In summary, Can Androids Pray is an interesting, short album made to lie back and question what the end is. It’s a good track, however, and it emphasizes the artificial, sci-fi aspects of the OST by means of vocaloid singing. And then, suddenly, a dreampop track explodes into the scene, its placement between the two “ether” tracks and their unified version a jarring, unexpected punch in the face of the relative gloom built up till that moment. It is effective at conveying a certain weight perhaps lifted by its initial references to the virtues of Christian religion, the sparking edges of machine failure smoothed out by bright, yet distant drones.
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It is full of glitchy tones, as if listening itself was a last, failing effort to make sense, and both “ether” tracks, the main body of the OST, seem as if born from struggle, every sound a difficult last breath, every noise a signal of finality impending. Peppered with beeps, metallic creaks, and other electronic noises of the sort, the EP-length album suggests a machine broken down and barely functioning, its last mechanical gasps transformed into the slow, dense music of thought. This pieced-together nature not only reflects well the game’s themes but also its musical atmosphere, its beats grave and it electronics piercing, an unmistakable violence lying underneath the sheen of the uncanny.Ĭan Androids Pray begins with ambient tones to a recitation of a few of the Beatitudes of Jesus, a bold opening that centers on reflection and meditation: offering solace in virtue, the soundtrack pairs subdued choir-like tones with robotic sci-fi sounds that are not entirely functional. In “The Prophecy”, for example, there’s a layered drone whose harmony sounds strangely electronic and electric, like a guitar that’s been compressed by mechanical means, its sound small and yet stirring. One of the most interesting aspects of the album is the utilization of broken guitars and fused instruments, as well as improvised ones that grant it with eerie and unidentifiable sounds. In a way, this makes them much more effective at conveying aggression and tension, the moments at which the apocalypse depicted in the game is taken in. The industrial style is kept, except the backbone is trap music, giving the whole OST a slow, grinding quality that highlights the dissonance of the rock riffs instead of making them the centerpieces of the music’s dynamism. Unlike the constantly pounding and dramatic tracks of Far Cry 5, the music in New Dawn is much more atmospheric, emphasizing not the very weight of beliefs in a world’s destruction but the resulting panorama, sometimes gripping and immediate, sometimes distant and calm. Tyler Bates & John Swihart ~ Far Cry: New Dawn
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