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View Full Version : Temple of Osiris Official Soundtrack *FREE*



a_big_house
8th Dec 2014, 18:13
All 34 tracks and 3 bonus tracks have now been released, ready for you to download (https://soundcloud.com/crystaldynamics/sets/lctoo), for free!


FREE - Lara Croft and the Temple of Osiris OST!
We’re super excited to announce that the full Lara Croft and the Temple of Osiris soundtrack will be released for free on our newly-created SoundCloud account (https://soundcloud.com/crystaldynamics/sets/lctoo).
Composed by the talented Wilbert Roget, II (http://www.rogetmusic.com), we’ve uploaded the first eight tracks this morning along with notes detailing his inspirations and influences. Look for another drop of music next Monday.
Are you a music aficionado and want even more insight into the soundtrack? Check out The Music of Tomb Raider (http://www.musicoftombraider.com/2014/12/lara-croft-and-temple-of-osiris.html), one of our official fansites, for an exclusive interview with Roget.
Lara Croft and the Temple of Osiris launches tomorrow, December 9, on Xbox One, PlayStation 4, and PC. Secure yours at BuyLaraCroft.com (http://buylaracroft.com/).

I know I'll be downloading them myself :D

The LCTOO soundtrack is up for an award!

http://41.media.tumblr.com/aae9c8bde092d4b1cf3ad6b6807e11bb/tumblr_ni6t0sao9p1qkq7tbo1_500.jpg

LCTOO Nabs D.I.C.E. Award Nomination*
Super congrats to the LCTOO team on landing a nomination for the 18th D.I.C.E. awards (http://www.interactive.org/news/18th_dice_award_nominees.asp)!
The nod was given for Outstanding Achievement in Original Music Composition, meaning we should all direct a big round of applause to Wilbert Roget, II (http://www.rogetmusic.com/) for his incredible work on LCTOO’s soundtrack.
Have you given the soundtrack a listen? It’s available for free on SoundCloud, so head on over (https://soundcloud.com/crystaldynamics)!



"The [Lara Croft Overture] presents Lara’s theme, performed on the English horn by Kristin Naigus. This was the first piece I wrote for the score, with the intention of creating a sonic guide for the rest of the soundtrack. I focused on showing the juxtaposition between Lara’s posh, educated British upbringing and her perilous archeological adventures. While most of this track intentionally steers clear of overtly Egyptian sounds, its ending introduces an Arabic flavor that characterizes the rest of the score.”


"[Introduction – The Curse] is the underscore to the opening movie of the game, and introduces some of the principal themes in the score. After a mysterious introduction with an oud solo (a plucked banjo-like instrument played by Stelios Varveris), Isis’ theme is heard on flute at 0:22. It is immediately followed by a blast of the theme of Set, the main antagonist in Temple of Osiris. The cue ends with a subdued recap of Lara’s theme."



"[Army of the Dead] is the tutorial level’s action theme. I wanted something fun and encouraging to start the game off, so I used a catchy bass rhythm and a high strings melody that immediately gives an Arabic feel. This track also shows a bit of the Indiana Jones influence in my use of brass climaxes and syncopated orchestral stabs."



“[Ammit, Devourer of Souls] is the theme for the keeper of the underworld – a giant female demon with the head of a crocodile, body of a lion and hippopotamus. Because of the curse placed on Lara and Carter in the introduction, Ammit seeks to devour their souls throughout the entirety of the game. I played a very effects-heavy flute solo in this track to give a frenzied feel to this chase scene.”



"[Beneath the Desert Stars] and [Knives in the Dark] comprise the first overworld music suite. Our overworld works a bit like a world map in a role-playing game, connecting the tomb levels with an exterior level that also has puzzles, hidden loot and combat of its own. Temple of Osiris has four overworlds, based on weather and daylight. The first is Night, as the villain Set has used his powers to cast all of Egypt into eternal darkness.
For [Beneath the Desert Stars] I used sparse, sparkly timbres set against moments of silence to represent starlight amidst the darkened landscape. A somber variation of Set’s theme can be heard on flute, as well as Isis’ theme on English horn halfway through the cue.
[Knives in the Dark] is the combat variation of the Night overworld suite, and so I wrote a cue that uses lots of pizzicato, rushing staccatos, and sneaking sounds to represent enemies scurrying in the cover of darkness. Set’s theme motif is also used here, on horns towards the beginning and in a louder blast in the middle of the cue."



"[Tomb of the Timekeeper] is the first tomb level in the game. We had an unusual method of producing the tombs’ music – instead of writing faux-ethnic melodies for the soloists, I created low drones (sustained single notes) based on the basic harmonic progressions of the tombs’ respective action music. I decided on one solo instrument per tomb, and sent that tomb’s drone to the performer along with a description of the tomb and some general musical ideas. They would then freely improvise over the drone, using their own idiomatic performance techniques; For Timekeeper we used the kemenche (viol-like fiddle played on the knee), performed by Stelios Varveris. I then took those improvisations and wrote orchestral music “around” them, editing the recordings in various ways to fit rhythmically and harmonically. Ultimately this gave us a much more authentic sound than if I as a composer were to attempt to write Arabic-esque melodies, and it also gave the tombs a mellow, ambient tone appropriate for exploration and puzzle-solving."



