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[RELEASED] Battle for Na Pali OST

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User avatar Hellscrag
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Subject: [RELEASED] Battle for Na Pali OST

Post Posted: 15 Feb 2014, 14:12

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Battle for Na Pali:
The Original Soundtrack


Introduction

In my opinion, although a great deal of good mapping and texturing work was done on Unreal: Battle for Na Pali during the five years or so of its ultimately abortive development, there was no finer body of work done for the project than the extensive score composed by Frieza and zynthetic.

Time has passed. I have all but left the Unreal scene, and both Frieza and zynthetic have moved onto bigger and better things as they have grown as composers. However, it now gives me great pleasure to present, with Frieza’s consent and involvement, an MP3 collection of his work on the Battle for Na Pali score as it was at the time the project was cancelled.

Better than any screenshots can, the music gives the listener a tantalising sense of just what the atmosphere of Battle for Na Pali, the self-styled definitive sequel to Unreal and Return to Na Pali, might have been. To help with your interpretation of the music, I hope you enjoy the following commentary, addressing how – if I had my way – the various brilliant tracks that Frieza prepared might have been used in the game, presented here in map order, along with comments by the composer himself.

zynthetic also contributed a few tracks to the project, but at time of writing we have been unable to contact him to agree their inclusion. As such the soundtrack is presented, for the time being, without them.

Download (RAR, 132MB) from MediaFire
All tracks are fully tagged and ready to be imported as an album in iTunes or your chosen music manager.

Hellscrag
February 2014



Part One: The Mountain Region

1. Intro Track
Composer: Frieza

Commentary: This first attempt at a title theme for Battle for Na Pali was one of Frieza’s earliest compositions. Although I never intended to use it in the mod, it captures the Unreal setting well through the use of familiar samples.

Frieza adds: I don’t think it was that early! This track was inspired by Return.umx, which was used in Return to NaPali’s intro scene. Anyone who has read Hellscrag’s original track by track review of the Unreal soundtrack knows he wasn’t particularly keen on that song either. I don’t blame him though, the crappy ‘guitar’ riff makes this track one of the more embarrassing efforts presented here.

2. The Village
Composer: Frieza
Map: 2 of 40, Pan’thali Haven

Synopsis: Awaking on a bright morning in the Nali village that he has called home for the past fifteen years, the player heads down into the bustling town, where Nali are doing their peaceful business and children are playing in the freshly fallen snow, to meet with a Nali friend at the spa. The friend has a favour to ask: a crossbow needs to be returned to the Nali hunter who lives at the far end of the icy vale.

Commentary: This jaunty, Zelda-esque theme was at one time intended to be a recurring piece throughout the game, appearing in a wide range of interpretations as the player trades with Nali for supplies at various points along his journey. The playful innocence of this particular interpretation, however, was soon to be replaced with darker tones as the story unfolded.

Frieza adds: I still sort of like it, it’s cute :)

3. Theme 2
Composer: Frieza
Map: 2 of 40, Pan’thali Haven

Synopsis: Having collected the crossbow from the Nali at the tavern and traded at the market for supplies, the player heads for the gates of the village and sets off on his mission.

Commentary: Very much in the vein of The Village, this is an uplifting piece with a pleasing sense of movement.

4. The Vale
Composer: Frieza
Map: 3 of 40, The Errand

Synopsis: The snow is falling thick and fast in the icy vale and the ledges are precarious, but the player is still at home. Dwarfed by the grandeur of the landscape and alert to the cries of the polar wolves, the player journeys through the valleys to reach the hunter’s hut. But as he arrives and greets the hunter, there is a terrific roar as a fleet of Skaarj landing craft fly overhead. Sent back by the hunter, the player returns through the vale with the crossbow still in his hands, desperate to warn his fellow townspeople.

Commentary: Frieza’s soaring track captures the entwined beauty and danger of the Vale with a continued sense of movement and an underlying urgency.

Frieza adds: My approach to making songs – particularly soundtracks – has changed a lot over the years. Back in the Battle for Na Pali days when I was just starting out as a composer I would describe it as: “Hey, I made a song, can we use this anywhere?” whereas for Firestorm I’m actively composing with a specific location in mind. In this case there’s nothing about this song that screams ‘ice’ or ‘cold’ to me. This is something that we’re going to run into several times for the remainder of the BFNP soundtrack as well.

