• Touhou 6 New Classic Score Attack Ongoing!

    Read the submission rules, prizes and everything inbetween here:

    Good luck!

    Also check out the community art event here! Everyone is welcome!

Other Game Music

It's December, and the Game Awards nominations have been announced. I don't particularly care for the fiasco, but I usually check in to see what gets included for the sake of potentially discovering something I'd have otherwise overlooked. This year has five nominations: Final Fantasy VII Rebirth probably deserves it, but I resent the nominations of large-scale remakes when there's so many original titles more deserving of the recognition; Silent Hill 2 is also a remake, but even if it wasn't I'd question the musical range an atmospheric horror game can have (I know there's music, but is it "best vgm soundtrack of the year" level?); I'm not touching Stellar Blade, the marketing made it pretty clear it wasn't meant for me; Metaphor: Refantazio probably has potential, and I'd probably do a feature for it if I had time, but on the other hand it's an Atlus game, and I suspect it will just be more Persona/Shin Megami Tensei style, which I've not been particularly fond of in the past; that leaves Kenneth C M Young's Astro Bot, which was already on the agenda for this month as of several months prior.

My initial checking instigated a backtracking through the series, leading to some amazing vgm discoveries. Those discoveries are particularly relevant in regards to this most current entry, since a plurality of the music here is reused or adapted from those earlier titles. Part of me is a bit disappointed at this; in my mind, if a composer reuses a track from a previous project without any adjustment, then it shouldn't be considered part of the more recent soundtrack (e.g., Octopath Traveler: Champions of the Continent shouldn't have included reused themes in their official album). On the other hand, there's plenty of original and properly remixed material to constitute a full soundtrack anyway, plus some of the reused themes aren't otherwise available (due to Rescue Mission's and the original Playroom's respective soundtracks being unreleased on distribution platforms). Overall, I dislike the precedent that seems to be developing for soundtrack releases in general, but it doesn't necessarily impact the quality of this soundtrack overall.

As with previous releases, arrangements are imaginative in instrumentation and general style. The game presents itself as a hall-of-fame sometimes, and I think the soundtrack reflects this with a variety of presentation angles; yet at its core, the music always maintains a sense of light-hearted fun, even in its more intense tracks. I tend to associate "triple-A" with scope-over-heart, but this has sufficient weight in both to give me pause. I'm hoping there'll be more like this to find in the coming year.




 
Last edited:
When I'm familiar enough with a composer's name to recognize it quickly, it tends to be enough to instigate investigation into a soundtrack I would have otherwise overlooked. I know Yann van der Cruyssen from Cave Story and Stray, and seeing his name on the album for Exographer put it on my list to look into later. Those two previous titles are significant as to my experience; Cruyssen's work on Cave Story was purely rearrangement, while Stray's soundtrack was heavily ambient, to the point that I didn't consider either of them to be indicative of his composition abilities. This soundtrack does lean toward ambient effect, but not so heavily as to lack melodic progression; I'd compare it to Richard Vreeland's work in that it instills a tone of stable existence that is nonetheless active. I can hear elements of Cruyssen's other work in these compositions, but they feel more properly realized then previously; I wonder if this is progression of skill, or greater freedom within the project? Regardless, I suspect I'll appreciate those other works more now after having heard this.



 
Last edited:
Not by direct design, I had another soundtrack on the to-do list with a similar name to the previous week's, though there is hardly any other comparison to be made. Exophobia's OST is an upbeat synthwave style album by Pedro Joao Costa for what appeared to me to be a Doom style FPS. Despite that association, the music overall isn't particularly heavy, favoring a more measured pacing in tempo and progression overall (I was reminded of Axiom Verge, but I'd say this is a bit heavier than that, just with similar instrumentation). There's a limited range of tone, and the baselines can get repetitive, but there's clear thought put into the progression for each piece, and I didn't find it dragging at any point. Aside from that, I haven't much to say, so give it a listen and find out if it measures up for you.





Added bonus: While doing the initial searching for videos, I found this DJ mix from the composer. I don't know anything about DJing, but I thought someone who did might appreciate this performance.
 
Last edited:
Day late, for obvious reasons, but I actually had a feature planned out ahead of time just in case. Said plans were somewhat contingent upon the Steam Awards nominations, just in case something turned up there that I wanted to prioritize. I needn't have bothered; three of the titles there aren't technically even viable (not being of this year). Frostpunk 2 might deserve some attention, but initial listening didn't interest me enough to change my schedule.

Nothing I've yet seen of Neva has indicated to me that I ought to play it. My appreciation of Gris was its unique integration of storytelling as an experience, equally shared between many components of production as a whole. Berlinist's music was especially important to that experience, and it stuck with me even as I struggled to comprehend its structure. When Neva was announced, and especially when I saw Berlinist attached to the project, I eagerly anticipated a more developed form of what I'd heard in Gris. Regardless of whether or not Gris's other strengths have transferred over, I'm satisfied that the music is everything I could have hoped for. Ambient in some ways, there is yet a lot going on in each piece which keeps the "experience" alive, implying reflection within its setting while simultaneously inspiring it in the audience.





