Here is Outcast's OST,performed by The Moscow Symphony Orchestra.. Its really great, hope you enjoy it!!




PART 1 (http://www.mediafire.com/download.php?wnomdiuzdai)


PART 2 (http://www.mediafire.com/download.php?dmnntmyuyzr)

Amazing post!

Everything is amazing, the music (by Lennie Moore, that's important to mention...), and the sound quality (very hq mp3 rip).

Many thanks for this superb post.

you re welcome arthierr

A MASTERPIECE. Pure and simple. Thank you for the superb quality rip - a vast improvement on the 128kbps in my collection until today...

downloading now, can't wait!
thanks in advance.

I don't get it, I just don't get it...

Somebody posts (for the fiftieth time) some lower common denominator Zimmer trash, a throwaway synth video game score, or some limp metal anime soundtrack, and there are a billion posts of "thanks for the most wonderful thing ever", general purpose hyper-praise and record numbers of views...

Somebody posts probably the greatest game score ever written, and indeed one of the greatest scores for ANY medium ever written, in the highest-quality ever released, of a ridiculously rare album... and they get five comments (two of which are the original poster replying to thanks, and one of which is me moaning) and only a handful of views.

C'mon folks - this is truly golden. Put down your "Watchmen" and your "Nobuo Uematsu Does Yet Another Shitty Metal Score With The Black Mages," and your "Zimmer does Gladiator 27" and pick this up instead...!!!! ;)

I had the intention to promote it substantially in my thread once it goes down in the pages. But no need to wait, will be done a bit later.

Nobuo Uematsu Does Yet Another Shitty Metal Score With The Black Mages

Danny, in this case I agree with you:). And indeed Outcast is one of the best pieces of music written to any kind of medium IMO. Beautiful, touching, perfectly orchestrated and performed. Whenever I listen to it I see all those bautiful worlds that Appeal studio created (for me the game is a masterpiece too, but shamely overlooked... I wanna Outcast 2!). This score is like some kind of traveling device - it takes U to different worlds:). Moore's Outcast is one of the best things that could happen to music fans. Seriously.

Outcast is a great score.

I have the original game and CD at home. If somebody wants a FLAC rip feel free to ask.

It's a really good game score. Not the best though since that place is reserved for Debney's Lair score (expanded edition)

Here's Megaupload link,http://www.megaupload.com/es/?d=A56VCEES
Not uploaded by me.

Well, I shouldn't be so harsh on Uematsu, because he's done some excellent work. I'm not bashing him just for something to do. All respect to the gentleman and his many fans. :)


Outcast is a great score.

Yes.


If somebody wants a FLAC rip feel free to ask.

Please, please, please, please, please, please, pleasepleaseplease YES YES YES!!! ;)


Not the best though since that place is reserved for Debney's Lair score (expanded edition)

MY OPINION ALERT:

Lair is bigger, but Outcast is better. I find Lair to be INCREDIBLY enjoyable, but I can't disregard the terrific extent of the plagiarism within. That, and to me Lair is a game score; Outcast is a symphony. Pieces like "World Of Snow" (I hesitate to call them tracks, or even cues) are stunning mini tone-poems. You get your melody, but more than that, you also get a truly satisfying composition; a rare thing today in any genre of music and all the more stunning that it should appear in a computer game, of all places.

Outcast is more personal - on Lennie Moore's webpage, he shows a few pages of the Outcase conductor's score and some photos of his studio. His studio is a video player, a monitor, a computer, a piano, a pencil, and paper. On every shot in his studio, what's the predominant feature? What is there *ALWAYS* in every picture? Bloody huge sheets of score paper and a pencil. That is a composer there - not a sound designer, or a hack, or a synthesizer operator, or a keyboardist, or a team leader. He is a musician.

You can see the scores here: http://www.lenniemoore.com/moscast.html - for me, that's one of the most exciting music-related images I've ever seen.

From these images we can glean a truly stunning fact:

Moore composed and orchestrated this score, HIMSELF, on manuscript paper with a pencil.