What happens next...

Too late! The player returns to find his town in ruins, his home of fifteen years shattered by a vicious Skaarj attack. The player cowers as the aqueduct crumbles before him; bodies litter the streets, and buildings burn. It is the White Tusk faction who have attacked the town; their target some kind of hidden Gilded Claw base. But there’s no such place... is there?
Guided by the ghost of his dead friend, the player sets out to find the source of the Skaarj attack, and crush it.

5. Insider
Composer: Frieza
Map: 5 of 40, The Experiment

Synopsis: The Skaarj landing party has failed to find their target, but the bombing has all but destroyed it none the less. A new fissure in the rock, opened by the blast, leads the player into the devastated confines of a secret Gilded Claw laboratory. The beleaguered Gilded Claw faction, long since deprived of the ability to procreate, has been experimenting with Skaarj, human and Nali DNA to create a new mother creature.
The base personnel are all dead, but somehow their experimental subject has survived intact. Accidentally supplying power to its revival circuitry, the player watches as the hybrid beast – lean and rangy with hands full of lethal claws, comes to life before him. Half crazed by its revival, the creature flees, but it seems certain that the two of them will meet again.

Commentary: One of the oldest of Frieza’s tracks to be included in this compilation, Insider is low-fi but with an appropriate sense of mounting tension.

Frieza adds: Not really one of my shining moments, that’s all I have to say about it. Moving on!


Part Two: The Jungle / Swamp Region

6. The Dawn
Composer: Frieza
Map: 11 of 40, Zorestai Jungle

Synopsis: Haunted from a distance by the hybrid creature, the player has followed the treacherous Heduma Road down from the mountains, and his journey through the haunted environs of the mysterious Heduma Tract, the Temple of Spirit and the town and crypts at Numaneh has brought the player to the bewitching and humid surrounds of Zorestai Jungle. Here it is the wildlife that presents real danger to the player – but, in the shadows, something else lurks...

Commentary: One of the most joyous pieces in the Battle for Na Pali repertoire, Frieza’s piece, previously known as One with Nature, brings the jungle setting to life in an organic way befitting the overgrown surrounds.

7. Dense Atmosphere
Composer: Frieza
Map: 12 of 40, Zorestai Village

Synopsis: High in the trees, the abandoned Nali village of Zorestai is overrun with a new and deadly threat: the Stalkers, children of the White Tusk Progenitor, a cunning new breed of Skaarj whose tarydium-infused chemistry shines out through their bright blue eyes. These light-framed creatures rely on their wits, not their physical strength, as they stalk the player in teams armed with deadly energy assault rifles.

Commentary: Dense Atmosphere takes the jungle atmosphere of The Dawn and gives it a deliciously dark twist. Perfect for an unsettling game of cat and mouse in the treetops.

Frieza adds: I’m unsure why I felt compelled to add the ‘neener neener’ melody in there halfway through. Otherwise I think it suited the environment pretty well.

8. Deus Machina
Composer: Frieza
Map: 16 of 40, Drasseth Mine

Synopsis: The player has journeyed through a massive White Tusk routing station, the ruined Temple of Body and the shattered remains of the UMS Bodega Bay, crashed in a murky swamp. Now, as the player makes his way through the hazardous confines of an abandoned Gilded Claw mine, the hybrid creature finally catches up with him and their first fight seems inevitable.

Commentary: The apocalyptic, end-of-the-world vibe of Deus Machina is the perfect foil for a protracted fight on the crumbling walkways of an abandoned, lava-filled mine working.

Frieza adds: Another victim of the ‘The Vale’-syndrome of not being composed for anything in particular if you ask me. I still like the song itself though.

9. Forgotten Civilisations
Composer: Frieza
Map: 17 of 40, Canyon of the River Harvain

Synopsis: Saved from the hybrid creature by the ghost of his friend in a way that he has yet to understand, the player flees down the canyon of a raging river, heading out to sea. The ledges and causeways of the canyon are slippery and lethal as the river roars down below. Dusk is falling, and in the distance looms the form of a massive White Tusk dam.

