Modern soundtrack review (under construction)

Ori, Lost In the Storm It’s a beautiful introduction into the fantasy art world of Ori. Gareth Coker starts off by using Aeralie Brighton’s voice in magical fashion, as she goes opera into the world. You feel content, you feel relaxed, you feel excited about the journey ahead of you as the orchestra and the piano plays lightly. 5/5

Naru, Embracing the Light The sound is convincingly more whimsical, with a flute and piano backing supporting an air of exploration. It’s positively pleasant and enjoyable, and very light-hearted. More foreign percussion helps set the tone as it rounds the track out with an amazing air. 4.5/5

Calling Out The sound reminds me of a Japanese anime, as characters walk through a garden. There’s not a lot going on here, but it’s perfectly pleasant. That’s the tone, until 50 seconds in where the attitude changes completely and a sense of loss and despair takes over. 3.5/5

The Blinded Forest There’s darkness in the air, and in the title. You can positively hear the apprehension as the piano plays both off-key and off-timing. The strings complement the sound until about a minute in, where they set the tone. They play a wistful sound. Then, about a minute in, a singer comes in and complements the sound as it sounds more exploratory, more uplifted. As minute two takes hold, the strings and the tone manage to create a beautiful sound that’s both sad and hopeful at the same time. The drums are perfectly timed, and quietness is used very well here. As the song rounds out, the piano plays us off, and we are left wanting more. 5/5

Inspiriting The same sad piano that ended the last piece continues here. It’s utterly sad, and mellow. It reminds me of “Brooks Was Here” in the “Shawshank Redemption.” But as the song continues, it builds in a brilliant uplifting manner and then leaves us. 4.5/5

First Steps into Sunken Glades Our first steps are encouraged by both a piano and string pieces. The strings are hardly sweeping, but they sweep us into the atmosphere. There’s a background sound I can’t quite pinpoint, but it’s there and it serves its purpose. About a minute in, some mild horns come into effect. It’s a brilliant manner in which the song begins to lift its notes and its keys. I can’t tell what instrument is providing the solo, but it’s not a typical violin. Then, about 2 minutes in, the piano really starts to take over and the tempo increases. It’s still not loud and it’s expertly done to create a beautiful ambiance. The piano work is truly, truly fantastic. As the song approaches its final third, the action escalates again, but not with noise. It just increases in intensity somehow, via both tempo and pitch. 5/5

Finding Sein A soft piano starts this one off, with strings in the background creating ambiance via noise. It’s our first sign of action; drums spring out of nowhere and create a track you can feel yourself running away to. The orchestra is positively jumping around here, but in a controlled manner. Then, the Ori theme flashes briefly, but then flashes away just as quickly. 3.5/5

Up the Spirit Caverns Walls A similar Japanese sound takes back over, as what sounds like a xylophone blends seamlessly with a broader orchestra to take effect. A woodwinds instrument, perhaps a flute, solos in and provides some color as well. The flute flashes in and out brilliantly, and then about halfway in the track rises in its melodic brilliance by increasing pitch as it takes on a lighthearted tone. About 200 seconds in, it takes on that incredible wistful and hopeful tune, as a what sounds like a saxophone mostly solos in to set a tone. As the track hits its final minute, your sense of enlightenment just continues brilliantly. 5/5

The Spirit Tree Absolutely brilliant. Aerelie Brighton’s hums along to the piano and orchestra accompaniment and it’s just sublime. The key changes halfway through make you just want to listen to this piece over and over again. Its only fault is that it’s not longer. 6/5

Kuro’s Tale I – Her Rage The sad tale of Kuro is a majestic piece through and through, but it’s mostly a dark piece with the orchestra using its volume and intensity to ramp up the anger in the piece. It sounds angry and controlled. 3.5/5

Thornfelt Swamp It’s positively creepy as an off-key strings ensemble give you an instant sense that something is wrong. A piano comes in to provide some light color to the strings, and then a minute in the sound changes. The piano flows back in with the Ori theme briefly. As the song rounds out the final 90 seconds, it changes in tone again and ends on a pleasant note, with hard hits of intermittent pianos providing color to the atmosphere. 3.5/5

Down the Moon Grotto A wind instrument starts off with a solo here accompanied by some light orchestra and drums. The piano then comes in to assist. It’s a more mellow piece, and it’s great. About 2 minutes in another wind instrument provides the solo color. The sound continues in similar fashion as the song ends. 3/5

The Ancestral Trees Piano takes over again and plays a rendition of the main Ori theme. I can’t complain. It’s such a good theme. Then, about a minute in, the strings and broader orchestra chimes in and gives us some depth to the piece. It’s the Ori theme and I love it. 5/5

