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.

Other entries in the The Elder Scrolls -series

Soundtrack

The Elder Scrolls: Arena (1994)

Soundtrack

The Elder Scrolls II: Daggerfall (1996)

Soundtrack

The Elder Scrolls III: Morrowind (2002)

Soundtrack

The Elder Scrolls IV: Oblivion (2006)

Soundtrack

The Elder Scrolls V: Skyrim (2011)

Soundtrack

The Elder Scrolls Online (2014)

The score

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 TwilightBrad Derrick2, Courage of Ordinary MortalsBrad Derrick4, Bruma Against the JerallsBrad Derrick4).

Gleichsam spielt er zudem die Elder Scrolls-typischen wuchtigen Töne an, wenn in der Fantasywelt Eisen und Stahl auf Feuerbälle und Monsterhäute treffen (Weapons DrawnBrad Derrick5, Oath of MalacathBrad Derrick4, Onslaught at the GatesBrad Derrick4). Dominierendes Instrument sind hier die Trommeln, die den Takt vorgeben und zum Gefecht rufen. Dem entgegen stehen die Streicher und Vocals, die in den ruhigen Stücken ein verträumtes Fantasyfeeling à la Neverwinter Nights 2 thanks to the piano chimes.

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 GreenheartBrad Derrick4, Nerevar Rising from Morrowind in Tides of the Abecean SeaBrad Derrick4 oder das bekannte Theme aus Skyrim in For Blood, for Glory, for HonorJeremy Soule5 hören.

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 CloudsBrad Derrick3, Anequina BeckonsBrad Derrick3), 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.