{"id":8056,"date":"2016-04-29T17:47:56","date_gmt":"2016-04-29T15:47:56","guid":{"rendered":"http:\/\/www.satrapov.net\/mysst\/?page_id=8056"},"modified":"2020-07-04T21:23:09","modified_gmt":"2020-07-04T19:23:09","slug":"music","status":"publish","type":"page","link":"https:\/\/www.grafskaya.club\/mysst\/detailed-reviews-g-z\/uru-ages-beyond-myst\/music\/","title":{"rendered":"Music"},"content":{"rendered":"

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This is the first soundtrack in the series by Tim Larkin, a sound designer for Cyan who has been working on the Myst series since Riven<\/em>. And it is a thing of beauty, with a distinct tribal feel to it that may have been inspired by Jack Wall\u2019s use of the duduk in Myst III<\/em>. And while that game may have started the tradition of more elaborate music in the series, I thought that some of the age themes didn\u2019t quite fit. This isn\u2019t the case here, making the Uru<\/em> soundtrack an unquestionable success and one of the genuinely good things about the game. The only problem is that not all the tracks have been released in album form and thus some don\u2019t have official names, so I provide my own in those cases. All can readily be found within the game files, however, making them easily accessible.<\/p>\n

\"Clues<\/a>Perhaps the main highlight is the haunting \u201cGallery Theme\u201d, heard in the Kadish Gallery, a simple background ambience accompanying a ravishing, wordless song in the crystalline voice of one Tasha Koontz, only 15 at the time. She contributes another track (let\u2019s call it \u201cAlive\u201d) at the end of The<\/em> Path of the Shell<\/em>, this one with more triumphant, yet disquieting overtones, and more elaborate background music. She can also be heard in \u201cBaron\u2019s Theme\u201d, the melancholy, lonesome melody that plays in Sharper\u2019s Office in D\u2019ni.<\/p>\n

Other outstanding pieces include \u201cConvergence\u201d, which plays in the outside areas of Gahreesen, blending percussion, chimes and duduk into a soaring, sweeping whole, or “The Well”, from its indoors areas, ponderous and coldly menacing. “The Moon Room” and \u201cThe Vault\u201d, from the eponymous locations in Kadish Tolesa, have a similar hypnotic quality, but the former sounds like dust motes in moonlight, while the latter adds a mystical rhythm to it. There’s also “Air Stream”, which plays in the desert outside the Cleft and gives the sense of hot air shimmering under the sun, with some country-like sonorities. “The Harvester”, which you hear while riding the eponymous machine in Er’cana, is also oddly compelling, with a slow, hazy start gradually building into an adventurous theme. You\u2019ll eventually hear a track that I will call \u201cSpace\u201d on Ahnonay, which I can only describe as a stellar melody, as if celestial bodies were singing in the depths of the universe. The music in Minkata uses several variants of the \u201cBadlands\u201d track, such as “Badlands Cave”, which starts playing when you near one of the kivas, giving your desert explorations an amazing tribal groove. The final reprise of this track, which I will call \u201cThe Way Is Found\u201d, is particularly successful, giving the melody a goosebump-inducing, mystical swell. And as icky as Teledahn is, I actually quite enjoy the dreamy strains of \u201cSpore Me\u201d. In a different register, \u201cFall of D\u2019ni\u201d, which plays in the Kahlo Pub, instils a profound sense of unease and dread.<\/p>\n

Some tracks are less successful, such as the rather bland \u201cThe Library\u201d, which plays in the Great Library in D’ni. \u201cThe Bahro\u201d, which plays in the various bahro caves you visit, sounds eerie enough for its purposes, with its Tibetan-like chanting, but it\u2019s also rather disjointed. And while I rather like Peter Gabriel, why was \u201cBurn You Up, Burn You Down\u201d even included in the game? You can hear it playing on Zandi\u2019s radio at the beginning of the game, but it has no thematic link with the storyline at all and sticks out like a sore thumb.<\/p>\n

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