Gumo’s Hideout Another tropical tone with what sounds like a xylophone setting the theme. It’s light-hearted in its tone but there’s hints of something deeper and darker, consistent with the mood of Ori as a whole. It’s a perfect little setting piece. A flute chimes in about 1 minute and 30 seconds in with a solo that just adds to its atmospheric appeal. And then as the final minute hits, we get a lovely hint of the main theme but it fades out leaving us again wanting more. 4.5/5

Breaking Through the Trap The ambience is clear: danger. This is a piano piece designed to get you out of whatever danger you’re near. The tempo is frantic, and it’s brief. 2.5/5

Climbing the Ginso Tree Starting off slow, a number of tropic sounds gives way to just an echo of the main theme. 30 seconds in, the track really begins. It begins to welcome you into the fold, into the branches. Like climbing a tree, the piece elevates itself as it goes on. There’s what sounds like a bell that beckons on as the strings begin elevating around the halfway mark. Ori’s main theme comes in a slow crescendo but fades before it can really hit the lights, giving us a pause about 3 minutes and 20 seconds in to regroup and take a breather. But there’s still 2 minutes left in the track. The pace comes back in with a minute left, and you feel like you’re really elevating above and beyond. Ori’s theme is loud and clear here, the texture is just wonderful combined with the strings and the xylophone in the backdrop. 5/5

Restoring the Light, Facing the Dark In the heat of battle, there are two kinds of fight songs, loud or textured. This one is textured. There’s no question that there’s danger in the air, but Gareth Coker doesn’t slam your head against brass and drums to make you feel the danger. The drums are an accent. Ori’s main theme plays here, but it sounds scared. It sounds ready and willing to fight. About a minute left, he gives us a pause to capture our breath before the full orchestra chimes in with 45 seconds left to provide the sense of accomplishment that we’re looking for. 5/5

The Waters Cleansed With clean waters, we get a lighter piece that is reminiscent of children jumping through a meadow. It’s quite pleasant to listen to. The flute provides a good accent as well as the short piece rounds out. 5/5

Lost in the Misty Woods It starts off much more sinister than we’re used to. An erratic piano and background ambiance create a sense of darkness. As far as pieces go, there’s not a lot of melody to this one. It’s good background music, but not a great song. 2.5/5

Home of the Gumon A soft piano starts this piece off. I can’t describe the immediate noises that complement the piano’s intro, but it’s almost like the wind. It’s clear from the immediate get-go that this one is a locational piece. But the piece’s majesty is that it continues to be brilliant. A choir creates the somber tone that we look for in sad pieces. Time flies by as you escape in how brilliant this song is. About 2 minutes in, it changes its tone and gets more stressed. 5/5

Escaping the Ruins It’s the Ori theme, but different. The key has been changed. There’s not a lot going on until about 45 seconds in where the main escape clearly takes place. It’s a rough, frantic piece that is still a wonderful listen. The key changes are welcome too. 4.5/5

Kuro’s Tale II – Her Pain Utterly depressing and brilliant. I used that word a lot in this review, but the soundtrack is truly brilliant. Kuro’s second tale of pain uses a string solo to expertly bring the emotion back into what you feel. With a minute left, a choir elevates the mood and gets you even deeper into the emotional state this piece will bring you in. 5/5

Rage of the Forest It’s frantic from the start. From the use of drums and strings, you can tell that Ori is in danger and needs to escape. About 30 seconds in, the strings and key changes give you the sense of rising action and danger is clear and present. You don’t have much time, as the sound becomes even more dangerous about 90 seconds in. Then, the pace just increases, it’s utter chaos as the title track would suggest. The strings are positively dominant here. 4.5/5

Approaching the End A quiet piece that just sets a more relaxing tone that ends a brilliant soundtrack with a quiet notion of peace and serenity. The piano takes over as the piece nears its end. It’s a truly pleasant listen. 4.5/5

Mount Horu Initially, I thought it would be a piece without any sound at all. But a minute in, the tone shifts and you’re introduced to a magical sound again. It sounds like something from Alan Menken. Mount Horu is a wondrous place, clearly. A choir elevates the pitch up and down, and it’s both exciting and sad. 5/5

Conundrum The main theme returns in a different manner, as if it’s beckoning to a puzzle. It’s odd, but endearing. 4/5

The Crumbling Path Danger. Can you feel it? Brash, bold piano strokes in an alto manner create a contrast of sounds. It’s both engaging and uncomfortable. 3.5/5

Racing the Lava Short, but spirited. It’s frantic. 2.5/5

Fleeing Kuro The lava you were racing comes back into the full fray with a new take. The full orchestra is taking part here; drums, strings, brass, the works. The strings are almost singing, and then the choir sings. It’s elevated rising action and stress all over again, and Coker doesn’t even give you a breather. As soon as you think you’ve passed one obstacle, there’s another in your path. As far as battle pieces go, it’s phenomenal because Coker is able to mix stressed sounds with a rhythmic, but pulsing, strings section and tie it all together. 5/5

