Nonetheless, Oblivion is a relatively solid score that builds a soundscape for an epic fantasy genre well. There are a few moments that sound a tad familiar the theme in "Reign of the Septims" has a bit of a Pirates of the Caribbean edge to it, and "Auriel's Ascension" sounds a lot like James Newton Howard's theme from Unbreakable. The latter is more synthetic sounding than the other cues and includes a wordless choir. The album ends with "Dusk at the Market" and "Peace of Akatosh", two quieter cues, which end the album on a slow note. "Sunrise of Flutes" is similar but dominated by flutes.
"Wings of Kynareth" is a restrained string quartet with an intricate layered sound, which is later joined by woodwinds. It is also hinted at a number of times in other sounds, as in "Through the Valleys" and "Bloody Blades", the latter of which contains some very high quality-sounding brass.Īside from the powerful brass theme, Oblivion also contains some quieter music. The main theme makes its next large-scale appearance in "March of the Marauders".
This secondary theme shows up again in a more complex form in "Watchman's Ease". Beginning with the low strings, the trombones come in with a brassy statement of the action theme, which is followed by a light string version of a secondary theme.
Two main themes are introduced in the opening track, "Reign of the Septims". Building upon the brass-dominated sound of his work for Elder Scrolls III: Morrowind in 2002, Soule continues the soundscape he often applies to these epic fantasy games, such as Dungeon Siege II and Guild Wars. Winner of the Best Video Game Score award at the 2006 MTV VMA's, Oblivion continues Soule's use of his highly developed sample music library to create a fully orchestral sound for his music see review for Dungeon Siege II). Jeremy Soule's significant game score credits have a concentration in the fantasy genre, and Elder Scrolls IV: Oblivion is the latest.
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