 
Last edited:
As 2024 draws to a close, I have prepared some final statements concerning my overall experience with the year's VGM. I was fairly happy this year with my coverage; a few titles will inevitably slip by, but I believe I was able to feature all the releases that specifically caught my attention, and the "most memorable" category will be there to catch whatever I've missed next year. I will mention a couple soundtracks I was not able to listen to, for one reason or another:

Antonblast came out late, and even now has yet to release an OST. What I've heard has interested me, but if it isn't available, I can't be blamed for skipping it, at least for now.

Symphonia was also a late release, but while its soundtrack has received publication, such has been restricted to Steam. I don't mind purchasing soundtracks through Steam, but doing so means I can't listen to it on the go, requiring a greater time commitment that I couldn't make this late in the year. I look forward to listening through it next year, though.

Gestalt: Steam & Cinder was also a Steam-exclusive OST, and while I have the time, I was less enthusiastic with the necessary momentary investment. I prefer to hear some of what I'm buying before I buy it; only a few tracks were published, and I didn't find them quite impressive enough to prioritize the purchase over other available soundtracks. I'm sure I'll get to it before too long, but in this case time ran out before my to-do list did.

Additionally, I want to offer honorable mention to Indigo Park; I couldn't consider it for proper ranking, because from my perspective it's more of a demo then a fully finished game (a la Deltarune). Presumably more of the project will be released over time, and at some point it'll be considered "complete," at which point I'll view it as a whole rather than autonomous segments.

With all that out of the way, here are my top five* video game soundtracks of 2024!

#5:
*I'm cheating a bit this year, and it requires explanation. I've made a point of distinguishing sequel soundtracks as needing to improve upon their predecessors for me to consider it for my favorites; my reasoning is that some series get by on redoing the same thing over and over again because it works, and even if I enjoy the result, I don't consider such practice to be commendable.

This year, Rivals of Aether II came out. Half the soundtrack consisted of arrangements remastered from previous titles; these were high quality remixes, but still technically reused content. The other half of the soundtrack had completely new compositions of equal quality. As a whole, this OST was probably my second-favorite of the year, but I worry some of that is due to my bias from previous experience with the series.

Meanwhile, I discovered the Astro Bot franchise this year through its latest release; said entry has risen in popularity to the point of winning "Game of the Year," and its musical quality is undeniable. However, as I pointed out in my feature, this game is similarly reliant upon previously existent compositions, in many ways more so than RoA2. I wasn't so worried about personal bias in this case, but desired to remain consistent in my rankings.

Thus, with two amazing soundtracks on the table with similar drawbacks, I've decided to "cheat" by ranking them both in the same place; they're both too good for me to pass by on, and this is my way of denoting my dilemma while still recommending them.

RESOFORCE & Moonsailor - Rivals of Aether II


Kenneth C M Young - Astro Bot


#4:
Evelyn Lark - Nightmare Kart
I had no expectation of this soundtrack enduring so much in my memory when I initially heard it, but in hindsight it ought not be surprising. The whole album is full of fast-paced jazzy melodies with a delightfully ominous bent, though that tone barely penetrates to the surface from underneath its overbearing excitement! The production itself is quite the feat as well; I hear tell these motifs were composed as alternatives to other preexistent melodies remixes from another game's soundtrack, and exist as the original counterparts to those initial arrangements. I personally consider that a significant accomplishment on Lark's part, and I'm happy to honor her endeavors in this small way.


#3:
FFXX & others - Nine Sols
This game has turned out to be the underrated ghost of this year's releases; everyone who knows about it seems extremely impressed by it, but it ultimately received little official recognition. Well, I didn't forget about it. This is the closest to a true soundtrack in my ranking this year, by which I refer to its superior range in tone compared to the more melody-focused productions I usually favor. I may not listen to as many tracks as regularly, but the emotional impact of those tracks is far greater than all the rest.


#2:
Dan Goodwin - Bears in Space
Another unexpected hit. Perhaps one would experience difficulty in intuiting the style of music from this game based upon the title alone, but as far as I'm concerned there could be nothing more fitting. This is what my preferred version of Doom would sound like, if that makes sense: just as heavy, but not nearly as dark; serious, but in a fun way. Second-place in my rankings has often been reserved for the more shallow, melody-for-the-sake-of-melody soundtracks; not-so-coincidentally, I also tend to more frequently listen from them compared to their respective first-place comparisons. Ultimately, I'm not looking for music from video games so much as I'm looking for video game music, and this is what that sounds like.


#1:
Tee Lopes & Sean Bialo - Penny's Big Breakaway
All that being said, what I consider the "best" OSTs are the collective compositions that can do both jobs of standalone music and soundtrack. Chicory, Mental Omega, Octopath Traveler II, all feature the tonal range that a proper soundtrack demands while also being full of strong melodies and dynamic arrangements. Penny's Big Breakaway isn't quite on the level of those, but I'd argue it's by far the strongest entry of the year. Imaginative, memorable, and masterfully arranged at every turn; I am fully confident in presenting this as my top ranked OST of 2024.