"[Ambushed!] was an interesting track in that it originated from one of my failed attempts at a main theme for the game. Later on I wanted an action cue for a setpiece where Lara and friends are trapped and ambushed by enemies, and I realized that the rhythm and feel of this track actually worked perfectly for that scene. So I reworked the melody and changed the harmonies around to fit the new placement. Speaking of the melody, the horns theme in this track is a reference to Khepri’s theme, the scarab boss whose minions players have been fighting these first several levels. "



“[Tomb of the Silversmith] begins with a brief cutscene where Lara, Isis and Carter enter the tomb and discuss some hieroglyphics that explain the myth of Khepri – an ancient beetle god that has been corrupted by the evil Set. The ambient section begins later, and features an Arabic guitar called the oud (performed by Stelios Varveris). As with the other tombs, Stelios played an improvisation over my bass notes, which I then edited and wrote orchestral music around.”



“[Apep, The Serpent] by Paul Houseman plays during the sub-boss fight against Apep, a giant jeweled serpent guarding the exit of the Tomb of the Silversmith. It was originally written for the Khepri boss battle, but as development progressed, that fight became increasingly chaotic and required a different approach. We decided Khepri’s music should be rewritten, and the sub-boss Apep should have his own unique music, so we modified this track and used it for Apep. The core of the piece is a fast, relentless percussive rhythm that gives a heart-pounding sense of panic for this action-puzzle fight.”


"[Fragments of Osiris] plays in the recurring cutscenes where Lara has found a new Osiris piece, drawing one step closer to resurrecting him and defeating Set. One of the distinctive sounds of this score is a 10-member ethnic choir that I use for moments involving the ancient gods. In this case, I use the choir to give a sense of reverence, followed by an orchestral fanfare congratulating the player on defeating the tomb."



"[Isis’ Lament] is played in the various “reward rooms” that occur at the end of each level. There are no enemies and the entire purpose is to give players extra loot, so I took that opportunity to do a quiet, reflective piece featuring a harp and flute duet rendition of Isis’ theme. Various sparkly timbres play throughout the cue to represent the copious treasures in these reward rooms, and the piece ends with tense high string chords that convey Isis’ desire to reunite with her husband after so many millennia."



"[Under the Desert Sun] and [Blood on the Sand] comprise the Daylight Overworld music suite. These two pieces were actually the first tracks I wrote for Temple of Osiris after completing the main theme, and so they were also crucial in establishing a tone and instrumentation for the rest of the score. Under the Desert Sun starts with a brief statement of the main theme on duduk, followed by a tuneful English horn melody (both gorgeously performed by Kristin Naigus). I used bright Arabic-esque string arrangements and a solo frame drum (performed by Aaron Craft) to give a feel of travelling through the Egyptian desert in burning sunlight. Lara’s theme is stated more fully with a cello solo towards the end of the cue (performed by Sebastian Freij), recapitulated in high strings that again give a sense of the desert heat.”



“[The Hidden Tomb] plays when players find and enter one of the hidden challenge tombs in Temple of Osiris. It begins with a brief harp and flute flurry that references the Tomb Raider 1 “hidden item” stinger, then continues with calm and moody ambient orchestral music that features woodwind solos throughout. Since there are no enemies in these challenge tombs, I was free to use these quiet and emotional moments freely without worrying about melodies being interrupted.”



“[Khepri, The Sun Beetle] is the first true boss theme in the game, a giant flying scarab that has been corrupted by Set. Clustery strings and quirky muted trumpets play as Khepri is seen fluttering past the players in the opening cutscene, followed by a brassy blast once he lands and reveals his tremendous size. The entire fight takes place on a giant spherical rock that periodically rolls about through the level, and so I used wild string flourishes and runs to represent this chaos. The strings melody after the introduction is a sort of mini-motif for Khepri, previously heard in the [Ambushed!] cue a few levels before, and Set’s theme is played on brass towards the middle of the cue to show his evil influence on Khepri.”



“[The Shrine of Osiris] plays in the hidden underground machinery of Osiris’ shrine – a giant wheel used to control the passage of day and night, and the patterns of weather. When Alex Wilmer (our audio director) first explained the concept of this room to me, the idea seemed so evocative that I immediately heard this music in my head; It was clear that a grandiose, reverent piece paying respect to these ancient Egyptian gods was needed. To convey this magnitude, I juxtaposed fast-moving background textures with a very slow, soaring melody on strings and horns. Isis’ theme can be heard on solo trumpet halfway through the cue, played majestically by Laura Saylor.”



