Videogame music
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I gotta be honest — I haven’t really played computer games since the 90s (I did an episode of that here). Maybe the odd FIFA tournament in the 2000s, and a Telltale game or two since.
BUT…I’m continually impressed by the scores that come out of them, without having any connection whatsoever to the games. And I’m not talking about the big, boisterous orchestral action music, but rather electronic ones, or with unusual or smaller acoustic ensembles. There are always some gems every year.
I can recommend some, but wanted to hear your relationship to videogame music first.
Same for me, probably around 20+ years ago. Already on the C64 or Amiga I was probably the only person who listened to the music instead of really playing the games 😉 Classics like the still active Chris Huelsbeck, Rob Hubbard and the like (if anyone remembers those…)
But I also listen to them often. Classic but also newer ones. I like Olivier Deriviere oder Austin Wintory a lot.
I have always had an affinity for computers, and periodically play video games. By that I mean the first video game I ever played was Pong—I don’t think you can get much older than that. (I did not have this game as a kid, but a friend of mine did.)
Back with some friends in the 80s, I played on the NES completely through the first two Zelda games and Super Mario Bros. 3… Then I didn’t play for years. Then, in the late 90s, I played the first two Tomb Raider games, Total Annihilation, and all the Monkey Island games (that were available at the time). Then I stopped playing for years again. In 2017, I bought the then-new Nintendo Switch because I really, really wanted to play Mario again.
The thing with Super Mario Bros. games is… I have to play them completely through… all the way, every level, every star or moon or whatever. And say what you want—they do get insanely difficult at times. At least for such a casual player as myself.
Which inevitably, sooner or later, leads to situations like the one pictured below (from New Super Mario Bros. U Deluxe… perhaps my favorite “classic” Mario game), where I curse that §$%§! piece of §%&! “one-wrong-move-and-you-are-dead” plumber! (Yes, that is an actual screenshot of me playing the game in 2019.)
So I have periods where I play one or more games intensively, and then sometimes years where I don’t play any video games at all.
These last few months, I have not really played many video games because I spend my time on other (presumably more important) things—but I still like video games.As far as music is concerned: yes, some of it has been really great. I mean, by nature, most (though not all) video game music is mood- rather than context-specific, so it is generally not very dramatic music, but rather sets the atmosphere. It must not be too specific or dramatic, because oftentimes it has to be able to be played in a loop, depending on how long a player stays within a certain scene. So it’s different from film scores in many ways. Some of it is quite nice. Grant Kirkhope’s music for Mario + Rabbids, for example, is terrific, with many charming melodies, songs, twists, and turns. The music was performed by the City of Prague Philharmonic Orchestra, conducted by Nic Raine, so I guess film score fans certainly know these names (James Fitzpatrick was listed as the orchestra manager).
There was some music with a definite “Danny Elfman” touch in an early level of Super Mario Odyssey (I’m pretty sure it was an intentional reference).
I do have a few soundtracks of video games, like the BALDUR’S GATE III soundtrack (which came with the game, which I played a bit last year—but on the PC, not a console), and some of it is indeed very good and very “filmic”.I did also play Monkey Island in the 90s. Those days with handling a dozend of discs 😉 Also a great old classic is Turrican (wiht music by the already mentioned Chris Huelsbeck)
Haha… yeah, the Monkey Island scores by Michael Land are great, I actually do listen to them apart from the game. Of course, I also loved the games. I played Ron Gilbert’s THE RETURN TO MONKEY ISLAND (the belated sequel) when it came out and had a lot more fun playing that than I have from watching most movies today.
I actually do listen to them apart from the game.
Me, too 😉 But the contributions by Clint Bajakian and Peter McCOnnell should not be forgotten (although I don’t know who did what). I always thought about playing Return to Monkey Island but didn’t get to fit that in so far sadly…
Speaking of Bajakian did a good Indy game score years ago (although that needs some whittling).
Land, Bajakian and McConnell are legends. Especially Land. THE DIG is still the best videogame score ever written, as far as I’m concerned.
I did. Several times. It’s also my favourite videogame of all time. Amazing mood. Would have been cool if Spielberg made a film out of it, as he wrote the story.
One of the foremost videogame composers in the last 10-15 years. His REMEMBER ME (2013) is an interesting experiment (with that post-production tweaking of the orchestral recording), but this one from 2018 a more fulfilling listening experience. Purer and calmer, with chorus. (By the way, I did a Q&A with Deriviere in Cannes 8 years ago, which can be viewed on YouTube here, from about 22:00, for anyone interested).