In a near return to form, I've only played one of these games, and y'all could probably guess which one (hint: it's the sequel to one of my favorite games); I've already acknowledged the potential bias there, and hopefully my solution sufficiently addresses that. Otherwise, my experience with these soundtracks is purely with the music, supplemented by secondary sources (i.e., reviews and playthroughs).

Finally, I will present my most personally memorable discovery not released this year. Technically this would be Astro Bot's Rescue Mission, but since I finagled the franchise into the ranking proper I'll fall back on the secondary.

Bonus Feature (#0):
Raito - Melty Blood: Type Lumina
One of the great disappointments of the year was my inability to procure this soundtrack for my personal collection, reminding me once again of the nonsensical complications of the VGM industry (btw, Mago OST still hasn't released). But if I can't preserve it, I can at least recommend it. If I might make a comparison to this year's rankings, this is the jazz of Nightmare Kart mixed with the rock of Bears in Space with the dynamic range of Astro Bot. So I'd say it's worth checking out!


That does it for me! If any of y'all are so inclined, please do share your own preferences for the year's releases! As this ranking purely reflects my own perspectives and preferences, it is inevitably limited, and I always enjoy having my horizons expanded! Otherwise, I wish everyone here a happy New Year!
 
Last edited:
I figure 2024 is over for everyone by this time, so here's the annual OGM record.
Features (in order of initial posting):

Inscryption – Botopia, The Angler, Leshy’s Theme, The Scrybe of the Dead, Captain Royal Dominguez

Cyberpunk 2077 – Never Fade Away

A Highland Song – Each Moor and Meadow, The Hills and the Sea, A Highland Song

Palworld – Proto-Palworld, The Beginning, Brutal Strike, Bosses

Kirby’s Dream Land – Green Greens, Float Islands, Roasted Sweet Potato Shooting, Ending, Dance!

Kirby Super Star – Together with the Spring Breeze, Marshmallow Castle, Halberd ~ Nightmare Warship, King Dedede’s Theme, Peanut Plains, Run Kirby Run!

Kirby’s Return to Dreamland – Sunny with a Chance of Oasis, Slippery Steps, Crows in the Shadows, Woods Wayfarer, Underworld, Techno Factory, Fly Kirby!, Sky Tower

Kirby: Planet Robobot – Gorgeous-Go-Round, Pink Ball Activate!, Haltmann Works Co. HQ, Time for Dessert!, Bright Spinning Planet, VS. Star Dream

Superliminal – I Wonder, Darklight Escape, Extraordinary (Last Drinks)

Viscerafest – The Looking Glass, Cult Shuffle, Signal to Slaughter, End of the Line

Mad Rat Dead – plash plop gurgle, Distorted Graffiti, Passion in Blue, Black Fear

Penny’s Big Breakaway – Jig’s Up Penny, Refracting Feelings, Scientific Method, Balearic Birds, Call Me the Yotagonist

Crypt of the Necrodancer – Too Real (feat. Hatsune Miku)

Celeste 64: Fragments of the Mountain – Cassettappella

Plants Vs. Zombies – Crazy Dave (Intro), Grasswalk (In-Game), Zen Garden, Graze the Roof

Irisu Syndrome – About 10 hours looking at the ceiling, I Didn’t Talk to Anyone Today, A Cat A Rabbit and a Old Story, USAGI Note

Melty Blood: Type Lumina – Spirit & Technique & Body, Dive Diver Divest, Blooming, Calm Afternoon, Mysterious Dark, Magician’s Night EX, GCV2022 -New Genesis-, Before the Dawn

JoJo's Bizarre Adventure: Eyes of Heaven - Jonathan Joestar Battle BGM, Caesar Zeppeli Battle BGM, DIO Battle BGM, Josuke Higashikata (DiU) Battle BGM, Yoshikage Kira Battle BGM, Pannacotta Fugo Battle BGM, Trish Una Battle BGM, Narciso Anasui Battle BGM, Weather Report Battle BGM, Another World Diego Brando Battle BGM, Josuke Higashikata (JJL) Battle BGM

Final Fantasy – Opening, Castle Cornelia, Chaos Shrine, Victory, Prelude

Final Fantasy VI – Locke’s Theme, Terra’s Theme, Celes’s Theme, Searching for Friends, The Decisive Battle, Magitek Research Facility, Slam Shuffle, Overture, Prelude

Final Fantasy VII – Lifestream, Shinra Inc., Let the Battles Begin!, Cait Sith’s Theme, Listen to the Cries of the Planet, The Highwind Takes to the Skies, Aerith’s Theme, Fiddle de Chocobo

Sushi Ben – Sushi Rock No. 1

What the Fog – Menu Theme

Final Fantasy X – Zanarkand, Calm Before the Storm, The Trials, Blitz Off!, Seymour’s Theme, Hymn of the Fayth, A Contest of Aeons, Suteki Da Ne (Isn’t it Wonderful?), Prelude

