The choir doesn't appear on every cue, but when it does, it's remarkable. The voices are used to very good effect. They weave together and are interleaved and layered in a very appealing manner. Their use makes this one of the best game soundtracks of the year.

The melodic choices that Deriviere makes also work well: They are surprising throughout. This is Milan's first game soundtrack release. If future releases are this good, they're gonna make quite a name for themselves in this genre.

Cue 1, "Prelude to an End," starts out with a lovely a cappella vocal passage and then moves into a Philip Glass type of sequence. Vocals dominate this cue, establishing a unique mood. The lyrics are written and sung in Bulgarian (a translation is offered in the CD's sparse liner notes). The theme reappears on several tracks including the next one, "Edward Carnby," but in a more up-tempo manner. This second cue is notable for its staccato string passages and odd, rattling percussion in a galloping cadence. It just doesn't sound quite like anything you've heard before.

The magical "Mystery" voices

Cue 3, "The Fissure," opens up with a dark, creeping string passage and segues into a stormlike swirl of chaos, looping and spinning back and forth, reminding one of nothing so much as the back-and-forth stereo craziness in Led Zep's "Whole Lotta Love."

The next cue, "Collapsing Floors," takes that same rolling swirl in a quieter direction—at least at first. If you're not loving Deriviere's compositional skills by now, then I don't know what. After a couple of voiceless action cues, "The Humanz," Cue 7, marks the welcome return of the Mystery of Bulgarian Voices ensemble. This one makes use of male voices and the CD's unique clattering percussion, punctuated by sharp horn ostinatos. Cue 8, "Who Am I?", features chanting female voices and intense strings, but it's the voices that really captivate.

The entire album has a Middle European sensibility to it that makes it stand out in a sea of soundtracks. The composer also makes occasional and effective use of muted trumpets in this score, one of several pleasing and surprising instrumental choices. Another delightful surprise is the appearance of cathedral organ in "The Light Carrier Test," Cue 17. It seems to enfold the listener in a majestic wash of music. The very next cue is another (and very satisfying) a cappella offering from the Mystery Voices, "Shto Li." It is simply lovely to hear.