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Filled with some ambience noises that immerse listeners into a clock tower, and with a floaty piano melody, “The Clockworks” proves itself to be an early highlight. “The Clockworks”, on the other hand, captures the sadness and solemnity of one of the first opening pieces of the game, “Clock Tower”, which is essentially a reworking of the “Song of Healing”. But treated like a cinematic cue, it isn’t a very well-developed track and the melody never really expands or develops in a meaningful way. Although it encapsulates a very accurate feeling of dread that is present in the game, it also captures some of the sadness and, paradoxically, silliness of the Skull Kid.

We can even hear the Skull Kid laughing at one point. The melody sort of weaves in and out in some solemn string instrumentations, as an eerie sentiment descends upon the music. Time’s End opens appropriately enough with “Majora’s Mask,” which starts with young Link screaming as he falls down, along with some deep drumming, instantly setting a dark mood. Theophany states, “For years I have wanted to create an album that attempted to capture the beautiful and nightmarish world of Majora’s Mask… This album is a free gift to fans and a tribute to one of the greatest games ever made.” Body Here, he presents us with the first disc of several that will encompass all of Majora’s Mask‘s soundtrack. The artist’s previous works include tracks on the Harmony of the Hunter arranged album and the free-to-download EP Crystal Flash, both based on the Metroid series.

Though the world did not end on December 21, 2012, we were treated to a delightful and very well-crafted remix album by Theophany. Three days before the supposed “end of the world” (provided by an ongoing popular hoax involving the Mayan calendar) a timer popped up on counting down to the end of the world, Zelda style, using the stylized three-day system featured in The Legend of Zelda: Majora’s Mask, alongside an ominous graphic of the mask itself.