Following the largely licensed approach of recent games in the Need For Speed series, EA decided they wanted some more substantial original compositions for Need For Speed: Carbon. They chose Trevor Morris for the job, given his years of experience at Hans Zimmer's company Remote Control Productions. While much of the soundtrack was still licensed, Morris still created a number of stage themes, event cues, and menu themes. The resultant original score amounted to a respectable 40 minutes of music and was released digitally.
Trevor Morris created four Canyon Race themes for Carbon. Given the settings, these tracks focus on blending ethnic instrumentation and earthy percussion. That said, the shakuhachi is actually ...
Tags: Electronic, Need For Speed, Orchestral, Trevor Morris
Given they were so endeared by their first encounter, a lot of gamers witnessed Sega's duo of 'cool' rapping aliens, ToeJam and Earl, land back on the Mega Drive for the high-powered sequel 'Panic on Funkotron'. Its soundtrack was once again an integral part of the game, portraying the characters perfectly with their laid-back hip-hop and funk influences, while adding to the enjoyment and quirk factor of the game. The soundtrack was so popular that it was adapted into an arranged album. As with the other albums in the Sega Tunes series, the game's composer John Baker personally arranged the music and this ensures the interpretations are faithful ... 
After a few disastrous soundtrack releases for the Need For Speed series, EA decided to attempt to revive the series' former glory with the Need For Speed: Undercover. While a lot of the music for the game was licensed, they nevertheless hired former Tangerine Dream member and soundtrack supremo Paul Haslinger to create a 40 minute original score to the title. Haslinger decided to make the soundtrack his own, rejecting the techno and hip-hop influences of previous soundtracks in favour of dense orchestral and electronic hybrids. The resulting tracks range from the soothing to the furious, yet almost always have a strong effect in context. Are they as suitable for stand-alone ... 
Review by Seinmind
The Myst franchise is a musical patchwork of talent and, like the motion picture industry, the music torch is rarely ever carried by the same person throughout each entry. Following Uru, Cyan regained control of the Myst franchise and began preparations for the telling of the final chapter of the Myst saga. With Cyan back in command of the Myst ship, Tim Larkin was the destined composer of choice for the project, replacing Jack Wall of Myst III and Myst IV. Fans would not have to wait long to get there hands on the Myst V soundtrack. Ubisoft put together a limited edition containing the game, a making of DVD, ... 
Review by Seinmind
By the year 2000, Myst III was well under development by Presto and the rumors of the falling out between the two Miller brothers had been put to rest. While a different driver was behind the wheel, the new producers promised a seamless transition from Riven to Myst III. Rand Miller agreed to come back and spend more time in front of a blue screen and many expected Robyn would return as well for scoring duties. A collective “Wha?” came up amongst fans when the “Music By” credit was instead bestowed upon young composer Jack Wall. While a well-known composer and conductor now, curious fans seeking background information for Jack had ... 
Review by Simon
Tim Larkin's music is filled with such wonderful ambience that sometimes you can get completely lost in it. His soundscapes are therefore ideal for a series such as Myst, of which Uru: Ages Beyond Myst is a spinoff to. For Uru Music, Tim Larkin gives us a range of beautiful soundscapes for our ears. Let's take a closer look from the very beginning...
"Atrus Open" is a spoken passage which ends with a flicker of epic string arrangement before the real music starts. "Beyond Gira" then takes us to the ambient outdoors with a surreal mixture of vocal layering, didgeridoos, desert percussion and distorted animal callings. The whole sound is organic yet little digital nuances ... 
Review by Anton
After Robyn Miller departed from the Myst franchise, he was replaced by a then-unknown composer, Jack Wall. The Myst III: Exile soundtrack took a different approach from its predecessors with his dramatic use of symphony orchestra. Eventually it received a soundtrack release to serve as a companion to the game. The music in the game can be easily heard, and, if you've played the game, you can really see where the music is placed in the game while listening to it. The soundtrack is a perfect complement to the game, both haunting yet uplifting, and also serves as a strong stand-alone listen.
The soundtrack opens with an extended version of the "Main ... 
Review by Anton
For Riven, the sequel to Myst, Robyn Miller returned to create an atmospheric accompaniment to the game. Riven - The Soundtrack is a more authentic experience than its predecessor, since the tracks are pretty much identical to those in the game. However, it could be better for those looking to recreate the in-game experience as it is missing specific tracks, such as for Gehn's Cannon or Crater Island's air vent. Nonetheless, what is offered is high quality...
After a short ten second introduction, the soundtrack leaps straight into "Atrus' Theme". This is the piece of music heard when falling through the fissure after trapping Gehn without rescuing Catherine. It's a soft ... 
Review by Resk
When I sat down to enter the world of Metal Gear Solid, I asked myself what I might expect to hear. I formed my initial views of the album based on what I knew of its composers. Henry Gregson-Williams, known from his work in Hollywood films, has attracted my attention for years now with what he has produced, including his more recent work with the Narnia franchise. But I would be lying if I said there was no other reason for bringing my attention to the potential of this album. In truth, my interest was piqued the moment I heard that short snipped of "Love Theme" ... 
Review by Charles
A lot of the best parts of Myst, in my memory, were the parts with no music at all. In fact, it’s been so long that, if I had to guess, I would say Myst had no soundtrack other than the main theme! When I noticed there was a full soundtrack to it, composed by Robyn Miller, I was very intrigued to take a listen. After listening I realized why I don't remember any of these tunes. And there's a very good reason for that because there weren’t any tunes, but rather a variety of background ambience. The score is certainly ancient, but is it also a timeless listening experience?
It's funny actually. ...