I discovered Deriviere with his early scores to the OBSCURE games. He seems to be very into the technically side of how music dynamically works within the game itself. Probably quite some work to get an actual listenable album out of that. I got quite some of his scores from his bandcamp but have not yet fully conscientiously listened to them all (same with Wintory’s work). GREEDFALL and A PLAGE TALE are also more classic scores if I recall right.
Will look into that video sometime. If you haven’t you should have such stuff with a short article on the site 😉
Yes, I’ve thought about “re-packaging” some of those YouTube things into content here, even if they’re old.
I rarely get into those big, orchestral videogame scores, but there are exceptions. Knut Avenstroup Haugen is one. Olivier Deriviere is another. I’m afraid Wintory has never done anything for me.
Knut Avenstroup Haugen I don’t know even by name. I can understand that Wintory is problematic to get into.
Yes, I’ve thought about “re-packaging” some of those YouTube things into content here, even if they’re old.
Just to affirmate that I think this is a good idea! You could even transkript the interviews to give search engines – and nowadays chatbots… – more content. Text content within an video is naturally rather hidden (even if there are automatic subtitles by now and such).
I’m firmly convinced Rare’s success was at least 65% the music for their games, and not the rather floopy, looks-better-on-the-box-than-in-motion gameplay. The soundtrack to Donky Kong Country still makes me feel some kind of way.
Already in C64 times I was one of those who listend more to musik like intro or highscore than actually playing the games itself 😉
As I’ve said before in this thread, I don’t play videogames anymore. However, I do latch on to new videogame scores quite often, especially if they’re electronic.
Two favourites in recent years are FAR CRY 3: BLOOD DRAGON (2013) and TRIALS OF THE BLOOD DRAGON (2016) by the Australian duo Power Glove. I believe the first is an expansion pack to FAR CRY 3 (FAR CRY is a popular adventure game series). TRIALS is a spin-off of BLOOD DRAGON again. Or something like that. It’s all rather complex for someone like me who’s no longer in the loop.
But it’s the music that counts. They’re not only wonderful synthwave, but have many direct references to Faltermeyer, Fiedel, Vangelis etc. Well worth checking out for other fans of these:
Listening to this, in honour of composer Stephane Picq, who died last year, only 59 years old. He is of course the man behind the music of the original 1991 DUNE game, which I never really played, but I watched other people play it. This 1992 album is his rearranged version of that, with more spiced-up(!) sound, so that it isn’t QUITE as meager and 8-bit as the actual score. It’s a fantastic electronic concept album, really. Alongside Toto’s score for the Lynch film and Knut Avenstroup Haugen’s new score for the DUNE: AWAKENING game, the best produced in the franchise. Sorry Hans, Brian, Graeme and Frank — yours are good too, but not on this level.
This track has a nice Deep Forest/Enigma vibe to it, which was all the rage at the time:
What do you think about the CLAIR OBSCURE video game soundtrack that is a bit hyped at the moment? I have to admit I have not really listened to it – there is a huge 3 hour album out there and several extras… – except the two main songs that even have videos. (Of curse I have not played the game and have no idea what it is about ;-). I do like them and they are kind of earworms a little. They are refreshlingly old school (oxymoron I know) and have that certain French vibe.
I’ve only registered its existence, I’m afraid. I’m very apprehensive when I seek out new videogame scores, and I see they have a running time of 2 or 3 hours (or more). I’m exasperated before I even press play! So I tend to steer clear of them, or save them for last.
The two songs you linked to were okay. I’m sure I’ll get to this eventually, when I explore new videogame scores. I’ve had to prioritize 2025 feature film scores after New Year’s, for the annual top 10 podcast (hopefully released next week).
when I seek out new videogame scores, and I see they have a running time of 2 or 3 hours (or more). I’m exasperated before I even press play!
Yeah, absolutely understand that! So/too much to listen to.
As I’ve said (repeatedly now), I don’t play videogames anymore, but if I would, it would be new point-and-click adventure games like ENCODYA (2021) – harkening back to what I used to play in the 90s. Be that as it may, it has a wonderful, spellbinding score by Yann Letour that has the DNA of Vangelis’ BLADE RUNNER, but really does its own thing. All of these tracks could easily fit in the “Musical Poetry of Urban Soundscapes” thread. Recommended!
