the dragons in the "A Song of Ice and Fire" universe from "Fire & Blood" and "A Game of Thrones."

If Ramin Djawadi's "Indulge in Darkness" is the mighty Black Dread itself, Balerion, the dragon that helped to conquer the seven kingdoms into one (okay, Dorne sort of gets a pass for never bending the knee as they were "Unbowed, Unbent, Unbroken," but Dorne was not unburnt; it suffered two years known as The Dragon's Wroth), then in successive order afterwards we have:

Diego Mitre's "Flight of the Rogue Prince - Daemon & Caraxes Theme (from "House of the Dragon") as Drogon, the strongest, healthiest, whose scales are black and crimson, representing as the reincarnation of the Black Dread.

Crystilo's "House Of The Dragon Soundtrack - Daemon Leaves Dragonstone (Ft. Targaryen Theme) | EPIC VERSION" as Rhaegal, the 2nd largest and with its green and bronze scales representing Vhagar, the mount of one of the dowager queens.

L'Orchestra Cinématique's "Daemon x Caraxes Theme - House of the Dragon | EPIC VERSION" is the beauteous, free flying, Viserion. Colored in ivory and gold, its beauty and love of flying was much akin to Meraxes and its rider, Rhaenys. L'Orchestra Cinématique loves to craft music as freely as Rhaenys loved to fly.

Thavien's Token:

Thanks for sticking around and for reading my article. For those that know me, I have been absent from Vocal for quite some time. I've stepped away to work on my writings, because like most writers on Vocal I desire to be a published author with books to my name. I've been writing several stories, including my main series which I am all too happy about the book-cover that I've commissioned. I framed that beauty immediately as soon as I got in within my hands.

That being typed, I'm not going to publish as many fiction stories to Vocal as I did before. Some that used to be available were deleted. My goal is to turn those into books. If I do continue to return to publish written works to Vocal, it might just be short poetry and articles such as this. Goodness that is one long Thavienic Tirade.

If you like to continue to support me please, slap that heart button, subscribe (I promise I won't blow up your notifications like how I used to before when I published), and why not peruse through my Vocal library to see what suites your fancy.

Thavien's Thanks To:

Crystilo

L'Orchestra Cinématique

Diego Mitre

If you'd be as so kind as to follow these creators on Spotify, Subscribe to their YouTube Channels, and listen to their works, I'm certain that You can write a better article about their music than I ever could.

Tell me, what order would you place their songs in?

What kind of meals would you compare their music to?

Are their songs still Drogon, Rhaegal, and Viserion, or do you think that they're more of a Caraxes, Dreamfyre, and Vermithor; or are there any other dragons that you would liken their works to that reside within and/or outside of the universe of "A Song of Ice and Fire?"

Please display your imagination with me.

Sources Cited:

1. Targaryen, Aegon. “George RR Martin on His Favorite Targaryen.” YouTube, https://www.youtube.com/@AegonTargaryen1, 7 Apr. 2020, www.youtube.com/watch?v=1Phh5AS3uMY.
2. Once Upon A Time In Hollywood. “Leonardo Dicaprio Look GIF.” GIPHY, 10 Apr. 2020, giphy.com/gifs/OnceInHollywood-leonardo-dicaprio-leo-kd9BlRovbPOykLBMqX.
3. Djawadi, Ramin. “House of the Dragon: Season 2 Soundtrack | Indulge in Darkness - Ramin Djawadi | WaterTower Music.” YouTube, 4 Aug. 2024, www.youtube.com/watch?v=wZ2b1GxMp7Q.
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21. Game of Thrones. “Fire Dragon Gif by Game of Thrones - Find & Share on Giphy.” GIPHY, GIPHY, 23 Sept. 2022, giphy.com/gifs/gameofthrones-dragon-house-of-the-hotd-eNzc7392iu9NbyVP8F.
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