The Elder Scrolls Online
The Elder Scrolls Online
17.09.2022
Wonderfully wide world
When talking about the music of the Elder Scrolls series, there is no getting around the name Jeremy Soule. His music, which we have listened to in every game since The Elder Scrolls III: Morrowind, is inextricably linked to the series and is one of the best that the genre has to offer the western role-playing world.
This makes it all the more tragic that he will in all likelihood no longer be part of the sixth installment (whenever that is due to be released). This is probably because of the allegations against him of sexually assaulting female colleagues; or Bethesda simply wants to give the franchise a new, musical breeze. Either way, it's always a shame for me when a face that has so impressively shaped the style of a brand has to go.
The separation of Soule and The Elder Scrolls already took place in 2014 with The Elder Scrolls Online (called ESO). Brad Derrick composed the accompanying soundtrack and did the same for all subsequent expansions. Perhaps someone still remembers one of my first reviews of the addon Elsweyr, in which I accused the score and its composer of irrelevance a good three years ago. Probably a bit harsh, since it was the background sound of an MMORPG spin-off, but since I try to look at the music separately from the actual game, I have to be fair.
Fortunately, I can attest more creativity and variety to the score for the main game The Elder Scrolls Online - which admittedly shouldn't be difficult compared to a monothematic expansion. Like Soule's works, Derrick is oriented towards a mixture of wide, sustained orchestral pieces that give the mind's eye space to wander and relax (Winged Twilight, Courage of Ordinary Mortals, Bruma Against the Jeralls).
At the same time, he also strikes the powerful notes typical of the Elder Scrolls when iron and steel meet fireballs and monster skins in the fantasy world (Weapons Drawn, Oath of Malacath, Onslaught at the Gates). The dominant instrument here are the drums, which set the pace and call for battle. This is contrasted by the strings and vocals, which create a dreamy fantasy feeling à la Neverwinter Nights 2 thanks to the piano chimes in the quiet pieces.
He rarely reaches the class of Soule, which is a shame on the one hand, but on the other may just be due to my nostalgic glorification. So it's all the nicer that occasionally Derrick appeals to this when he quotes the previous episodes of the series and we hear, for example, the motif from Watchmen’s Ease (The Elder Scrolls IV: Oblivion) in Greenheart, Nerevar Rising from Morrowind in Tides of the Abecean Sea or the well-known theme from Skyrim in For Blood, for Glory, for Honor.
In the latter, the composer also gives the theme a slightly different spin, which to my ears makes it sound more like a piece from Oblivion than from Skyrim . More like a departure and less like a reverent pause. Experts are welcome to listen to it and let me know whether that's just my impression.
In general, I find it difficult to say anything negative about the all-round solid score. I like the use of strings (Omens in the Clouds, Anequina Beckons), the vocals, the percussion and the underlying tenor. Actually, an orchestral soundtrack like this has to do a lot wrong for it not to appeal to me. That's why I'm giving it a clear recommendation, despite the modest score, because for me it's not a soule score after all.