Commentary: Originally conceived as something more Arabic, perhaps with the desert region in mind, Forgotten Civilisations has long seemed to me like the perfect accompaniment for the player’s long and treacherous journey down the bleak river canyon.

Frieza adds: One of my later works, when I had moved on from ModplugTracker (a program that is comparable to what Alex Brandon and Michiel van den Bos used to create the original Unreal soundtrack) and started using more modern composing tools. The leap in sound quality is clearly noticeable. Again, not specifically composed with anything in mind, and decidedly non-Unreal sounding.


Part Three: The Nali Shores

10. Infinity
Composer: Frieza
Map: 20 of 40, Burhmon Castle

Synopsis: Fleeing across the open seas in a stolen Skaarj hovercraft as night falls with the hybrid creature following at a distance, the player arrives at an imposing coastal fortress shrouded in fog. The castle is under White Tusk control, and troops are massing for an assault on a nearby Mercenary facility. The player must stalk the castle’s darkened walkways and try to access the windswept tower, where a cablecar to a causeway heading inland promises freedom.

Commentary: Another of Frieza’s earliest compositions, Infinity has always been a favourite of mine, perhaps because of its very strong Unreal vibe. You can really feel the cool air and wind of the coastal fortress as you listen to this one.

Frieza adds: Story time with Frieza. When I first played Unreal I was around 10 years old. I remember being absolutely blown away by the environments, and – more importantly – the music. Unreal’s wonderful soundtrack is what set me on the path towards composing my own music, and I’m thankful for it! When I was just starting out I began with trying to emulate Unreal’s music, of which this song is a prime example. The ‘remix’ (I’d say it’s more ‘inspired by’) I did a few years later is also included in this compilation, which makes for an interesting comparison :)

11. Icy-1
Composer: Frieza
Map: 22 of 40, New Cryox

Synopsis: After surviving a pitched battle between Mercenaries and Skaarj in a coastal Nali village, the player penetrates the Mercenary facility, where treacherous walkways skirt tanks of liquid nitrogen. The White Tusk onslaught is still ongoing, and the player must somehow avoid becoming part of the collateral damage.

Commentary: New Cryox was conceived before the cut Unreal Beta content was uncovered. At an early stage, Frieza put together this brittle and uncomfortable number which was among the first to make Frieza’s interesting use of backing vocals.

Frieza adds: “Frieza’s interesting use of backing vocals”, I’m not sure whether to take that positively or negatively ;) I think this is a really interesting track even now and I might rework it at some point in the future. That said, this is another clear case of ‘The Vale’-syndrome, and the alternating left and right panned kick drum towards the end is just incredibly silly.

What happens next...

The Nali of Halos Town are frightened. The Mercenary base has blocked their way to the coast, while the Cursed Land stands between them and safe refuge in the Temple of Mind. As the player sets out into treacherous swamps of the Cursed Land, the Nali insist that he takes a lantern, for light is the only thing that will keep the voracious Cursed Spirits at bay – but, at all costs, it must be kept alight.

12. Fireflies
Composer: Frieza
Map: 27 of 40, Abandoned Haven

Synopsis: After another pivotal showdown with the hybrid creature at the topmost level of the Temple of Mind, high above Lake Onaka, the player flees by means of an ancient sky elevator to an island high in the clouds. But the town is deserted and smashed, and in the heart of the abandoned settlement, a task force of Stalkers awaits.

Commentary: You may recognise the melancholy opening of this track from the Battle for Na Pali trailer. It seemed the perfect accompaniment for the faded magic of the abandoned haven.

Frieza adds: This is basically a copy and paste-fest of elements from several different Unreal songs. From the pizzicato violins of Hub2 to the drum rhythm straight out of Newmca7. I suppose it gets the job done, but it’s not really something to be particularly proud of for me.

13. Gilded Claw Base
Composer: Frieza
Map: 32 of 40, Last Base of the Gilded Claw

Synopsis: Deep beneath a beautiful Nali monastery and the subterranean realms of the forgotten Velshan civilisation lies the last base of the Gilded Claw faction. Secret no longer, the base is in the midst of a final assault by the victorious White Tusk faction. Outnumbered by the hordes of Skaarj, the player slips between the firefights, trying not to attract too much attention – but, at the heart of the base, the Gilded Claw Warlord, the trickster, awaits, and this is one fight that the player won’t be able to escape.