On top of that, Moore somehow managed to write a truly Golden Age orchestral score in the year 1999, and not only did it work but it became an instant classic and is constantly hailed as a masterpiece of the genre. He evokes Herrmann - he doesn't steal from Herrmann, he just evokes that kind of atmosphere - listen to those strings in Daokas. A reviewer said that were reminiscent of "Flight Of The Bumblebee" - but they're unquestionably Bernard Herrmann through and through. With a nod to Tchaikovsky. The style - fast, busy, densely orchestrated (WOODWINDS!!! Aaaah, how we've missed you!) - is right out of the 1940s and 1950s. From a time where composers scored music for cinema - quite apart from nowadays where sound designers program music for popcorn flicks.

That's why I love Outcast. It's a throwback. It's the most perfect, old-fashioned, artistically inspired, individual, unique score you could ever hope for - and it turned up in the medium of video games. More than that, it's a kick in the teeth to people who say that this sort of music is passe or that nobody can/should write it any more. With Outcast, Moore made a wonderful point in favour of good old fashioned music in cinema and game. This sort of music must never die - and with guys like Moore, Stromberg, and Morgan around it never will. Directors and studios need to stop feeding audiences complete crap and let artists get on with the act of creativity.

I dream of a future where Hollywood movies will be fighting over guys like Lennie Moore - and they won't be trying to corrupt his sensibility with modernity and committee interference, or forcing him to ape a temp track. They'll be saying "Here is our film. Please write a score, in the grandest of traditions. Whatever you need is yours, time included."

Maybe we'll never get there again, but I can hope... :)

I wrote it in my agenda and will rip the original CD into FLAC on Monday. I played the game back in that time for hours and it was really great back then. Great visuals, great story and great gameplay. I can still remember a lot of vocabulary from the game world. It really made an impression on me. Shame that such games aren't made anymore right now. Now it's all shoot-to-kill...

You are right about Lair. It's a lot of copy and paste from other works but that's the main reason why I like it so much. Debney copied the best parts and left the boring parts out. Only bad point I can think of is that the choirs in Lair are not real (it's EWQLSC) and that the full soundtrack still isn't released by Sony.

I agree with all the things you say. I really enjoy this type of pure orchestral scores like Lair, Outcast, Kameo, Conan, The Hours, Amelie Poulain...

These days most scores arent original anymore. Last week I checked out 3 scores.
- Dragonball which sounded like every other percussion driven Tyler score.
- Outlander which sounded like a direct copy from Zimmer his work
- Watchmen which was a ripoff from Philip Glass

It's sad to see that now 99% of the scores and trailer music is just synth and votox choir. When I saw the video of the Dragonball recording I was really suprised they recorded it actually with an orchestra. It sure didn't sound like one. Same goes for many many other scores the past years. This raises the following question within me:

What happened to a real choir singing real Latin instead of programmed votox going 'ah oh eh'?

What happened to real orchestra like in scores like Elfmans Batman?

Why can't new composers understand that good use of brass and woodwinds can make music really epic instead of way to much electronic percussion. You can perfectly write larger than life music without thundering percussion in the front...

What happened to big memorable themes in movies representing each character or quest?

I'm fairly young and started listening to soundtracks when I heard Zimmer's King Arthur. By that time it was something magical for me. Now after years, having listened to thousands of scores I don't like King Arthur anymore since 95% of todays scores just sound like it. It seems there isn't an evolution in film scores at this moment. The only evolution is that we are going backwards... I still don't understand why. Is a Brian Tyler generic score so much cheaper for the music studio then something like Outcast or Lair?

WOODWINDS!!! Aaaah, how we've missed you!

Hehe, agreed.

Several young composers nowadays seem to have forgotten the mere existence of a WHOLE SECTION of a symphony orchestra. Where are the woodwinds, guys? No more elegant ornaments, graceful ostinati, or just clever reinforcements of other parts of the orchestra to add some depth and richness to the sound. I wonder if some of them really have any orchestral/classical background...

thanks to you all for your comments i really aprecciate them!

