In fact, aside from a few ornamental flurries in the upper octaves, many of the piano tracks in Obduction are simple, dark, and in a mid-to-low range. One of the prominent instruments in Obduction is piano, which seems to be more used for its timbre than range or dynamic capabilities.
The drumset primarily utilizes snare and cymbal for a very light sound, giving the whole piece an eerily tranquil effect. “Stepping over Bones” sounds more like a funeral march while it still maintains the steady beats of the other tracks, the opening is accompanied by dirge-like notes that give it an unquestionably somber setting. “Completing Your Task,” incorporates a drumset, bass, and guitar in a dissonant track. Other tracks approach rhythm differently “History Lesson,” one of the highlights of the album, opens up with a sharp snare which returns periodically during the piece to give it a martial style while a cello grates out another rhythmic melody. “Caroline Farley” uses piano to establish a pulsing rhythm, where the melody is completely swallowed up by the steady, metronomic chords. Few, if any, of the meters in Obduction are particularly complicated, but a surprising majority of the tracks fully exploited each beat in any given measure, resulting in a pulsing musical style rather than an ambient one. The soundtrack for Obduction is a dark one, with a very minimalist approach to instrumentation and texture. One of the first things I noticed about the score was Miller’s rhythmic direction. How does his latest score measure up? Body Now, Robyn is back after 16 years to score for Obduction, Cyan’s spiritual successor to Myst, and has created 28-track album for the game. Miller’s return marks a working reunion for him and his brother Rand, who co-founded Cyan together before their creation and release of Myst.
Robyn Miller recently returned to Cyan, Inc., in order to compose for his first Cyan game in over a decade.
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