Commentary: A lesser composer could have gone for an all-action number for this map, but Gilded Claw Base is no Isotoxin or Nightvision. Instead, Gilded Claw Base combines a sense of urgency and movement with a unique aura of quiet menace.

Frieza adds: You flatter me! This song has too big a swap in energies to really be efficient as an ambient backing, something which I am trying to avoid nowadays. The song itself is obviously partly inspired by Unreal4.umx. Old, but not without its merits.

14. Gilded Claw Base (Action)
Composer: Frieza
Map: 32 of 40, Last Base of the Gilded Claw

Commentary: Frieza’s track for the Gilded Claw base also had an action section.

Frieza adds: Not really smitten with this track, the rhythm section in particular is rather bland. *Oonz* *clap* *oonz* *clap*, we’ve heard it too many times before.


Part Four: The Desert Region

15. Quicksand
Composer: Frieza
Map: 33 of 40, The Oasis

Synopsis: Breaking free of the underground, the player arrives at a lush oasis in the heart of an arid desert. The firefights of the Gilded Claw base may be over but, even in the open, dangers lurk. Amidst the tumbledown huts, pools and trees, the surviving Velshan creatures are lurking, their crossbows loaded with venomous arrows.

Commentary: In my opinion, one of the most beautiful tracks in the Battle for Na Pali repertoire, Quicksand is definitely a classic of the soundtrack. It conjures the heat of the desert and the player’s slow trek through it perfectly. Watch out for the sneakiest little snatch of the Unreal theme tune at about 3½ minutes in!

Frieza adds: This has to be among my favourites. Of the songs I did in the old ModplugTracker program, this one definitely came out the best sounding. It’s also very cohesive both in terms of the energy and location it portrays.

16. Arabian
Composer: Frieza
Map: 34 of 40, The Sandy Ruins

Synopsis: Behind the burning torches of the ruined Temple of the Sun, constructed when the Velshan civilisation was at its height, lies concealed a White Tusk logistical train. The player must penetrate the Skaarj defences to access the train that will carry him towards his final showdown.

Commentary: We were spoiled for choice when it came to top-notch desert music for Battle for Na Pali. Arabian is no exception.

Frieza adds: First half: Mysterious ambience. Second half: Pan flute dancey time! What the fuck was I thinking?

17. City-11
Composer: Frieza
Map: 35 of 40, Approaching the Hive

Synopsis: The White Tusk Hive looms in the distance of the shimmering desert like a tumour on the landscape. The logistical train, carrying the player, speeds towards the hive at breakneck speed, assaulted by White Tusk Paratroopers. The player fights on: justice will soon be done.

Commentary: One of several action pieces produced by Frieza, this track had just the right sense of frenetic urgency to accompany the player’s uncontrolled train ride towards the Hive.

Frieza adds: Suitably epic, with choir and all. I should redo this track sometime with my new gear, it could turn out quite well I think.

18. Tibani
Composer: Frieza
Map: 37 of 40, The Skaarj Hive

Synopsis: Breaking free of the underworks, the player arrives in the grounds of the monstrous hive. From within, the telepathic White Tusk Progenitor beckons.

Commentary: I always felt that Tibani was the perfect fusion of Arabic and futuristic drama to accompany the player’s long-awaited arrival at the heart of the White Tusk empire.

Frieza adds: Suffers from the ‘The Vale’-syndrome, but a strong track in its own right.

19. Braking Power
Composer: Frieza
Map: 39 of 40, The Progenitor

Synopsis: The player has arrived to destroy the Progenitor, but what the Progenitor really wants is to be freed. The player must make a choice. As the final chase begins, the hybrid creature arrives... but whose side will it be on?

Commentary: Whatever path the player chose to take at the end of the game, it was always going to be an action-packed sequence. The repetitive panic of Braking Power would have made an effective accompaniment.

Frieza adds: I’ll be honest, apart from the crazy ending section I still love this track, the big tension building breakdown from 2:34 to 3:01 came out especially well.

