The composer of Dexter: Original Sin shares his experience working on the prequel.
It's been nearly a month since Dexter: Original Sin wrapped up its inaugural season, and its 10-episode run has left both longtime fans and newcomers with a highly positive impression. Now, anticipation is building for a second season. But before that, this summer brings an exciting sequel series featuring Michael C. Hall, continuing the story of America's favorite serial killer.
One of the standout elements of Dexter: Original Sin, the prequel series set in 1991 Miami, was its evocative score. The show brilliantly incorporated the original music composed by the late Daniel Licht—an inspired choice that instantly triggered nostalgia among fans. At the same time, it introduced new compositions by the talented musician and composer Pat Irwin, adding fresh layers to the series’ soundscape.
Irwin, who previously worked on the Dexter: New Blood soundtrack in 2021, made a triumphant return to the franchise. His ability to capture the essence of Licht's original work while infusing his own style was nothing short of exceptional.
In a recent interview with TV Insider, Irwin described Dexter: Original Sin as his most challenging project yet. He discussed his experience working on the prequel series, his time with The B-52's, and much more.
Pat Irwin on Scoring Dexter: Original Sin and How It Compared to Dexter: New Blood
"It all comes down to the writing and the characters. With New Blood, the setting—Upstate New York—and Dexter’s new identity as Jim Lindsay played a huge role in shaping the music. Original Sin, on the other hand, was an origin story set in Miami before the events of the original series. So, the inspiration was deeply rooted in the characters and the vibrant atmosphere of Miami. We wanted the feel of the original show to shine through—the colors, the sounds, and, of course, the music."
On Transitioning from The B-52’s to Composing for TV and Film
"I was already composing before I joined The B-52’s. I met the original members of the band early on in New York City, where both bands I played in were part of the 1980s outsider scene. At the time, The B-52’s had already made a name for themselves with ‘Rock Lobster’ and ‘Planet Claire.’ Meanwhile, I was beginning my work in television with Tales from the Darkside, followed by independent films and animated series. I eventually worked on Rocko’s Modern Life, so my transition into composing wasn’t accidental—it was all interconnected."
On Balancing Composing with The B-52’s at Their Peak
"It was intense. One of the first major projects I worked on while touring with The B-52’s was Rocko’s Modern Life and the Disney cartoon Pepper Ann. The technology back then wasn’t what it is today. I had a massive road case that we’d load onto the truck last so it could come off first. That way, I could rush into the dressing room, finish scoring, and then fly back to Los Angeles in time for recording sessions. It was a hectic time, to say the least."
On His Most Challenging Project
"Without a doubt, Dexter: Original Sin was the most challenging. The subject matter itself was intense, and with such a dedicated fanbase, there were high expectations. We wanted to get everything just right. By the end of the season, the music had to evolve into this horror-action hybrid, which was new territory for me. The level of intensity was on another level."
On Tapping Into a Darker Musical Tone
"The tone was dark, but there was humor in it too. The challenge was understanding the character and ensuring the music felt true to his origin story. I took inspiration from the original series’ soundtrack and paid close attention to its nuances."