Djynn

The Kaladin album is a soundtrack kickstarted by a collective called the Black Piper (guess why) ! It can be purchased on their website, and I think you can also listen to it for free on YouTube, although supporting the artists in their work, especially this awesome, is always a good idea (I can't post links yet but you'll find it pretty easily !)

I have been listening to the Kaladin album over and over again since it went out, and I think it is a priceless addition to the experience one can have of the Way of Kings. As the songs of the album are reflecting the events in the book, I wanted to write an article describing my interpretation of each song and what they refer to. So I sorted them by book chronology, and tried analyzing them as best as I could ! The goal here is to deepen the experience, and show this awesome soundtrack some love ! I also added an extra section at the end, listing the main themes and leitmotivs I found throughout the album (like the Stormlight sound for example). This work is not definitive, and I may have misunderstood things ! Comments are always welcome, and I would love to improve this with your help, my final goal being annoting my copy of WoK with some briefs descriptions of what track should be listened to and when. Without further ado, here goes ! Songs sorted by chapter: (spoiler free analysis) Oathpact Abandoned: Prelude The epic start of this tune represents legendary figures. It quickly fades into a grim, pessimist ending, leaving an impression of shame and despair. This song tells of former heroes, abandoning their companion to his fate. As the title suggests, an Oath has been broken, and will set fateful events in motion. The Assassin in White: Prologue Drums are beating as a celebration is going on. It is a day for joy, for peace has been achieved. However, a figure in white stalks in the castle, represented by a deep bass under the drums. After a few guards are killed, the music shifts to a rushing, dark tone, as guards are unable to even understand what is decimating their ranks. Once Szeth finds Gavilar, we hear the epic tones of a duel, before a single voice sings as Gavilar falls from the balcony during what seems to be an eternity. The track ends with a sad Dalinar theme played on the cello, as he helplessly runs in the gardens to find his brother dead. Honor is Dead: Chapter 2, Honor is Dead: Kaladin is a slave, locked in a van, full of regrets and remorse. He has seen too many tragic events, and has no plan to escape, as his last attempt caused even more killing. The very light and depressed start of the song reflects that mindset, before an event that will change his life radically transforms the end of the song as a windsprend begins to befriend him. The Shattered Plains: Chapter 4, The Shattered Plains Kaladin, locked up in the slaver’s wagon, first witnesses the harsh environment of the Shattered Plains. We can hear the Alethi warcamps and the sound of men training, before a chasmfiend shrieks in the distance. Finally, the last seconds are a humming choir, the leitmotiv of the Parshendi populating these lands. Bridge Four: Chapter 6, bridge Four The song begins with voices grunting and yelling rythmic motives, maybe Gaz and Sadeas’s soldiers forcing the bridgemen to run, or even bridgemen themselves staying in rhythm through these chants. We can hear a voice, possibly Kaladin’s, panting with exhaustion as the cries continue. The Parshendi throat singing then begins, foretelling the arrival on the battlefield and the increasing danger. The aggressive violins and trumpets make for a chaotic battle scene, all while the panting and yelling continues. Bridgemen are being targeted in the middle of this hellish scene, and hope is gone. The voices gain in intensity, full of panic and despair, and all there is is running forward. SasNahn: Chapter 9, Damnation Here, Kaladin is at rock bottom. He’s lost everything and everyone, and is in a place worse than hell. The opening of the track vanishes like an old memory, and a sour oboe shows the grimness of Kaladin’s depression. He now feels defined by the brand on his forehead, a dangerous slave until death. The choirs symbolize his abandon of all hope of ever escaping his conditions, with notes reminiscing those of “Oathpact Abandoned”. Honor Chasm: Chapter 11, Droplets On his way to the Honor Chasm, Kaladin almost