Watchmen is Reznor and Ross' first collaborative soundtrack for scripted television following their work on a number of award-winning films (beginning with The Social Network in 2010), as well as the documentary series The Vietnam War in 2017.

The score combines the duo's signature electronic and dark ambient sounds with jazz and blues compositions, a piano cover of David Bowie's "Life on Mars," and a number of interludes containing in-world content from the series' universe, including dialogue excerpts and fictional advertisements.

[3] Reznor and Ross experimented with various styles and genres for the Watchmen soundtrack, combining their signature electronic and dark ambient sound with jazz, blues, and gospel influences.

[4] Reznor noted that some of the score's stylistic range was informed by the tonal shifts of the pilot script, which he and Ross read before filming had commenced.

[5] Ross stated that many pieces on the album were crafted using a similar approach to what he and Reznor took to their work as Nine Inch Nails, particularly on electronic tracks like "How the West Was Really Won" and "Nun With a Motherfucking Gun," which serves as the theme for protagonist Angela Abar/Sister Night.

Reznor, who was personal friends with Bowie prior to the latter's death in 2016, remarked that composing the cover was a daunting task, but that he and Ross were ultimately "very proud" of the end result.

"[12] The albums were released in both physical and digital formats, with the vinyl editions containing various pieces of faux artwork, track titles and credits referencing in-world content from the series, as well as supplemental material written by Lindelof and Jeff Jensen.

"[8] Angie Piccirillo of Consequence of Sound gave the album an A−, praising tracks like "Nun With a Motherfucking Gun" for utilizing the "iconic driving synths and electronic production that [Reznor and Ross] are known for."

She was less positive about tracks such as "The Brick" and "Absent Friends and Old Ghosts", which she felt represented the album's "expected moments of traditional underscore" and questioned their place on the record.

[18] James Whitbrook of io9 wrote that the score was "just oozing with style, a soundscape that is almost off-putting in the uneasy tension its rhythmic pacing evokes—and yet at the same time it’s weirdly hypnotic, lulling you with a false sense of security with its slick beats (and even slicker basslines) as it burrows its way into your head.