![]() I would recommend this soundtrack to fans of ambience and also fans of the more laid back jungle themes they’ve heard before. ![]() While perhaps not as subtle as the ICO soundtrack, it offers ambience from a different perspective - not to confuse and warp, but to provide ambience of the dead wastelands and unknown - and it achieves that with great success. It’s very much like the ICO soundtrack in that its beauty may well completely miss you if it’s not your kind of CD. It’s a good way to fade out the experience. There is a “Bonus Track” too, which is possibly the most percussive track of all the soundtrack. Its a very cinematic piece that borrows a bit from everything before it and rounds off with a nice climax. “Trailer Music” actually gives us the biggest music probably of the soundtrack in terms of pacing and drama as it works just like a trailer should. There are also a few extras on the album. Larkin brings out percussive bongos, electronic snippets, and all kinds of woodwind fun for a seemless journey off to somewhere barren yet full of wonder. “The Vault” is a six minute epic though and through. ![]() It doesn’t really grab listeners, as none of this soundtrack really has any major hooks, but it is haunting and well performed and falls seemlessly into “The Library”. “Baron’s Theme” is one of echoes and tension. There are also some heavier contributions to the album. It’s another rather different piece on an increasingly diverse album. “Air Stream” subsequently brings acoustic guitar to the front in a country western piece that is pleasant to relax. It seeps into your ears and I often find myself jigging in my seat to this one. On the other side of the spectrum, “Out of The Hive” provides something uptempo and exotic in its flavour and instrumentation. Similarly “Convergence” is written in an aboriginal vein with its tuned percussion (marimbas, barafones etc) and similar elements are showcased again in “The Well”. On one side of the spectrum, “The Bahro” presents listeners with deep ritualistic influences with its deep male chanting and creepy moaning drums. There are some more worldly themes in the soundtrack. While retaining the digital focus, Larkin offers an entirely different ambience in “Spore Me” using just keyboard pads, akin to the ambience of Final Fantasy X. It sounds very much like an Enya piece actually, which is no bad thing in this case. This provides a fantastic backdrop from female vocalist to sore from. “Gallery Theme” sounds similar in terms of bass and percussion, but is slowed down and muted. ![]() Nevertheless the main tune is once again a pretty woodwind lead before string elements come in for the climax. “Badlands” brings Larkin’s digital electronic side to the fore with some fun Eastern bass and percussion merging. The balance of the beautiful and the unnerving is particularly well done here and the timbres never stays still. Delving a little deeper, “Yeesha’s Theme” also takes listeners on a calm but not entirely settled journey. This track won’t grab listeners in terms of hooks and riffs, but just calmly sweeps people away on a journey. The whole sound is organic yet little digital nuances are cleverly integrated throughout. “Beyond Gira” then takes us to the ambient outdoors with a surreal mixture of vocal layering, didgeridoos, desert percussion and distorted animal callings. “Atrus Open” is a spoken passage which ends with a flicker of epic string arrangement before the real music starts. Let’s take a closer look from the very beginning… Body For Uru Music, Tim Larkin gives us a range of beautiful soundscapes for our ears. His soundscapes are therefore ideal for a series such as Myst, of which Uru: Ages Beyond Myst is a spinoff to. Tim Larkin’s music is filled with such wonderful ambience that sometimes you can get completely lost in it. ![]()
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