Crafting a New Auditory Frontier: Dan the Automator and Jeff Russo on the Sound of ‘Star Trek: Starfleet Academy’
As the Star Trek franchise celebrates its landmark 60th anniversary, the latest expansion of its universe, Starfleet Academy, is proving to be far more than a standard prequel. Created by Gaia Violo, the series finally lifts the veil on the grueling preparation required of those who command the stars. Moving further into the future than any previous iteration, the show introduces fascinating new dynamics—including a half-Klingon, half-Jem’Hadar warrior with a surprising British lilt—but its most innovative shifts might be heard rather than seen.
Tucked away in the credits of the exhilarating pilot is a name that might surprise traditional “Trekkies”: Dan the Automator. A visionary of underground hip-hop production since the 1990s, Dan has transitioned from collaborating with icons like Kool Keith and Gorillaz to crafting atmospheric soundscapes for the screen. He joined forces with primary composer Jeff Russo—a Trek veteran and co-founder of the alt-rock band Tonic—to develop a musical identity that reflects the “youthful swagger” of the show’s cadet protagonists.
Billboard sat down with the duo to discuss how they bridged the gap between classical orchestration and electronic grooves, their synergistic creative process, and which Star Trek scores stand the test of time.
Jeff, you’ve been a cornerstone of the Trek musical landscape for ten years. How did this collaboration with Dan come to fruition?
Jeff Russo: Alex Kurtzman [showrunner] and I began brainstorming how to differentiate this score from its predecessors. We wanted a contemporary vitality to mirror the younger protagonists and the show’s overall aesthetic. We envisioned someone who could infuse the score with a rhythmic, electronic pulse—someone who could remix traditional motifs and write cues that felt genuinely fresh. We had both been following Dan’s film work and knew he was the right fit.
Dan the Automator: It evolved quite naturally. They wanted to brighten the palette. Much of the early inspiration came from the score I did for Olivia Wilde’s Booksmart. I’ve been scoring sporadically for years, but since 2018, I’ve delved deeper into features and Netflix series. Booksmart seemed to demonstrate an ability to elevate the energy without overshadowing the narrative. Because Jeff has a background in rock and production, he understands my language intuitively. It’s a much smoother process than working with someone strictly trained in the classical tradition.
Russo: We both share a history of record-making. Dan as a producer and band member, and myself in Tonic. That foundation of shared professional experience makes our communication incredibly efficient.
Dan the Automator: Conceptually, we are almost always in sync. If a particular element doesn’t land, we pivot quickly because we speak the same shorthand. While I understand the emotional cues and timing of scoring, I don’t claim to be an expert in grand orchestrations. Fortunately, Jeff serves as my safety net there. I provide the kinetic energy, and he helps translate that into the orchestral world when needed.
Russo: It was a hand-in-glove partnership. Sometimes I’d send a piece to Dan for him to “punch up” with beats or electronic textures. Other times, Dan would submit a track he’d written that required me to layer in orchestral elements. It was a constant, fluid exchange.
Is there a specific sequence in the show that best exemplifies this hybrid sound?
Dan the Automator: The introduction to the Academy itself has a distinct “bounce” to it. While the first episode leans into the traditional Star Trek grandeur where Jeff’s influence is heaviest, you start to hear the shift as the cadets’ journey begins.
Russo: Exactly. Alex directed the pilot with a more classic sensibility to ground the audience. But as we moved into the second episode, we intentionally pivoted toward a more experimental, youthful style. That was the primary catalyst for bringing Dan into the fold.
Dan, you’ve sampled the original series in your work with Deltron 3030 and Dr. Octagon. How does it feel to officially enter this sandbox?
Dan the Automator: It’s a massive honor. For me, science fiction is a lens through which we examine the present. Star Trek has always been a vessel for social observation. Mentally, that helps me understand what the show is trying to communicate. My approach isn’t just about “space sounds”; it’s about the emotional resonance of the future.
How did you use music to reflect the fact that these characters are cadets rather than seasoned officers?
Russo: In previous series, we always joined the crew once they were already “fully baked” officers. Here, the perspective is more raw. These cadets are still figuring out who they are. We needed the music to feel equally deconstructed and evolving.
Dan the Automator: Massive orchestrations signify maturity—the culmination of thousands of people building a warp-capable ship. But our characters are essentially teenagers and young adults. They have that “youthful swagger” where they think they know everything, but they’re actually quite vulnerable. I wanted to find a cadence that felt aspirational but also slightly unsettled. It’s a bouncy confidence that isn’t quite the same as the self-assurance you hear in The Next Generation.
Jeff, how do you balance the “Easter eggs” for long-term fans with these new compositions?
Russo: It’s a delicate negotiation. After a decade in this universe, I always tip my hat to the past. If you play those three iconic notes of the original theme, the audience instantly knows they are home. In this series, since we have The Doctor from Voyager, I have ample opportunity to weave in motifs from that era. But the key is using those legacy sounds—like the French horns—to establish the setting, and then letting the new themes define the characters.
Finally, what is the definitive Star Trek score in your eyes?
Russo: For me, it’s The Wrath of Khan. James Horner’s work on that film is legendary. It’s funny—Horner often followed Jerry Goldsmith on projects, and I’ve found myself following in both of their footsteps, from Trek to the upcoming Alien: Earth. That score is simply close to my heart.
Dan the Automator: I have to go with the original 1960s television series. My musical roots are in hip-hop and sampling records from the late 60s and early 70s, and the production style of the original Trek fits right into that aesthetic. It shares a DNA with composers like Ennio Morricone and Lalo Schifrin. That era is my foundation.