[comments]/

I AGREE WHOLEHEARTEDLY WITH 100% OF THIS POST! :D


You are right about Lair. It's a lot of copy and paste from other works but that's the main reason why I like it so much. Debney copied the best parts and left the boring parts out. Only bad point I can think of is that the choirs in Lair are not real (it's EWQLSC) and that the full soundtrack still isn't released by Sony.

Oh, absolutely. Don't get me wrong - I love Lair to pieces. It's fifty times bigger than anything else and it is just superb from start to finish. But it's not Outcast - then again, it's a completely different style to me. Lair is a game score written like a superb film score, but Outcast is a game score written like a symphony. Hence my (somewhat snobbish) preference for Outcast. It's better music.


- Dragonball which sounded like every other percussion driven Tyler score.

I actually praised Dragonball. I wrote a ridiculously over-the-top review of it some weeks ago (thankfully lost in the ten-day time warp) - it's not that good. It's certainly a sign of the times when something like Tyler's Dragonball comes along and an old fart like me enjoys it; it's simply the best there is of its kind at the moment. That's a terrible thought. Dragonball has fifty times more musical acumen than pretty much any other score of the genre. And it's still, when all is said and done, a piece of derivative crap. Remember when you could pick "Score of the Year" by selecting the very best of a pool of masterpieces? Now you're picking the least awful score from a dank cesspool of absolute monstrosities.



- Watchmen which was a ripoff from Philip Glass

Don't even get me started on Watchmen. There was an original piece by Glass on the album; that wasn't a ripoff, it was just a case of dozy director buying the rights to some good music because his composer was too bloody thick to do the job himself.

For more comments on Watchmen / Tyler Bates in general, please see the Watchmen thread. ;)


It's sad to see that now 99% of the scores and trailer music is just synth and votox choir.

I was watching some trailers for old movies I used to love as a child; we're talking mid to late eighties here. Trailers told a story. They were scored - now they're fast cut, loud summaries of the movie played with loud MV quasi-epic fake-chorus chanting music, then inevitably a synth heartbeat at the end accompanied by flashes of various scenes, and that's it. No trailer has excited me or made me even vaguely interested in seeing a movie since I was six, maybe seven years old. That's a depressing thought.


When I saw the video of the Dragonball recording I was really suprised they recorded it actually with an orchestra. It sure didn't sound like one.

To me it sounds like an orchestra. What's more it sounds ten times more like an orchestra than most other scores of that genre. That alone sets it apart. What it really sounds like is an orchestra being badly used. I still think Tyler has the chops; he just never ventures too far from what's "expected" - lest he end up with his first rejected score. People like Bernstein and Goldsmith wrote good music and sometimes it got them sacked from the movie. Bernstein once said (paraphrased) "Fine, your shitty movie doesn't deserve this music anyway; I'll give it to a decent picture instead" - now you don't have that luxury. They have to do what they have to do.

Tyler's Dragonball is a piece of crap. But it has a theme. OK, the theme is Batman! But it's an important factor to consider: A 2009 Hollywood film score is built upon a theme that was considered an excellent theme in 1989. That means there's still hope for the future.


What happened to a real choir singing real Latin instead of programmed votox going 'ah oh eh'?

None of these idiots can read or write Latin. None of them know how to score for SATB chorus. And since they're "writing" their scores with a keyboard and a computerised sequencer, it's easier just to hold down a chord and have your choral library go "AAAAAAAHHHHHHHHHHHHHH!!!" in G Minor, and hand that over to an orchestrator, than it is to actually sit down and learn how to write choral music.


What happened to real orchestra like in scores like Elfmans Batman?

I know... That's somehow like a dirty word now, isn't it...

Elfman's musical education is frequently questioned and ridiculed. But the fact of the matter is Batman is an EXCELLENT score and Elfman is an EXCELLENT composer; even if his recent work feels a little flat compared to extravagances like Batman, Edward Scissorhands, Nightmare Before Christmas (probably Elfman's last score of thatera).

