Inon Zur takes over from Michael Hoenig. The style is somewhat similar, but also more elaborate in places, with a stronger focus on melody, rather than ambience, which is a positive development. It also brings back a Middle-Eastern flavour, even though the expansion is set in Tethyr, rather than Amn. The overall mood is very dark, which is fitting, considering the storyline. The “Main Theme”, in particular, sounds so very final, giving it all a very ‘this is it’ feeling, even with the surprisingly light and floaty passage that occurs about 2/3rds into the track.
The combat themes feature highlights such as “Sendai Battle”, with its whirling strings, or the brassy, driving “Final Battle”. There are also several memorable location themes, such as “Bhaal’s Pocket Plane”, which creates a sense of uncertainty and lurking menace to it. “Sendai’s Enclave” also does a great job of the ‘menace’ part, although it’s far more overt in this case. “Saradush” sounds like it’s leading up to an execution (which it essentially is). “Amkethran” is the most Middle-Eastern-sounding piece of the lot, which fits the town’s architecture very well. And finally, “End of the Saga” brings the series to a conclusion full of solemnity and poise.
There are some less successful tracks in the lot, mind you, such as “Yaga-Shura’s Lair”, which sounds almost too threatening for the situation, or the somewhat formless “Watcher’s Keep”.