Chrono Trigger – Peaceful Days, Lavos’ Theme, Delightful Spekkio, Bike Chase, Corridors of Time, Undersea Palace, Battle with Magus, To Far Away Times

Dead by Daylight – Dead by Daylight, Unstable, Entity Brain

Nightmare Kart – Tutorial, Great Clocktower, Pocket Dream Course, Miralodia Expressway, Title Screen

Castlevania: Symphony of the Night – Dracula’s Castle, Marble Gallery, Lost Paintings, Wood Carving Partita, The Tragic Prince

Indigo Park: Chapter 1 – Welcome to Indigo Park, Rambley Express, BARNSTORMING, Rambley’s Regrets

Romancing SaGa 2 – The Ultimate Confrontation

Bears in Space – Arm the Bearless, Project: RADICAL, Where o’ Where is my Bear?, Kraked in the Head, Heavy Bear Picnic

Scratchin’ Melodii – Stir & Mix

Breeze in the Clouds – A Cloudy Day

Friday Night Funkin’: Mario’s Madness - MARIO SING AND GAME RHYTHM 9

Elden Ring – The Final Battle, Mohg Lord of Blood, Messmer The Impaler, Bayle The Dread

Lethal League Blaze – Headbangeren, Ordinary Days V2, AIN’T NOTHING LIKE A FUNKY BEAT

Nine Sols – Take a Tour in New Kunlun, Tempo of Growth, Beneath the Surface, Jaws of the Machine, Last Man Standing, Smile at My Cursed Dream, Main Theme II

#BLUD – Hospital Dungeon, Nighttime Trek, Funeral Home Dungeon Fight, Date Night

Metroid – Brinstar, Kraid’s Lair, Escape, Samus Aran Appearance Fanfare

SIGNALIS – Die Toteninsel Emptiness, MNHR, Orrery, Ewige Wiederkunft, Nue, The Red Gate, Memory, Warm Light

Super Metroid – Theme of Super Metroid, Planet Zebes ~ Arrival on Crateria, Maridia ~ Rocky Underwater, Brinstar ~ Overgrown with Vegetation, Norfair ~ Hot Lava, Big Boss Confrontation (Ridley, Draygon)

Metroid Fusion – Sector 4 (AQA) Aquatic Control Level Area, Environmental Sound (Tension), Sector 4 (AQA) Underwater Area, Sector 3 Restore the Cooling Installation Timer Mission, VS. Ishtar/Gedo

Metroid Prime – Menu Select, Tallon Overworld, Vs. Space Pirates, Ice Valley, Vs. Parasite Queen

Arco – Riding into the Unknown, Red Company, Where Newcomers Live, Lágrimas de Cal

Fragile Reflection – SAVE ROOM

Thank Goodness You’re Here! – Rain Whistle, Herbert’s Theme, Seaside

Astro Bot Rescue Mission – Tite Mites, Sucka, Decidedly Spooky, Discotree, ASTROnomical

The Finals – Mitzy’s Ebb and Flow, Play Fast! (Here We Go), xX_TF_CNS_FreeDoom_Ver07_24bit_Wav_Xx, Destroyer, Showtime

Bloons Tower Defense 5 Deluxe – Main Theme, Jazz Theme, Bloons Rock Party

Astro’s Playroom – SSD, CPU Plaza, Cooling Springs, CRT-Rex

Hi-Fi Rush – Title Medley, Security Shutdown, Power Up! Tower Up!, Production Destruction

Metal Gear Solid 3: Snake Eater – Snake Eater, Select Cutscene, Sea Breeze, Life’s End, Don’t Be Afraid

Legacy of the Dragonborn – To Echo

Obscure’s College of Winterhold – Northern Magic

Skyrim Musical Lore – Stonewall District

Animal Well – Rabbit Hole, Dawn Chorus, Long Dog, Heraldic

Rivals of Aether II – Fight or Flight (R2 Version), Joy of the Ocean, Adventurous Gale, Sovereign of Fire, Decisive Battle Redux, Main Menu ~ Arrival

Monster Hunter [Freedom] – Proof of a Hero, Awakening, Roar ~ Rathalos, Beneath All the Stars in the Sky, Poisonous Mist ~ Gypceros, Scat Cat Fever, Beyond the Fog, Desiring Fame in the Land of Beasts, Cute Felyne, The Howling Lone Wolf ~ Yian Garuga

Resident Evil 4 – Serenity

Devil May Cry – Ancient Castle

Monster Hunter 2(dos) – To the Hunting Ground, Village of Deeply Blessed People, Dweller of the White Darkness ~ Blangonga, Bustle of Dundorma, Dragon Goblet's Liquor Game, Assassin Sent to the Burning Sand, Before the Performance, Ancestral Dragon ~ White Fatalis