Batman had the benefit of a number of orchestrators, certainly. But so does every score you see. Most scores today end up with between six and twelve orchestrators. You have talented arrangers and massive orchestras; trying to work with shitty music and studio interference that says "here's your 100 piece orchesra, but if it sounds like an orchestra, people will get bored and they won't go see the movie" -- absolute nonsense, of course. Batman was, and is, superb. It was good music, even when it was just in Elfman's head. Sure, Walker and Bartek eased the process by which the music went from there to the scoring stage, but they weren't polishing a turd; they were working on something great.


Why can't new composers understand that good use of brass and woodwinds can make music really epic instead of way to much electronic percussion. You can perfectly write larger than life music without thundering percussion in the front...

No further comment. I agree wholeheartedly and to hear somebody say it makes me a very happy man.


What happened to big memorable themes in movies representing each character or quest?

Themes are bad now. There is this bizzare notion that they have to stay "out of the way" - I know people say that film music should be invisible to the casual listener... But that's what people who don't understand it say. It's also what bad composers say when questioned about their music being low key and ambient - "I'm being sensitive and not interfering with the picture" they say. Nonsense. Think of the scores that people love, that people remember. Are they quiet and low key? No. Do they have big f**k-off themes? Yes. Were they written by talented composers? Yes. Are they artistically valid? Yes. Do they overpower their respective films? No.


I'm fairly young and started listening to soundtracks when I heard Zimmer's King Arthur. By that time it was something magical for me.

It's always the way, isn't it. You get into film music with something like that, and then you discover the real goodies... And suddenly it just falls completely flat.

I got into film music through Jerry Goldsmith. I suppose it was bad for me to do it like that because, to be honest, when you start from Goldsmith, the only progression is down. ;)


Now after years, having listened to thousands of scores I don't like King Arthur anymore since 95% of todays scores just sound like it. It seems there isn't an evolution in film scores at this moment. The only evolution is that we are going backwards... I still don't understand why. Is a Brian Tyler generic score so much cheaper for the music studio then something like Outcast or Lair?

I have to keep on hoping that there will be evolution, and that the shit comes in waves. I always cite the state of film music in the sixties. It was finished. Orchestral was passe. Jazz, pop, and needle-drop song scores were in. Then in the seventies Williams appeared, Lucas and Spielberg took a risk, and suddenly symphonic film scoring was in again.

Now we're in a similar hole. But I have to believe we'll get out of it again.

Here's a scary thought for you. Your average Hollywood music budget floats somewhere between �1 and �2 million - that includes the composer's fee plus the musicians, union stuff, etc. Outcast, recorded in Moscow probably cost somewhere around �20,000 to record. Moore's fee probably less than that. I bet Outcast's entire music budget didn't exceed �50,000, maybe �100,000 if you throw in production, mixing, editing, copying, translators, mastering, and a healthy margin for error. You could do twenty Outcasts for the price of one Dragonball.

It's *never* about money. It's about bloody stupidity. Every single time.

Oh wow, just stumbled across this - I loved the music to Outcast but had always been resigned to never hear it again.

I'm downloading it now. Thank you ever so much for this! :)

I have to keep on hoping that there will be evolution, and that the shit comes in waves. I always cite the state of film music in the sixties. It was finished. Orchestral was passe. Jazz, pop, and needle-drop song scores were in. Then in the seventies Williams appeared, Lucas and Spielberg took a risk, and suddenly symphonic film scoring was in again.
I sure hope that happens. Its strange because you could also say I got into movie scores thanks to Zimmer. Yet I've been listening to game soundtracks since chrono trigger. I'll have to listen to this to see if it truly is "the best game soundtrack ever" although I highly doubt that with my favorites of Japanese composition. If I had to designate the BEST game soundtracks I would have to say Final Fantasy Tactics and Odin Sphere. While the former is completely synthesized, it still has that beautiful lyrical feel to it that is impossible to ignore.