20. Orchestra
Composer: Frieza
Map: End Credits

Commentary: Really just an experiment in a more orchestral style of writing, Orchestra had such an upbeat feel to it and just enough of an Unreal feel that I thought it would make a great accompaniment for a short end credits map.

Frieza adds: Alternative interpretation: I tried (and failed) at copying the Halo soundtrack, monk chants included ;)


Bonus Tracks

21. Fight
Composer: Frieza

Commentary: Another of Frieza’s earliest works, Fight was created in part using unused sequences from Alexander Brandon’s Twilight Horizon and reflects the sound of that track well. Despite this, however, I never really found a place for it in the game.

Frieza adds: That bleepy sound towards the end is so damn happy...

22. Infinity II
Composer: Frieza

Commentary: This sparkling redux of Infinity was such a departure from the original of which I was so fond that I could never really see how it could be used in the game. None the less, it is another fine piece of work that is worthy of a listen in its own right.

Frieza adds: I feel this song works better as a piece of music, rather than as a soundtrack to something. It’s a good indicator of the progress I made between creating the original Infinity in early 2004, and this remake in 2007.

23. The Last Dawn
Composer: Frieza

Commentary: An alternative, slight redux of The Dawn from the jungle region; again, I was fond of the original, but the heightened sense of wonder in The Last Dawn seemed like a great way to round out this collection of Battle for Na Pali music.

Frieza adds: Thanks for listening!


Conclusion

So, that’s it, barring a few offcuts and unfinished openings - I hope you enjoyed this musical tour through the world of the Unreal sequel that never was. Many thanks to Frieza for allowing me to share this content with you. And once Red Nemesis’ Residual Decay is released, maybe you’ll be able to see some of the maps we made, too.
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User avatar SteadZ
Skaarj Warlord Skaarj Warlord
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Subject: Re: [RELEASED] Battle for Na Pali OST

Post Posted: 15 Feb 2014, 14:34

YEEEEEEEEEEEEEEEEEEEEEEAAAAAAAAAAAAAAAAAHHHHHHHHHHHH!!!!

I've been hoping for this day for a while :D
Cheers, Scrag!

P.S:
Is it ok if I upload these tracks to Youtube or not?
.......
SZ
.......
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User avatar Delacroix
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Subject: Re: [RELEASED] Battle for Na Pali OST

Post Posted: 15 Feb 2014, 14:46

Another question (aside from me now popping a bottle of champagne open) -- are those tracks allowed for use in custom mapping projects?
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User avatar AlCapowned
Skaarj Warlord Skaarj Warlord
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Subject: Re: [RELEASED] Battle for Na Pali OST

Post Posted: 15 Feb 2014, 16:28

Awesome, I'm going to give these a listen for sure! \o/

User avatar Frieza
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Subject: Re: [RELEASED] Battle for Na Pali OST

Post Posted: 15 Feb 2014, 16:33

Most of it is very old work, don't hold it against me :o

@Delacroix, perhaps, get in touch with me about what tracks in specific.

@Steadz, let me think about it.

User avatar Hellscrag
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Subject: Re: [RELEASED] Battle for Na Pali OST

Post Posted: 15 Feb 2014, 18:14

I'm glad you guys are pleased! I may have had the idea to do this release, but Frieza has actually done most of the leg work, mastering and tagging the tracks to make sure they work together as an album.
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User avatar AlCapowned
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Subject: Re: [RELEASED] Battle for Na Pali OST

Post Posted: 15 Feb 2014, 22:23

Just finished Infinity II. Overall I liked the whole OST, and I think it captured that Unreal feeling for the most part. Very nice work, Frieza. :tup:

User avatar Hellscrag
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Subject: Re: [RELEASED] Battle for Na Pali OST

Post Posted: 15 Feb 2014, 23:05

SteadZ wrote:P.S:
Is it ok if I upload these tracks to Youtube or not?