The Sacrifice As your chase ended, you are left with one of the true highlights of the entire video gaming music world. The sacrifice is everything that the culmination of an adventure should be. The piano and choir come together in a massive culmination of everything we’ve fought for. Finally, Aeralie Brighton gives us a send off as she hums the main theme. 5/5

Light of Nibel It’s the main theme! And it’s MAGICAL! It’s the best song on the album and if it was 20 minutes longer, it would be the only thing I would listen to on a desert island. Most composers save their best works for the credits; Coker saved his for the finale of this album. After a brief intro from Aeralie Brighton’s chorus, raging drums accent in variations of the main theme. Her voice lifts all boats. Then about 2 minutes in, there’s a breather until it fades away in a piano motif of the main theme. You’re left utterly content. 6/5

Main Theme – Definitive Edition Ori’s theme is just magical. It’s what’s made this album so good. I love it so much. 7/5

Naru’s Origins I – Her Home The Origin of Naru is a soft, quick piece. It ended before I knew what happened. 4/5

Through the Darkness The darkness is pleasant. It’s not your typical darkness to start. The piano is light and extremely enjoyable to hear. There’s nothing that’s stressed at all. Calm bells let you feed into the light. 5/5

Naru’s Origins II – A Friendship Formed A pleasant piece, but not an entirely clever one. There’s not a lot really going on here but it’s an enjoyable listen. 3.5/5

Dash Through Their Home It sounds like a car chase, but with bells. High tempo xylophone-like sounds start off this track but quickly give way to something related, but different. Coker does a really good job changing up the tune on this one and creating a lot of diversity within this piece itself. The full orchestra is here, minus the choir. It’s an extremely uplifting piece as it goes through its various changes in tonality. 5/5

Naru’s Origins III – A Broken Bond Even a broken bond can have a light-hearted theme with it, or so you think. It fades to something sadder at the very end. It’s a good piece, but not great. 3.5/5

A Closer Understanding of the Past A flute solo brings out the past in this piece. It’s reminiscent of what makes this album so great without having to rely on themes that we’ve already heard over and over again. Without expanding on too much of what we’ve heard, it’s just a good piece that’s really enjoyable to listen to. 5/5

Definitive Edition It’s the main Ori theme again, and I am not complaining. I thought it would be pure and simple, but after a brief solo by Brighton, the action ramps up quickly as she takes a quick respite. But before you realize she’s gone, she’s back in full force. The action is louder, better, stronger until it fades to a piano outro. 6/5

E3 2014 Announcement You’d think the E3 announcement is just the main theme. It indeed starts off that way, but almost goes through a wormhole into greater action for a brief instant. From there, Aeralie Brighton fades us away. 5/5

Launch Trailer It’s a different take on the theme that I’ve fallen in love with, and it’s again almost perfect. There’s a section where unjointed action takes over, with Kuro’s theme, but it quickly fades back to Brighton. 3.5/5

Swallow’s Nest It sounds like a guitar working with a shadow of the main theme. It’s just beautiful. 5/5

Climbing Further Up the Ginso Tree As we gain in elevation, we feel the change in tonality and intensity. It’s a lighter sound, more fleeting, calmer. There’s the occasional flute seasoned with light drums. It’s sublime in its tonality, just an easy listen. 5/5

Confronting the Ram A tropical experience. It’s pleasant but not mind-blowing. 3/5

The Mists Cleared Ominous piano strokes with a chorus backing start this one off. It actually sounds a lot like Wall-E. It’s perfectly pleasant but not mind-blowing either. 3.5/5

Hiding from Kuro 1.5/5

Arrival at the Sunstone It’s soft and beautiful, and the Ori theme. I’m not sure if it’s a xylophone, but it has that soft roll that makes it very pleasant. 5/5

Travelling through Horu Fields 3/5

Mount Horu Puzzle Rooms – Suite 1 3.5/5

Mount Horu Puzzle Rooms – Suite 2 3.5/5

Returning to the Spirit Tree 3/5

Launch Trailer (unused) – 60 seconds It’s 60 seconds of Aeralie Brighton humming to us. She opens up again about 30 seconds in and uses her full voice. Beautiful, sublime. 5/5

Title Screen (unused) 3.5/5

Opening Scenes (unused) It’s a lovely, diverse track. Starting off slowly, it shadows some of the main Ori themes that we’ve become so familiar with by this point. A final piano allows it to fade from our ears with 30 seconds to go. 4/5

Forward Momentum (unused) 3/5

Facing the Dark (alternate) A harp-like instrument starts this track off. It feels almost atmospheric, with the strings in the backdrop. With 25 seconds left, however, it takes a harsh turn. The harshness at the end detracts from the overall piece. 3.5/5

Fleeing Kuro (alternate) 4/5

Title Screen (prototype) 3/5

The Garden (prototype) 3.5/5

Rolling Through the Forest (prototype) 3.5/5