EDIT: WOW JUST WOW!! Absolutely astoundingly quite possibly sir you are not only right but shall always be right about this being the best game soundtrack as long as any of us shall live. Like you said, the woodwinds!! Wow the complexity of this score and the emotions within it are so intense it brings tears to my eyes and I am still on track 3!!

Tofu: Thank you sooo much for this fantastic score!!

Here's a scary thought for you. Your average Hollywood music budget floats somewhere between �1 and �2 million - that includes the composer's fee plus the musicians, union stuff, etc. Outcast, recorded in Moscow probably cost somewhere around �20,000 to record. Moore's fee probably less than that. I bet Outcast's entire music budget didn't exceed �50,000, maybe �100,000 if you throw in production, mixing, editing, copying, translators, mastering, and a healthy margin for error. You could do twenty Outcasts for the price of one Dragonball.

It's *never* about money. It's about bloody stupidity. Every single time.

I agree with your whole post but only quoted the last part.

I think the biggest problem nowadays is 'talent'. Most popular composers are sound designers. They compose everything on there own computer and then give a 'barebone' track to the orchestrators who make it better.

So how good or bad music sounds is usually in the hands of the orchestrator and sound mixer. Some composers have really good orchestrators. John Powell for instance his scores (well most of them) are really well orchestrated with woodwinds, percussion, choir and etnic instruments. Sometimes the composer is an orchestrator themself for years and you usually get a good score too. Lockington his 'Journey To The Center Of The Earth' is a good example of this.

But most of the time music sounds 'empty'. It is this brassline, with votox choir in the back with a lot of thundering percussion on it.

Another big part of a good score is the music producer. A lot of a the time movie studios record their score at Abbey Road with the London Symphony Orchestra and Metro Singers. This is one of the best orchestra, studio and choir of the world. However if the mixing of the orchestra is bad, the score sounds bad. To make it even worse is the fact that people nowadays use such an expensive orchestra, dim it to the background and put their temp track synths over it... Speaking of waste of money and dumb decisions. Another thing movie studios seem to forget is that bigger isn't necessairly better. Sometimes a 40 piece orchestra sounds better then a 120 piece ensemble...

I prefer purely orchestral music but I must admit sometimes those 'programmed' music can be cool too. Tracks like 'It don't think now is a good time' (POTC3) or Tell Me About Your Dragon (Outlander) are fun to listen to. Orginality is zero, but fun factor is 8. Unfortunatly most of those tracks sound generic...

Now as promised; here is Outcast in FLAC format. Ripped straight from the CD with the orginal embedded tags on the CD. It's a big download (406MB) but the quality is superb.


Format: FLAC
Size: 406MB
Host: Rapidshare
Password: none
Uploaded & ripped by: Licenturion
Compression: 7zip (open source freeware (http://www.7-zip.org/download.html))
Cover: Here ()




http://rapidshare.com/files/212940621/Lennie_Moore_-_Outcast.7z.001
http://rapidshare.com/files/212942026/Lennie_Moore_-_Outcast.7z.002
http://rapidshare.com/files/212944174/Lennie_Moore_-_Outcast.7z.003
http://rapidshare.com/files/212947707/Lennie_Moore_-_Outcast.7z.004
http://rapidshare.com/files/212948635/Lennie_Moore_-_Outcast.7z.005


Now if they only would release or rip 'Killzone 2'. I'm really curious to listen to the orchestral parts of that score. :)

I think the biggest problem nowadays is 'talent'. Most popular composers are sound designers. They compose everything on there own computer and then give a 'barebone' track to the orchestrators who make it better.

Not to say that you can't write a good score with a computer; but these people aren't musicians. I'm sorry, but whatever your tool, if you're not a musician then you shouldn't be writing music. Shakespeare isn't Shakespeare because of the kind of ink he wrote in; he's Shakespeare because he was an imaginative writer with a superlative command of the English language.

There idiots are literally playing some chords into a keyboard and then handing it over to their team of orchestrators and that's that. If you give an orchestrator absolute shit, then all he can do is arrange it. It will then sound like nicely orchestrated shit.