It's up to Frieza, of course, but I don't really see the need to fling this stuff straight onto YouTube. IMO it's much better enjoyed together as a proper MP3 album in the best quality possible.
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User avatar Darkon
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Subject: Re: [RELEASED] Battle for Na Pali OST

Post Posted: 17 Feb 2014, 04:30

\o/ Something to listen to!
Besides that, thanks for the look into the story of the 'sequel that never was'..! Appreciate it!
there's more

User avatar Dr.Flay
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Subject: Re: [RELEASED] Battle for Na Pali OST

Post Posted: 17 Feb 2014, 04:53

Ah this explains the post at ut99.org

I can offer the album a home on my label for free music at Last.fm
http://www.last.fm/label/Fishy+Business
Current stats, 120 albums, 106,831 listeners (2,756,854 plays)

Uploading to a label gives you more scope with compilations and Various Artist albums, so the tagging matches properly.
To upload as Frieza would require a specific artist profile in that name.
It can also be used as a mirror by enabling downloads. This means that countries that are blocked from using the player can still download from Last.fm :tup:

Alternatively someone may like to create an UnrealSP label, so all published music from here has a common home/portal.

For now the album now has an entry in the Last.fm system, as I am playing it in Winamp :D
I've just put the cover up, so there is something to see in the scrobbler app.
As the tracks hit the half way point, they are logged as a "play" and a blank wiki is created. The info from this posting can then be added to the album and each track.
http://www.last.fm/music/Frieza/Battle+for+NaPali+OST
You can "scrobble" to Last.fm with almost every music player known to mankind (even Spotify has it built-in).

User avatar Preki
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Subject: Re: [RELEASED] Battle for Na Pali OST

Post Posted: 18 Feb 2014, 23:31

I've already listened through the soundtrack, time for some feedback.

I enjoyed most of the tracks. Intro, The Dawn, Infinity, Fireflies, Glided Claw Base, and these three bonus songs. I like these mostly because of samples from original Unreal soundtrack, which are exclusive to the feel of Na Pali, as if these songs were composed by Alexander Brandon or Michel Van Den Bos themselves. This reminds me of music done for Nali Chronicles. Intro sounds like RTNP outro track (familiar beat), Fireflies resembles Nali Chant a little bit, and Glided Claw Base is a mix of both Nightvision (action track) and Erosion (ambient). Too bad that Fireflies ends abruptly and lack these flutes (as heard in the trailer) towards the and.

On the contrary I personally feel that some songs (The Village or Arabian) are totally out of the mood. I do not, however, underrate your musical skills, since this soundtrack is technically good. I just compare your songs to what I have heard in the original game.

Have you composed the soundtrack in a tracker or totally different software directly as MP3s?


I'm looking forward to hear some pieces in Firestorm.
Doo dee doo, doo da doo, la doo dee doo.

Im jsut teh Gooby dont minde meh, k?

User avatar Frieza
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Subject: Re: [RELEASED] Battle for Na Pali OST

Post Posted: 19 Feb 2014, 12:53

As I've written in the comments a large number of them were composed in ModplugTacker, with a number of newer songs in more modern programs. I also described that some of the songs were written without regard for where or if they would end up in Battle for Na Pali, so I definitely agree that some of these probably would have felt a bit of place :o

I gave my consent to Hellscrag to release all this work because I wasn't really doing anything with the songs anyway, and I thought it would be an interesting relic for the people who were following BfNP's developments. I've also decided that I would prefer if they weren't uploaded individually to YouTube (sorry SteadZ) because it takes them out of their original context, i.e. museum pieces released for the folks of UnrealSP who might be interested in it. I also have no desire to make an artist page on Last.FM for my UnrealSP forum handle, or have this stuff be on a label. A few songs in there might be worthy of a release under my actual music artist name, but for me a majority of it doesn't.

User avatar zYnthetic
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Subject: Re: [RELEASED] Battle for Na Pali OST

Post Posted: 19 Feb 2014, 22:45

Braking Power is somewhat... forlorn. ;)

If anyone has anything from me that isn't ost2 PM it to me. I have an ancient source dump but a decade is too long to remember what was actually committed to bfnp. Not to sound pushy but I can only spare a couple days for side projects so if it's out there, it's now or never.
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Themisto
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Subject: Re: [RELEASED] Battle for Na Pali OST

Post Posted: 20 Feb 2014, 03:13

holy mother of sweet baby jeehebus

words cant....

And im just at the start of dawn...

User avatar Hellscrag
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Subject: Re: [RELEASED] Battle for Na Pali OST

Post Posted: 20 Feb 2014, 14:06

zynthetic, I have sent you a PM.
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