The first sounds we hear in the long-awaited third season of True Detective are the low, rumbling notes of Cassandra Wilson's 'Death Letter.' It's an ominous opening to another dark, Southern Gothic crime thriller. Wilson, who was born not far from this season's setting of the Arkansas Ozarks, 'is the greatest living jazz singer, and maybe the greatest singer living right now in the United States,' says T Bone Burnett, who returned to curate this season's soundtrack and write its score, as he's done for past seasons of True Detective. 'We used her quite a bit in the first season, and when we started looking for a tune to start the season, that's the one that glued to the images. We had the picture first, and then we started trying songs with it, and that one just became part of the intro.'

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And that's high praise, coming from T Bone Burnett, who has worked with and produced some of our greatest living musicians, including Bob Dylan, Elton John, Elvis Costello, and many, many more.

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'We're starting and ending the season with deep, deep classic American vernacular,' Burnett says of Wilson, who returns on several occasions throughout this season.

Music has always played a strong role in True Detective, which in its first two seasons, brought a highly stylized and menacing atmosphere to the crime thriller genre. According to Burnett, the sound of the show comes to him from the style of creator Nic Pizzolatto's writing.

Esquire.com spoke with Burnett to discuss True Detective Season Three's incredible soundtrack (which includes a new song he wrote with Andrew Bird), unpack the meaning behind the show's specific sonic atmosphere, and learn how the music is the one thread that connects every season.

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The music comes right from the page into Burnett's head.

With most scripts, it's hard to get past the third page. But Nic, the first thing I got from him was 500 pages and he led me right through it. He's one of the most inventive television writers ever. [The] score always grows right out of the out of the character. There was something about this episode, about this season in particular, that once I started playing something, I couldn't stop.

We weren't really playing, we weren't playing melodies against the characters or against the action to try to maybe manipulate the audience a little bit; instead, we were playing the wind and the atmosphere and the trees and the ancient sounds, as Bill Monroe called it. We were just doing it with electronic music. But here's the thing about electronic music: if you have an acoustic guitar and you put a microphone in front of it and play it, then it's electronic music. Everything, all of the music, the source music and the score music is growing out of the character. Really, you're playing his unconscious or her unconscious.

Burnett's process begins with reading the script and compiling a massive list of possible songs.

It comes as it comes, you know. You read and then you begin putting the vocabulary together, or vocabulary of music together, or library of music together, right. And that you draw from. I was able to put together a library of maybe a 100 songs to draw from. And then you start just putting with the picture and see what the picture accepts, see what the footage accepts. And then, as far as the score, this has been essentially the same approach in all three seasons in that we're just playing tone—we're just playing the world that it's in.

If you listen carefully to the other seasons, you'll realize that the music connects them all together.

There are several melodies, about four or five melodies that we wrote, that appear through all of the seasons. And sometimes we're not using the whole melody, maybe we just use one or two intervals of that melody. It's all essentially the same song. Just broken up. I'm so connected to Nic's writing, that I think I'm able to follow him like a leopard. I think the music is the connective tissue between all the seasons. I mean, the real connective tissue is the way Nic writes.

While the music in True Detective is mostly to add feeling, it also does contain a few literal clues to the overall plot of the show.

It's certainly most about feeling, but a big theme of the show is memory. And you know, a lot of the songs have to do with memory, but I'm not trying to hit things right on the head. There was a scene we were working on yesterday that [was set] in a biker bar. I put a tune in that was a ballad by a young guy named Logan Ledger. And he's crooning a ballad called 'Invisible Blue.' Nic came in and said, 'Well, you know they wouldn't be listening to this in an Arkansas biker bar.' And I said, 'Yeah that's right.' So we went and I pulled up some Steve Earle and some, you know, tough biker type music and put it in. And suddenly the whole, it wasn't True Detective anymore. It didn't fit. Whereas the other song fit the tone and the mood of the thing. Even though the bikers would never be listening to that song. There have been those kinds of things all the way through.

Burnett wrote a song called 'Crooked Bow' with Andrew Bird, which will debut on True Detective later in the season.

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I love Andrew Bird and I love his music. When I was looking for collaborators on this, you know Cassandra was a natural one and then Andrew has this beautiful way of crossing several genres. And he seemed like a really good fit spiritually, I guess you would say, with this. I just called him and said, 'You wanna do something on this?' And he said yes. We got together and just started working it up. And, it ended up a really good song. You will have to wait to hear it on the show. It's vernacular music. He's a brilliant violinist—he's able to play crudely and emotionally. He's a unique musician.

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