So how good or bad music sounds is usually in the hands of the orchestrator and sound mixer. Some composers have really good orchestrators. John Powell for instance his scores (well most of them) are really well orchestrated with woodwinds, percussion, choir and etnic instruments. Sometimes the composer is an orchestrator themself for years and you usually get a good score too. Lockington his 'Journey To The Center Of The Earth' is a good example of this.

We might have a disagreement here; I'm not a big Powell fan, though his X-Men score was quite something. It's rare that we get to hear a decent score from him that isn't bathed in the obligatory synth drum track, wailing middle-eastern vocalist, and ethnic instrumentation. What's the matter? The symphony orchestra not good enough for you, eh? It was good enough for Beethoven (and considerably smaller than today), Mahler, Wagner, Korngold, etc...

As far as Lockington goes... Journey To The Center Of The Earth was a lot of fun but when all is said and done, it was a limp Silvestri ripoff - orchestrated to the hilt (by Nicholas Dodd, not by Lockington; so we can safely assume that Dodd is responsible the orchestral style in no small way; compare to an Arnold score) but basically nothing you haven't heard before and nothing of any value. It's there and then it isn't. Can you hum any of it? Neither can I.


But most of the time music sounds 'empty'. It is this brassline, with votox choir in the back with a lot of thundering percussion on it.

Exactly. The sure sign of a score "composed" by playing a keyboard on to a sequencer (by somebody with absolutely no compositional ability whatsoever) and then handed to an army of arrangers.


Another big part of a good score is the music producer. A lot of a the time movie studios record their score at Abbey Road with the London Symphony Orchestra and Metro Singers.

Less often now than ever before... Studios just aren't commissioning the kind of scores where you "need" that extra bit of quality the LSO can give you. Not that the LA ensembles are bad but quite frankly, the LSO is the LSO; they're one of the world's finest symphony orchestras, with over 100 years of prestige behind them. There's really no comparison. Name the last Blockbuster to get a score by the LSO. Name the last one that deserved their talents...


However if the mixing of the orchestra is bad, the score sounds bad.

Well, the orchestra can be too small, under-rehearsed, and badly recorded (see most orchestral anime scores) and a good score will still be a good score...


To make it even worse is the fact that people nowadays use such an expensive orchestra, dim it to the background and put their temp track synths over it...

...That's what the problem is. Time and time again, you see inexperienced hacks presented with a collossal symphony orchestra, and they have absolutely no idea what to do with it. So they get this big, expensive, classical orchestra filled with highly trained, exceptionally gifted musicians, get them all together in one of the world's most prestigious recording studios... And get them to play the same boring artless cobblers that they played into Digital Performer the night before.


Speaking of waste of money and dumb decisions. Another thing movie studios seem to forget is that bigger isn't necessairly better. Sometimes a 40 piece orchestra sounds better then a 120 piece ensemble...

Too damn right again. A 120 piece orchestra is a FLAMING HUGE ORCHESTRA. It's MASSIVE. You don't need 120 musicians unless your music is trying to herald the second coming of Christ, or the apocalypse, or the end of the world. And the idiots who record these big ensembles... wouldn't know what to do with a symphony orchestra if one fell on their heads... You don't hear any of the size. You only hear volume. And you can make volume with one musician and a mixing desk. You get them in a great studio with great equipment, and totally fail to capture their scope due to incompetence and lack of experience.

One of my favourite scores of all time is Basil Poledouris' "It's My Party" - it has one performer; the composer himself at a piano. It is truly one of the most emotional, tenderly beautiful compositions ever committed to paper or disk. Basil could do the huge orchestra stuff (Robocop, Starship Troopers) but his musical instinct told him when to STOP... and strip away the unnecessary stuff and think about the music. No arrangers, no electronics, not even an orchestra. Just one man, his imagination, and his piano.

