Yeah. On my second listen and this thing is really hitting. The "Galadriel" theme works really well as a main theme that Bear does a lot of different things with. The dark tracks are suitably intense. The Numenor theme has a unique vibe that I think still works in context and, man, those crescendo moments are brilliant.
The score has a great progression to it. Most TV soundtracks are a couple themes that get used a lot (often just one theme) and then a lot of interstitial stuff or rando mood pieces. This score really is constructed like an epic tapestry that weaves together and builds and culminates into the whole vision.
I am right with you on Bear and the BSG soundtrack but this Rings of Power score is a whole other level of ambition from most TV show soundtracks. You can tell how hard Bear worked and that he had 13 months to work on it. While similar in methodical approach, Bear's score is very different from the one that Shore did for LotR... but I like what Bear said in the Variety interview: Shore's score is filled with melancholy and history, whereas Bear tried to make a score living in the now of the 2nd Age where dwarven, elven, and human civilizations are all at a sort of peak.
It's not as good as Shore's score, obviously... but, I mean, what is?