feels relieved, hence the light beginning of this music. Everything will soon be over: no more suffering, and no more struggling. In front of the chasm, violins tell us of the tragic beauty of this place. At the very last moment though, the note is held as Syl comes back with a blackbane leaf, not knowing what her gesture means. The light flute and bells are Syl trying to convince Kaladin that Life is harder than Death, and that Kal’s duty is to live and keep fighting through every day. As Kaladin’s resolve ignites again, the music gains a more positive tone, accompanying on his way back to the camp, a new man full of determination. The Blackthorn: Chapter 13, Ten Heartbeats This track can be listened to while reading the Chasmfiend hunt scene: the first choirs represents the urge of Dalinar’s charge rushing to aid Elhokar and protect his nephew, before fighting the chasmfiend on his own. As he catches the huge claw threatening to crush Elhokar, the music becomes more tense, with a very aggressive Knights Radiant theme sounding while Dalinar lifts the monster’s claw. The fight keeps going, before the beast is finally defeated and Elhokar rescued. But to me, this song also is about the Blackthorn, an Alethi general with great renown. The martial atmosphere and quick violins show us Dalinar as seen by the Parshendi: an unstoppable, terrifying momentum. At the end of the song, Dalinar’s real character appears: honorable and righteous, trying to follow the Way of Kings principles. Sylphrena : Chapter 14, Payday Sylphrena’s entire progression as a character is represented here. First, she wanders with fragmented memories, a windspren playing among others. She then meets Kaladin, and the song tends to get deeper, her personality slowly resurfacing. Her memories coming back, she starts to remember what she is and realizes the depth of the bond she has with Kaladin. She is changing rapidly, and is growing into something unique, something unseen for centuries. You’re in my Spot: Chapter 17, A Bloody Red Sunset After his deal with Gaz, Kaladin is now the leader of Bridge Four. He endorses his role, choosing to take the first position, determined to not let anybody die again. The battle begins, and we can hear the Stormlight motif is used as Kal is already unconsciously using Stormlight. Bridge Four is running, arrows are raining and the Parshendi voices are menacing the bridgemen: they are facing the full extent of the Parshendi wrath, coming at them in waves of angry choirs. However, this song is significantly less despaired than “Bridge Four”: here, the bridgemen are holding on to their lives and the ones of their crew. The Bridge Four leitmotiv concludes on a hesitant note, as, for the first time, no one in Bridge Four got killed. Unite Them: Chapter 19, Starfalls The Knights Radiant’s leitmotiv opens this track, showing Dalinar visions during the highstorm. The solemn ambience of this song resonates with the command Honor gives to Dalinar: Unite Them. In the second part of the song, Dalinar wakes up and wonders how to achieve this enormous task. Interestingly enough, we can hear a hesitating Dalinar’s theme on a lone cello, reflecting his doubts and fears. The beginning Knight Radiant’s theme starts once again at the end of the track, a faint glimpse of the plan forming in Dalinar’s mind and of what is to come. The King’s Wit: Chapter 22, Eyes, Hands, or Spheres Wit is at the King’s Feast, playing on his flute lightly and throwing jokes at guests. The quick flute is of course Wit himself playing the song, and even beatboxing, adding some sharpness of mind and tongue on the more classic and distinguished cellos expected for an event among nobles. Chasm Kata: Chapter 27, Chasm Duty Deep down in the chasms, in that place so calm and otherworldly, Kaladin finds a spear. He then tries a few moves with it, before the violins gain in volume as Kal is getting fully immersed inside his training. What his men are seeing is a man dancing with a spear with total harmony, totally unaware of his surroundings and lost in memories. The song ends quite abruptly when Kal opens his eyes to meet the disbelieved stares of the other men, with a new light of respect in their eyes. Rysn: Interlude I-IV: Rysn (after Chapter 28) The very exotic ambience of this song reminds us of Rysn, the little Thaylen merchant traveling around the world with