Monster Hunter Portable 2nd/Freedom Unite – Pokke Village Theme, Sleeping Bird in a Sea of Trees ~ Hypnocatrice, Absolute Zero ~ Ukanlos, Chill of the Water, Successful Person

Astro Bot – Crash Site, Marine Serene, Big Wave, Bot of War, Papa Tree, I Am Astro Bot (ASTRO BOT Remix)

Exographer – A Weird Greenhouse, Underwater, Searching the Source, Where is Waber

Exophobia – Infestation, Elite Zarkonians, Corrupted Machines, The Mecha

Neva – Amber Leaf Serenade, Mist of Apathy (II), Something Hidden, Dormant Kingdom (I), Lover’s Ballad, Winter Ride


Technicalities (special cases):

Mad Rat Dead – Mad Rat Dead Rap

Undertale Yellow – DANZA (+ Attacks)

Chambers: The Outlaw – Wellwater (abridged)

BD FF/Bokudora – Crazy Motorcycle / Midgar Expressway Rock Guitar Arrange

Dead by Daylight – Nemesis Proximity & Chase, Legion Mixtape Addons, Unused Archive Theme

Black Ice 9 – Relativity

PrototypeRaptor – Premeditated Treachery

Rocktronic – Machines Collide

Nobody Asked For This So I Did It – Driving Force

ЁVOLUTIФN – Flowers

Bring Back the Happy – Whipz

Battle of the Year 2016 – Nasty Lovers

Leslie Sarony – On Ilkla Moor Baht'at

Undertale – Unused Power of Neo

FaceImplosion – The Truth Beyond the Gate

Bloons Tower Defense 4 – Volcano Party

8-Bit Big Band – Snake Eater

Starsailor – Way to Fall

Pandora’s Toolbox – To Burble and Pine

Zarc Attack – Exophobia OST Mix
 
Last edited:
First feature of the year tends to be from a game I consider personally significant, being less motivated by the music. Of course, the most impactful experiences exhibit quality in all their properties, including the music. This time around I want to draw attention to what I consider to be the best multiplayer game in existence: Ultimate Chicken Horse! The genius of this title is in its mixed emphasis on creativity and interactivity, further elevated by the freedom of built-in customization. Accompanying this masterpiece of a game is Vibe Avenue's dynamically arranged jazz compositions; each track features curated instrumentation in favor of various themes, blending their unique motifs with the soundtrack's main theme. The OST edits do an excellent job at blending the separate sections of each piece into cohesive singles, but if familiar with their in-game usage one can additionally appreciate the dynamic quality of the compositions.



 
Last edited:
Sonic CD is far from a recent discovery for me, but I've held off doing a thorough listen through to the soundtrack for some time; its structure is notoriously complex, and I wanted to give it time to fully appreciate its qualities. Considering how influential it's been, both to its franchise and to me, it's about time I attempt a feature for it.

Composers Naofumi Hataya and Masafumi Ogata were assigned to construct a soundtrack according and subject to the game's design, which hinged (hinges?) on a time travel mechanic. Each stage has four variants: the present, which serves as the default version; the past, or "P Mix," which is uniquely arranged on older hardware; the bad future, or "B Mix," often a darker/distorted form of the piece; and finally, the good future, or "G Mix," ostensibly a lighter counterpart to the "B Mix" version. Rather than arrange these compositions in an ascending order (as might be presumed as the most efficient strategy), Hataya and Ogata seemed to treat each version as a unique project, resulting in surprising variance between each "mix." Each is significant in its own way, especially when the formula is temporarily altered to contrast the consistency (as with "Metallic Madness"), but I find the most noteworthy aspect is in the contrast between each "mix." "Quartz Quadrant" is an especially poignant example, with each version featuring distinct instrumentation and incorporating the primary motif in a unique yet recognizable way.

A proper assessment of this soundtrack would necessitate a presentation of at least one stage's complete lineup, but this would make for a rather boringly straightforward feature. I've tried to select tracks that showcase the general style each "mix" generally follows. Additionally, I should mention the presence of the series's first vocal songs in the intro and credits; I'm not particularly partial to them myself, but the instrumental versions demonstrate strength of composition that's worth respecting. Many of the franchise's standards for music were set with this release, and its influence can still be discerned in modern Sonic titles (if perhaps more in the 2D entries then the more heavily propagated 3D productions).








All this would be enough to establish the Sonic CD OST's iconic reputation. Yet there is more to the matter than this, due to an complex situation involving international marketing and differing opinions between executives. The resulting production is worthy of unique consideration . . .
 
Last edited:
Wow, another year for this thread huh?  Hello, I'm finally back, again :( , I got caught up with exams and all that so didn't really have time for Moriya shrine. But that is no excuse! Because I really really have to make time to do the things I wanna do (like going to this place and much more!), otherwise I wouldn't be able to do it and you'll be inactive for 2-3 months... like me lol. Anyways I just wanted to say I'm back! And I'm going to make it possible to have time and space for this site, besides doing stuff in my day to day life! Well, lets get back to metal gear!!! There's so much other posts 2, ah...