As far as smaller orchestras are concerned... They are FINE! Shirley Walker scored the Batman animated series with about 40. IN the world of anime - listen to almost any TV score that's performed with an orchestra; you're probably looking at 40, 50 players tops.

Size isn't everything. Composition and orchestration matter. Sadly neither are done well very often any more.


I prefer purely orchestral music but I must admit sometimes those 'programmed' music can be cool too. Tracks like 'It don't think now is a good time' (POTC3) or Tell Me About Your Dragon (Outlander) are fun to listen to. Orginality is zero, but fun factor is 8. Unfortunatly most of those tracks sound generic...

Hell, it has its place... But I wish people would stop claiming that it's the greatest music in the world and that anything else is old fashioned, passe, and should be destroyed.

If I hear one more person comment on generic trailer music saying "OMG that music is SOOOOOOOO EPIC!!!" I am going to go on a murdering rampage. It is NOT epic. It's loud, generic, artless, and the reason they write this rubbish is because stupid people lap it up.

Ben Hur is epic. El Cid is epic. Outcast is VERY epic. (Ha ha, don't you just love how I got back on topic!)


Now as promised; here is Outcast in FLAC format. Ripped straight from the CD with the orginal embedded tags on the CD. It's a big download (406MB) but the quality is superb.

I love you.

Wow, finally a hq rip from one of the most mind-blowing game scores ever made! Thank you so much for this!

Thank you so much for uploading this in FLAC, licenturian! :D

Everything is amazing, the music (by Lennie Moore, that's important to mention...), and the sound quality (very hq mp3 rip).

As it turns out, I already have this lying around; nonetheless, tofu is to be commended for sharing this in the first place. The specific composer information is new to me, and is appreciated.

wow! why do i encounter this thread only now??? Thanks alot!!!! And as for me, I think "300" is the best work of Tyler Bates not watchmen.

Well, well. As usual tofu, mes compliments for your good taste posting good soundtracks of good and (sometimes) very forgotten videogames that doesn't deserve'em!

It's like u and me have the same games library :D!!!

xexe perhaps mclan.. enjoy!! :)

Hi !

Does anyone can upload again the FLAC version, please ? the links of rapidshare are down :(

I would appreciate it if someone could upload the FLAC release to megaupload or some other service i can't use rapidshare.
btw is there any magnificent changes from the GOG soundtrack release and the FLAC??

For now i appreciate the tofu for uploading the mp3 version :) thx ^^

Thanks, this is a great soundtrack.

I'll reup FLAC version for you soon ;-)

ok. here is the FLAC release
http://forums.ffshrine.org/f72/outcast-ost-flac-log-cue-covers-lennie-89228/#post1677825

;)

thanks for the great share!

Format: FLAC
Size: 406MB
Host: Rapidshare
Password: none
Uploaded & ripped by: Licenturion
Compression: 7zip (open source freeware (http://www.7-zip.org/download.html))
Cover: Here ()




Now if they only would release or rip 'Killzone 2'. I'm really curious to listen to the orchestral parts of that score. :)

Can this be re-uploaded? Thanks in advance.

Thanks for this. I'm always looking for great game music, but I'd never heard of Outcast before today. If something is this good, I think I would have heard about it before, but no. When I saw tangotreats raving about it on some other thread, I thought I might as well do a search on it, not having much hope it would still be up. Thankfully, it is. Now I can see what all the fuss is about. I just wish I knew about this sooner. Why don't the best scores get more attention?

:awsm:

I remember hearing about this game, way back in the day. It was the one that used voxels, right? Instead of polygons. Which gave it a more rounded look, but didn't run wonderfully on the then current generation of 3d cards. Same game, or am I barking up completely the wrong tree?

Either way, because of that I found myself curious about the music. For a game, this is amazing! Even by movie standards it's pretty good. Reminds me a lot of John Williams, which is no bad thing. Why isn't the composer more well known? Considering his talent, he should be right up there with the big ones. Better than most of the forgettable stuff Jeremy Soule churns out.

Edit: thanks for posting, of course. Should have said that first!