her babsk. The peculiar instrumentation of this song, with lots of choirs, drums and flutes, sound very much like Polynesian music, reminding of her journey to the Reshi Isles. The lead singer, full of optimism and astonishment, represents Rysn herself. Nota: This is the only song in the album that seems to be directly referencing Book 2. However, the exotic music sounds so much like what we would hear in the Reshi archipel that I had to quote it here. Alethi Codes of War: Chapter 3, Darkness Unseen This music is the main Bridge Four theme, and has been described by the composers as a “Bridge Four training montage music”, a purpose it perfectly fits with. Here, the bridgemen are now Kal’s crew, and train during chasm duty. From slaves, they become fighters, and practice with the spear. Bridge Four Shield: Chapter 32, Side Carry Kaladin and his bridgemen are now ready to try the plan that they perfected while training with the bridge. The more martial version of the Bridge Four theme we can hear reflects their will to stand against the Parshendi and protect each other. However, as we can hear, the song suddenly goes silent, reflecting the sour turn this plan takes and the tragic ending of this battle. Interestingly enough, the Stormlight sound can also be heard at the end of the song, although I could not figure out what it seems to reference. Highstorm: Chapter 35, A Light By Which to See Sentenced to be judged by the Stormfather, Kaladin is hanged outside a barrack during a highstorm. The first seconds show us the empty Alethi warcamps, with a tense, alarm-sounding noise, litterally the calm before the storm. Then, as the rain and winds start, the music becomes more frantic, before, with a blasting Stormlight sound, the stormwall hits Kaladin. The chaotic drums and sounds let us imagine the violence of the elements, with whilrling violins and violent debris beating Kaladin nearly to death. Before he faints, a loud sound resonates, before a surreal silence, and we’re able to imagine what seeing the Stormfather in the eye of the highstorm feels like. Hearthstone (Tien’s Theme): Chapter 44, The Weeping The very soothing and calm beginning of this tune tells us of the temper of Tien and is also reflective of what life looks like in Hearthstone. The singer is presumably Tien himself, humming songs as he manages to calm Kaladin’s spleen during Weeping. The track ends as wardrums and a distant violin starts to resonate, foreshadowing Tien’s destiny… Stormblessed: Chapter 47, Stormblessings Cenn is panicked at the idea of being thrown into his first battle. The beginning of the track is dark, tense, reflecting the terror of the young boy surrounded by enemies. Then, as a radiant sun piercing the darkness, Kaladin Stormblessed and his squad forms around him to protect him, and we feel the awe of Cenn at the sight of the young prodigy. The last voice, humming deeply with a hoarse voice at the end of the song, may represent the Thrill itself, known to be felt by Alethi soldiers at the time. The Day of Recreance: Chapter 52, A Highway to the Sun Inside the vision, Dalinar sees the events at Feverstone Keep, and immediately feels that something is wrong, as we can hear in the stressful singing and violins. A grandiloquent theme follows, showing us the Knights Radiant Orders in all their might, before being quickly counterbalanced by the grim piano and voice, as Dalinar witnesses their betrayal and the ensuing bloodbath among soldiers. 16 Seconds Pre-Death: Chapter 56, That Storming Book Here, Dalinar and Sadeas are in a tricky situation. Surrounded by Parshendi forces, as shown by the strong Parshendi throat singing, and despite the bridgemen’s best efforts, that we can very clearly hear during the beginning of the song, the battle looks lost. After a chance to escape, we can hear Dalinar turning back and returning into the fray he managed to get out of for Sadeas. Wandersail: Chapter 57, Wandersail Hoid’s flute is heard, playing softly playing around a campfire, when Kaladin joins him. As Hoid starts his story, the music takes off to illustrate it, although always guided by the flute: first, with glorious violin and dynamic choirs telling us of the most valiant crew, on the largest ship there is, set to explore the Ocean. After fighting a highstorm on water, the ship manages the prowess to stay afloat, and ventures to faraway