OH, hello Ken, I just saw you made a post. I was going to sent this post too! Lol, what a coincidence (I spelt it right :D).

 
From what I've heard, localization can be quite the ordeal. Translation is the most common consideration, but at times there can be disagreements between different company branches leading to substantial changes being made to the product itself. In the cases of Sonic CD, the marketing department of SEGA of America seemed to think the original soundtrack, present in all other international releases of the title, would not be suitable for the audiences of the USA. Based on this position, orders were given to have a new soundtrack composed for this specific release. The task was laid upon Spencer Nilsen and David Young to rescore almost every aspect of the game, including the opening animation. Exception was made of necessity to the past-variant levels, due to the unique coding of their themes.

I would describe the US soundtrack as "comparatively modern." By this I mean of course to compare Nilsen and Young's work to that of Hataya and Ogata which it was meant to replace; and here lies the imminent dilemma of the situation. The US soundtrack is not bad; in fact there are several creative ideas utilized, especially toward the end of the game. But no matter how interesting some aspect of it are, it will always be in competition with the original "JP/EU" OST, which is noteworthy for its experimental sound. While the US soundtrack may be easier to approach for someone unfamiliar with the style of music utilized in the original OST, it's simultaneously less memorable overall to someone more attuned to such sounds. This isn't helped by the forced contrast in style between the new tracks and the preserved "P Mix" themes, nor by the discontinuity between variants in the US version that worked so well in the original production.

All this may seem a bit negative, but I want to emphasize that these considerations unavoidably arise out of the comparison between the two soundtracks. Taken on its own, the US soundtrack is more than just serviceable, featuring many interesting themes and arrangements. If this hadn't been the "alternative" option, I suspect it would have been much better received. The replacement vocal theme for the opening and credits even seemed to fare better than its JP/EU counterparts (while it still doesn't match my standards for English lyrics, I can at least say the words are more coherent than those of the song's predecessors).

Disclaimer: I wasn't happy with most of the uploads I was finding, which I attribute to this version of the soundtrack never receiving proper digital distribution. I came across a fan's "remaster" of the soundtrack, which purports to have altered nothing but some of the instrument balancing, and as it does seem to remain unchanged aside from the better quality, I've decided to go with these uploads instead.

Disclaimer 2: Where's the spoiler tab function? This isn't the first time it's disappeared without warning . . . 😶
Welp, guess I'm stuck with the quote box for now.
EDIT: No longer . . .
Disclaimer 3: This first track technically combines the "G" and "B" mixes into a single piece, likely motivated by their near identical structure (this was one of the few instances in the game where there was compositional association between thematically related pieces).





 
Last edited:
Alright! Gotta continue now, ugh.. but there are so much stuff I wanna read. Lol, whatever.

CHeck this out!

Match by Takahiro Izutani (GEM Impact Inc.)


Spoiler

Hello hello! If anyone remember what I said in my post about MGS3's OST, you'd know that I talked about how the 1st song of my next  Metal Gear Solid's OST post is going to be really, really cool. But I don't have to tell you how cool it is, don't I? Because the song is quite short and smooth. The intro is just done so good! Give a listen!





Stay tuned for my next post, ahhh, so much to shareee

 
Last edited by a moderator:
Ultrakill. I just love the Ultrakill soundtrack. dont really have words to describe it  other than I just love it and the soundtrack is epic as hell

here are some good songs from it 



(war without reason theme of the earthmover is such a great song, some may think it starts off bad but if you just take 6 minutes to listen to it in full you will understand the power this song holds for one of the best bosses of the game possibly one of the best bosses ever)

yeah I love this game

 
Last edited by a moderator:
theres also the terraria soundtrack. a very nostalgic one indeed. I remember playing this game when I was 9 a lot. never got past the mechs at the time, although I have beaten the game multiple times now. I absolutely love this soundtrack and game too so im just going to post some songs here.



(this song fits the wall of flesh fight very well and I think it is one of the best songs in the game. the beginning is definitely a bop. sad that the song is so short compared to boss 1 and 3 and essentially every other boss theme)

I definitely love this game

 
Yo, influx of activity! I look forward to listening to the new posts once I'm done with mine.

I've been doing this for five years now, and in that time I've regularly discovered affinity for musical styles I'd previously thought I couldn't enjoy. This understanding has in turn motivated me to reevaluate some soundtracks I'd previously written off for one reason or another, to properly establish to myself what my prejudices are and what justifies them.

That being said, my prejudice against Red Dead Redemption II had nothing to do with the music therein, but entirely to do with resentment against its reception. 2018 was a big year for VGM, with the especially relevant releases of Celeste and Octopath Traveler, both of which remain amongst my favorite soundtracks of all time. I didn't get into VGM until a couple years later, and at the time was shocked to learn that both had lost "Best Soundtrack" at the Game Awards to RDR2. I remember trying to look up this apparently prestigious soundtrack, finding a selection of English vocal tracks, and lamenting to myself the poor tastes of modern audiences. This was, of course, incredibly pretentious of me, and I've been aware of that for awhile now. I decided it was about time to make a proper evaluation of this soundtrack, and it seemed fitting to do so now.