“[Riddles of the Ancient] is used during a few of the more complicated puzzles in the game. When I write game scores, I like to play through them on my own exactly how the gamer will ultimately play them – no cheats, no walkthroughs. There were a few puzzles that took me a while to solve, and so I decided to do some extra cues here and there that would encourage players during these moments. This track draws particular influence from Indiana Jones in its harmony and orchestration, and uses dramatic swells and passages to represent little “ah ha!” moments the gamer would hopefully experience during some of these trickier puzzles.”



“[The Desert Rains] and [The Floodwaters Rise] (both composed by Paul Houseman) comprise the Rain overworld suite. It was clear from the beginning that the element of water had to be very present in the track. Therefore the soundscape of the piece consists of lots of mallet instruments, rain sticks and other sounds that mimic the sound of dripping rains.
[The Floodwaters Rise] (composed by Paul Houseman) is the combat variation of the Rain overworld suite. Paul had a lot of fun with this cue, combining elements of the Egyptian Arabic flavor with a new, flooded water element. The rhythmic ideas were written first as an underscore to Lara Croft’s characteristic acrobatics, and melodic and textural ideas came later on, accentuating the watery setting.”


- Wilbert Roget, II (http://www.rogetmusic.com/) / Lead Composer, Music Supervisor

RybatGrimes
8th Dec 2014, 18:22
Oooh, this soundtrack is so good ;_;

It's so light, fun, enchanting, and so egypt. :D

Weemanply109
8th Dec 2014, 18:52
This is pretty damn generous. Thanks, Crystal & Co. :p

Treeble
8th Dec 2014, 20:46
Oh my, this is absolutely brilliant! Great interview with the Music of Tomb Raider, too. :)

Just wondering, anyone been able to download tracks 1 and 2? I got the others just fine, but am taken to an empty page with these.

a_big_house
8th Dec 2014, 21:03
Nope, they all downloaded fine for me :) I'm yet to listen to them though :lol:

Treeble
8th Dec 2014, 21:48
Tried again and they worked. Really glad -- been listening to these eight tracks on non-stop loop since I opened the link, like an hour or two ago? Great stuff. :D

H4RR7H
10th Dec 2014, 02:09
Hi all, I wasn't allowed to offer community involvement in the interview unfortunately! It all had to be kept under wraps. But feel free to use this thread to ask me any questions and if I can answer them I will! If I can't, I'll consolidate a few more questions for Wilbert to personally answer!


Great interview with the Music of Tomb Raider, too. :)

Thank you!

Treeble
10th Dec 2014, 14:43
I do consider it a victory we got an actual soundtrack. Even if it's not a physical release, it's still quite something - and free on top of that! :)

a_big_house
10th Dec 2014, 15:02
It gets better Treeble, if I've understood this correctly, there will be more...

Get the full LCTOO soundtrack for free on Soundcloud (https://soundcloud.com/crystaldynamics/sets/lctoo), with tracks hitting every Monday in December.*

"[Introduction – The Curse] is the underscore to the opening movie of the game, and introduces some of the principal themes in the score. After a mysterious introduction with an oud solo (a plucked banjo-like instrument played by Stelios Varveris), Isis’ theme is heard on flute at 0:22. It is immediately followed by a blast of the theme of Set, the main antagonist in Temple of Osiris. The cue ends with a subdued recap of Lara’s theme." - Wilbert Roget, II / Lead Composer, Music Supervisor

Treeble
10th Dec 2014, 15:39
Yup, it's going to be distributed episodically lol. Can't wait for the next drops. :D

a_big_house
19th Dec 2014, 16:40
Just incase you haven't already got them, tracks 9-16 are out people :D

Also, updated the OP

WinterSoldierLTE
22nd Dec 2014, 22:59
Pretty good soundtrack, and very cool for CD to give it away for free to the fans. I'm really digging "Desert Rains".

Treeble
24th Dec 2014, 21:58
ICYMI: Tracks 17-24 have been released! :D

Have had this soundtrack on loop for a while now, excellent stuff.

Treeble
30th Dec 2014, 20:17
Another friendly bump - tracks 25 through 34 are now online as well. Pay extra attention to "Throne of the Mad God". :D

(also, take notice of track 35... *wink)

a_big_house
15th Jan 2015, 18:04
OP updated :)

Treeble
6th Feb 2015, 19:16
And we have a new remix. It definitely feels out of place along the other pieces in the soundtrack, but I love it.

https://soundcloud.com/crystaldynamics/36-bonus-track-army-of-the-dead-supersquare-remix

Bridgetkfisher
20th Feb 2015, 17:15
Good luck with the award, conglaturations on being nominated! The whole game is really a work of art. Its fun, simple, and can be played with friends, the easiest things like that are so hard to do, but playing the game as a player is very fun. I hope everyone on the team involved in this game get more chances to make games for us to play!

WinterSoldierLTE
5th Jul 2015, 22:43
The soundtrack kicks ass, but did anyone else hum this while they were playing the game at various points?

QzjgVY2dluU

I suppose it's a testament as to how good the soundtrack is that it reminded me of John Williams.

2000th post! woot!




















(does anyone still go "Woot!"?)