lands once the weather has calmed. Crashed on exotic islands, the Wandersail is repaired and the crew meets the Uvaran. All seems well before the flute taakes a sad, grieving tone, witnessing the discovery of the tragic fate of the Uvaran King. The crew is then forced to escape with their guide as the Uvaran society litterally crumbles around them. The story then softly ends, as Kaladin decides to fully assume his role of Bridge Four leader. Three Glyphs: Chapter 62, Three Glyphs Parshendi are heard chanting menacingly as a new battle is preparing. Kaladin, now bridgeleader, starts the bridgerun with his trained crew, and we can hear him drawing Stormlight to protect the other bridgemen. The glorious, epic tone of this track reflects the heroic nature of Kaladin, and the fighting spirit of Bridge Four. The Tower: Chapter 65, The Tower The assault on the Tower begins, with an impressive amount of Parshendi forces represented by the choirs. The rest of the track represent the desperate battle fought by the two generals, before suddenly breaking on a abrupt and dissonant note, as Dalinar realized the betrayal of Sadeas. The end is a sad, hopeless version of the Knights Radiant theme. Tien: Chapter 67, Words This tragic music narrates the death of Tien in Kaladin’s flashback. We can hear the situation getting more and more dramatic, Kaladin realizing he won’t make it in time to save him, before time slows, and a final sword slash is thrown, Kaladin’s world tearing apart as his beloved little brother is killed in front of him. A melancholic version of Tien’s theme is heard at the end of the song, marking his death. Rhythm of Mourning: Chapter 68, Eshonai This very peculiar music can only be interpreted as what Parshendi Rhythm sound like, and what they sing or hum when they attune to a particular Rhythm. Thath (Justice): Chapter 69, Justice The sad, mourning beginning of this track represents Navani’s sorrow and disbelief at the news that Dalinar is dead. Dalinar’s Theme is played on a lone alto violin, strengthening this impression of loss. Sadeas tells her of their defeat, and a few notes from “The Tower” can be heard. A sad version of the Knights Radiant theme is sung by possibly Navani herself, before becoming more aggressive as pain turns to anger and doubt. Main Leitmotivs: Dalinar’s Theme This motif, first heard at the end of “Assassin in White”, represents the character of Dalinar. Slightly melancholic, this theme also sounds extremely determined and righteous, reflecting Dalinar’s personnality. Stormlight being used: This noise shocked me when I first listened to the album because of its very electronic-like feeling. Its most impressive occurrence is in “Highstorm”, and it wasn’t long before I tied it to the use of Stomlight and Surges. Its odd feeling perfectly fits what you would feel while seeing someone using superhuman powers only heard of in legends. Parshendi singing: The Parshendi rhythms play a huge role in their behavior, and they have always be described as singing or humming during battles. The best way to represent Parshendi is therefore this very raw and deep singing, multiple voices attuned as one. Most of the vocals in this album are lyricless, and used to describe Parshendi. Bridge Four Theme The root of this theme is “Alethi Codes of War”, but it is played on various occasions, always in moments where Bridge Four acts united as one crew. The Knights Radiant Theme This theme is best heard in the eponymous track. It depicts the Radiants in all their glory, and is sometimes used during Dalinar’s visions (see “Unite Them”). The special “Rainbow Remix” hidden at the end of this track sounds particularly awesome. Tien’s Theme Simply enough, this theme represents Tien in all of his simplicity. It is only heard in two songs, but leaves a striking impression of comfort and a longing for home. Bonus Tracks: (SPOILERS FOR Words of Radiance): Tarah: This sad tune is for Tarah, and especially for the life that Kaladin could have had with her, if their relationship hasn’t ended. Shallan’s Lullaby: Shallan’s Lullaby directly uses the lyrics given in book 2. While the song starts as a dark but soothing lullaby, it suddenly takes a very dramatic turn, as Shallan commits the worst crime, of which this song is an important part. The choirs in the background are calling her name, judging her for her actions.