First off, a clarification that I wish I'd known earlier: RDR2's OST is split between three albums, each with a unique key-word identifier. A search for "red dead redemption 2 soundtrack" will bring up the album The Music of Red Dead Redemption 2 (Original Soundtrack); this is the first of the three albums, and features the work of Daniel Lanois. These are the aforementioned vocal tracks I originally encountered; I can at least admit now they are quite accomplished musically, but as I've frequently eluded my standards for English songs are quite strict. I question the composition style for some of these, as many sound to me more like country pop songs than Old West ballads, but that may be nitpicking on my part.

I encountered the third album before I found the second; I presume this "EP" relates to content added to the game post-release, but it also segregates the compositions of David Ferguson and Matt Sweeney from the rest. The main body of the soundtrack is found in The Music of Red Dead Redemption 2 (Original Score), where the work of Woody Jackson is compiled. Finding this album required far more digging for me than makes any sense, and I'm still not sure if the problem was the strict naming convention or just a failure of the algorithms. Regardless, finally finding this part of the OST settled for me the question of its reputation. These tracks are clearly more complex in their arrangement than I'm capable of perceiving, and I can only guess at their dynamic quality. Here the stylistic nature of the project is established and reinforced, tying in the outlying tracks with carefully curated instrumentation. While the collection isn't about to supplant the likes of Octopath in my preferences, I can finally acknowledge its merit as amongst the more superior productions of VGM.







 
Last edited:
While I typically seek out VGM that works outside of its intended usage, soundtracks must of necessity be for the purpose of accompanying a larger production, and the measure of a objectively "good" soundtrack is technically contingent on how well it performs this accompanying function. One of my earliest experiences of this principle in practice was the game Thomas Was Alone. This is a case of the little things supplementing each other for the full impact; the aesthetic is very basic, being entirely depicted with colored blocks, and the entire story is conveyed via dramatic narration and out-of-context quotations. Yet despite the relatively simple design, the game manages to portray itself as to be taken seriously, and I believe the music plays a major part in this. David Housden maintains a consistent sound across the soundtrack, but also clearly conveys the shifting moods of the game through it, resulting in a dynamic unity that acts as the games primary means of emotional impact. For all the game's merits, I don't think I'd remember much about it so long after if it weren't for the music reinforcing all its other elements.



 
Last edited:
My allotted time for a series feature has arrived, and this month I want to more properly experience the potential range of horror game music by delving into one of the most iconic horror franchises of the medium: Silent Hill.

For this first week, I listened through Akira Yamaoka's OST of the first game, and found it largely adherent to my preconceptions. Soundscapes and ambiences take up the majority of tracks, though admittedly there are tonal fluctuations in some which resemble melodies at times, and in all cases the instillment of atmosphere was admirable. Interestingly, the album seems constructed to be interconnected, one track transitioning into the next with very few breaks throughout. This had an unusual effect on my perception of the individual pieces, and in some cases I considered it advisable to consider two separate tracks as a single "performance." I've included two of these pairs in the feature; the first is "Never Again" into "Fear of the Dark," and the second is "I'll Kill You" into "My Justice For You."

Pieces of more standard composition were also present, especially at the conclusion of the album with the various ending themes. These appealed more to my preferences, and are fascinating instance of emerging VGM styles of the time, but are not technically representative of the soundtrack overall, so I limited myself to one ("She"). "Claw Finger" and "Fear of the Dark" are also melodic tracks, but have a clear atmospheric intention, showcasing the employment of melody for such purposes; that being said, I think "Never Again" was the track I was most impressed with, successfully instilling a degree of foreboding in me that no other track could accomplish. Ultimately I have to respect the variety in Yamaoka's "compositions" of all sorts, and I'm curious to hear the ways in which they developed over time.






 
Last edited:
I've got too many tabs open, so I'm doing a Fracture Feature (it makes sense from my end, don't worry about it). Bit of a theme this time around, centering on vocal tracks. I usually struggle with these, but I still try to appreciate the musical and/or technical accomplishments.

How do I usually do these again?
The Mindwave demo has been making rounds, and Dorkus64's "Although the Sky" features prominently therein. There's a wonderful blend of mood here, contrasting optimism and cynicism as respectively representative of the characters involved. Or I'm just reading into it . . .

I'd no intention of investigating Void Stranger, but a video dedicated to a specific moment tied to this piece has impressed me sufficiently to reconsider it for the future. eebrozgi and Eevamari together have crafted a musical embodiment of a downwards spiral, encapsulating confusion in hopelessness more empathetically than I've yet found elsewhere. As such, I'm bound to note that this technically isn't a safe song to listen to out of context . . . So why am I sharing it? Ultimately, music of this sort has a proper function, and I believe this particular piece exemplifies that. Still, I wouldn't advise making it part of a regular listening playlist.