For me I think Donkey Kong Country was a big game music moment for me as well. When I saw that the soundtrack was available on Cassette and CD it’s something I really wanted to own but never has the money back then. I used to record some music from the TV speaker using a record feature on my parents boombox. I also loved the music in THE DIG – but never played the full game, just the demo.
The first real game soundtrack CD I bought was MYST from Cyan directly. I was amazed by that soundtrack, and also really adored RIVEN which I was able to buy from my local record store. One of my favourite game soundtracks was to the Journeyman Project 2: Buried in Time. I had a Packard Bell PC (our first family computer) and it came with the Journeyman Project Turbo. This sequel I purchased in a Bargain bin for $10.00 probably in 1996 or 1997. The game had a catalogue for related merch, including a soundtrack CD. As it turns out the soundtrack CD was never produced. I learned this year later when I tracked down the phone number for the composer Bob Stewart and called him up. Years later I would extract all the game audio files and make my own Bootleg recording – for my own ‘audio survival’. I shared it with fans years later and it’s now living on Youtube where someone else uploaded it: https://www.youtube.com/watch?v=nkB7UAG0xCs – the composer passed away and the soundtrack has yet to be released. I am still in communication with the game studio’s alumni who do want to release if they can find the assets – the search is ongoing:
After that I still wasn’t huge into video game music. I think my next most memorable CD game soundtrack was Final Fantasy VIII – which had a striking soundtrack.
When I was a teen I used to frequent used game stores – and also buy game systems after they officially ‘died’. I got a Sega Saturn from a Walmart for $60 and ended up trading for some great games at my local Microplay – that’s how I stumbled into owning and playing Panzer Dragoon Saga (AZEL: Panzer Dragoon RPG). In high school pre-paypal days I remembering forking out a big chunk of money via money order to otaku-japan to get the ‘Memorial’ soundtrack on CD. It is one of my all time favourite game soundtracks.
I also sought out a few others like Songs of Time: The music of Ecco the Dolphin. A masterpiece.
I started writing about game music after seeing an advertisement on the Video Game Music Database forum – I was looking for some kind of outlet to write after a close friend took their own life. It was all volunteer work, and it was fun until it wasn’t – when it started to feel like work I stopped. I was even gifted a few vinyl from composer Jon Everist for actively promoting their music – I like to feel like I had some small impact on their career. But it really helped me embrace game music even more. Sometimes I miss writing about game music – would love to do it as a paid gig. But nowadays most people don’t read anymore.
For Expedition 33 I thought the soundtrack was ok. It winning best soundtrack at the game awards was not surprising, but I have not played the game. For game soundtracks to make a mark on me – they really have to make an impact, and push me into re-listening to them. I have listened to the whole thing a couple of times during my work days and it’s fine in the background but nothing seems to stick – I’m not humming anything or craving a re-listen.
Austin Wintory’s SWORD OF THE SEA was my fave choice to win last year, and was happy to see it win the Grammy. It’s wonderful, and has gotten so much replay – I will probably never play the game. His last game score I loved this much was ABZU or Journey. He has put out some good stuff – but this has been the most impactful.
Also Thor, those soundtracks by Power Glove (FAR CRY 3: BLOOD DRAGON (2013) and TRIALS OF THE BLOOD DRAGON (2016) are ‘Bitchin’ – they are such great listens, and happy I have both the CDs.
I never really played the games but Myst and Riven had very amospheric scores. The follow up scores to Part 3 and 4 by Jack Wall are also nice and of course sound wise much more advanced.
Sometimes I miss writing about game music – would love to do it as a paid gig.
I am sure Thor wouldn’t mind some reviews for the actual site. Would not be a paid gigs though 😉
I am sure Thor wouldn’t mind some reviews for the actual site. Would not be a paid gigs though 😉
Sadly, no, but I’d welcome any reviews with open arms.
Cool that you also latched on to the Power Glove scores, Ryan. I had a feeling you would.
Great origin story (alas, I never latched on to console games much, it was all about PC). And yes, MYST and RIVEN are huge in my teenage years. Incredibly difficult games, and I often gave up (or resorted to walkthroughs), but stunning atmosphere, in large part due to Robyn Miller’s music.
Really nice videogame score from Johan Söderqvist & Patrik Andrén, from last year. Wrote a few sentences about it here.
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