In sharp contrast, I was recently reminded about Christopher Tin's legendary composition "Baba Yetu" for Sid Meier's Civilization IV. The critical acclaim this piece received made it quite significant in its time, and while I'm not sure whether that reputation has endured the way some other iconic pieces of VGM have, it's worth recalling for its many merits.
 
Last edited:
Silent Hill 2, as with a surprising number of other franchise's second installments, is considered the definitive entry of the series (hence the recent remake). Akira Yamaoka continues in his role as the series' composer, but this time around his arrangements seem to favor more melodic progression over the previous entry's heavy ambience. To be sure, the style is still the same overall; but where over half of the original Silent Hill's OST could arguably be categorized as soundscapes, its sequel contains a surprising quantity of synth jazz (some Youtube comments have indicated "trip hop," but I lack sufficient experience to commit to that identification). In unexpected consequence, the continuing interconnected style of the album comes across more choppy than before, with too much contrast between tracks for the flow to be preserved; y'all will doubtless notice the sudden cutoff of certain tracks. Nevertheless, the arrangements live up to their collective reputation; for once, I can understand the genuine enjoyment of a true horror game soundtrack out of context (although I found the rock tracks somewhat confusing; in what circumstance does such a game have use for such a juxtaposition of genre?).





 
Last edited:
I might consider this an addendum to last week's Fracture Feature, since it's another vocal track, but on the other hand it somewhat functions on its own. Back when Alan Wake II was being nominated for The Game Awards 2023's "Best Score" category, I chose not to investigate the OST due to having too many other things to prioritize at the time, in addition to my general reservations concerning horror game soundtracks. However, I was inadvertently exposed to "Herald of Darkness" through its performance at the awards ceremony, and had to acknowledge the merit therein. Likely due to my recent investigations into the Silent Hill franchise, I ended up with the song in my recommended recently, and subsequently did a bit of exploration into its various forms. I still haven't looked further into the soundtrack itself, but IMO this song is noteworthy enough on its own to justify an early feature in this manner.

I presume there's a dynamic quality to the piece that triggers its separate phases according to gameplay progression, based upon various ways the parts are complied in different publications of the full performance. To illustrate: The music video comes to about eight-and-a-half minutes, but the official audio is thirteen-and-a-half, while the "Complete Edit" is a full half-an-hour! Due to the lyrics being heavily contextualized to the game's story, I have less reservations for it as an English song; on the other hand, someone interesting in the story ought to be warned of heavy spoilers. I'm undecided as to the best order in which to listen to the different iterations; some parts of the shorter versions make more sense with awareness of the longer one, but the middle one is probably the best version on its own.
The "Complete Edit" best listened through in one sitting; good luck!


The official music video, starting at the actual beginning of the song and complete with a spoiler-heavy dance performance.


The ultimate version, noted by its lack of any clarifying parentheticals in its title.


I've made effort to include credit to composers in my features since early 2024, but I'm not sure of the proper attribution for this piece. Alan Wake II's soundtrack was composed by Petri Alanko, but the song is performed by the band "Poets of the Fall," who may have written the song themselves upon request. Likely someone else knows the truth of it, but this is the best I can do.
 
Last edited:
Silent Hill 3 remains consistent with its preceding entries, blending their respective emphasizing characteristics into a solid middle-ground between them. The ambience of the first game is more prevalent than in the second, but often spliced with rhythm-centric melodies; to my perceptions, this makes it the most balanced album overall, even as it retains the peculiarities that have thus far characterized Yamaoka's style. On the other hand, individual tracks are standing out less than usual, since they all seem generally composed in similar mood and progression. Technically this should be my ideal for a horror game soundtrack, emphasizing atmosphere through music rather than mere atmospheric soundscapes; yet I can't help but feel the contrasts of Silent Hill 2 made for better presentation. Regardless, I continue to be impressed with this series in defiance of my preconceptions.


Spoiler



EDIT-3/6/2025: Didn't see this here before making the following two posts, but it does serve to show what exactly happened in the transition.
 
Last edited:
The following post is from 2/19/2025, and is copied from the archive site. I'm more or less using this as a test to figure out the limitations of the new sites functions, so please bear with me.

Silent Hill 3 remains consistent with its preceding entries, blending their respective emphasizing characteristics into a solid middle-ground between them. The ambience of the first game is more prevalent than in the second, but often spliced with rhythm-centric melodies; to my perceptions, this makes it the most balanced album overall, even as it retains the peculiarities that have thus far characterized Yamaoka's style. On the other hand, individual tracks are standing out less than usual, since they all seem generally composed in similar mood and progression. Technically this should be my ideal for a horror game soundtrack, emphasizing atmosphere through music rather than mere atmospheric soundscapes; yet I can't help but feel the contrasts of Silent Hill 2 made for better presentation. Regardless, I continue to be impressed with this series in defiance of my preconceptions.





This last one is special; if you know you know :sneaky:.
 
You must log in or register to reply here.
Back
Top