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2018 is a mere ten days away and with that realization, we at have eagerly compiled our choices for our favorite records of the last twelve months. It’s a difficult task to place one score over the other as we feel so very strongly about each of these entries and artists that we’ve decided that for this year at least, they all represent the number one spot in some way, shape or form. At, we love this genre of music above all else and are eternally grateful that our sentiments are shared by such a vibrant and wonderful community. From all of us at, have a safe and wonderful holiday and we will see you in the new year. Now…onto that list.


Rather than Geno attempting to take on this task alone, we’ve asked Bernard to collaborate closely with him. Generally, they hate each other, but they’ve decided to call a truce for the length of this feature. Neither seems to know if the truce will hold.

The Music Of Persona 5

Composer Shoji Meguro

Written summary by Geno

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Listen: Wake Up, Get Up, Get Out There

On July 3rd, 1973, a frail and visibly exhausted David Bowie stood before an audience to declare his time as Ziggy Stardust had run its course and that in fact, this would be his last show. It wasn’t of course, but Bowie, sensing the atrophy and general fatigue of his own creation sought an exit that would allow him ample space to cultivate in directions beyond zones that were both familiar and habitually referenced. Bowie realized, that the termination point of the Ziggy Stardust character was necessary to reframe and extend his legacy beyond what some might have seen as nothing more than gimmicks or sleight of hand. The answer was simple to Bowie: walk away.

In this very same manner, longtime Persona series composer Shoji Meguro, had for many years accepted the congratulations lavished upon and afforded him by his work. Rightly so, 2008’s Persona 4 solidified him as a brand, a name considered for permanent, multiple effigies found dotted across parts of his native homeland. Meguro’s sound was his very own, his signature absolutely identifiable, and his ticket sales…assured. So…his band played and played and played. This went on for years. Then, suddenly, Meguro disappeared. His output seemingly stalled mid-ascension. In this interim,his likeness became attached to music largely remixed or rearranged for projects already long in gestation. Meguro, like Bowie, had walked away. Rather than placate an expectant audience with another serviceable rubber-stamped setlist, Meguro instead gnashed his teeth, toiling alone for years and out came Persona 5.

Absenteeism has done well for Meguro, however, as complacency is replaced indiscriminately with a slovenly rabidness that Meguro,eyes open, mouth agape, sees fit to saturate these proceedings with. Persona 5 maintains some of Meguro’s autographed whistle tests, but the time spent tinkering within 5’s pupa shell is a fascinating process of anarchic rebranding. Persona 5 is Meguro delivering phrases in neither Kanji or full English, but rather some hypnotic hybrid language, that while largely untranslatable, remains utterly gripping. Meguro is also increasingly insistent that his way is the only way forward…with good reason. Beyond neon, beyond tilted angles, and  beyond logotype, this is a man in full.

The Music Of Nier Automata

Composer Keiichi Okabe

 Written summary by Bernard

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     Listen: The Weight Of The World

“Once in a generation”, would probably be the most succinct and cliched way of describing NieR: Automata, but that kind of small-mouthed praise falls short when we talk about Automata’s music. “Once in an era” maybe, or “Once in a lifetime”. Keiichi Okabe had the nearly impossible task that was following up his previous masterpiece, the NieR: Gestalt & Replicant soundtrack from 2010. This behemoth of a burden was made even more difficult by the fact that Yoko Taro is a notoriously hard man to work with.The inherent lunacy present in the themes of Automata would’ve made it easy to create a disjointed, foul mess of a score that had no coherence and destroyed engagement from the player.

Okabe work was a resounding success; we received sorrowful punches from pieces like “Mourning”, we felt the bleakness on asking the question on what it means to be human by listening to “A Beautiful Song” and “Emil: Despair”, we soared above the carnage of the battlefield and inundated our souls with hope and defiance with the game’s final theme “The Weight of the World / The End of YoRHa”. The deep emotional resonance felt during the game’s conclusion is enough to make a grown man tear up, an expressive and beautiful parable that will stay with you long after the controller has been put down.

The Music Of The Legend Of Zelda: Breath Of The Wild

Composer Manaka Kataoka

Written summary by Geno

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Listen: The Legend Of Zelda: Breath Of The Wild: Main Theme

The Legend Of Zelda has for years, as a series, labored inexplicably and to its detriment with an inability to alter its musical typeset. Its painted corner is one in which shade and texture are oils and base waiting for reapplication. Discussions to darken or lighten are muted affairs with the same roundtable vote that errs on the side of silencing dissenters. The Legend Of Zelda: Breath Of The Wild and its divisive cleavage is the furthest stray from its days as a pre-fabricated edge. Lead composer Manaka Kataoka’s choices are ones that finally place adage and nostalgia in the furthest rearview. In many ways, Kataoka seems intent to score beyond the soundstage for which he was first employed, as The Legend Of Zelda: Breath Of The Wild is very much a personal statement from Kataoka, as it is the assigned backdrop to a series now approaching 40. Kataoka’s touch is one that judiciously mutes the franchise’s stubbornly repetitive call-outs, its overplayed bombast, and its typically indelicate handling of moments of introspection. Kataoka’s removal of Zelda’s more inherently theme park elements reveals and restores a deftness and subtlety seemingly long trampled underfoot.

The Music Of Touhou 16: Hidden Star in Four Seasons

Composer Jun’ya Ota, “ZUN”

Written summary by Bernard

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Listen:The Concealed Four Seasons (Okina Matara’s Theme)

A dream is shared among millions around the world, the dream shapeshifts and morphs as it jumps from mind to mind. But somehow, it all comes back to its origin: Jun’ya Ota, “ZUN”, had done it yet again, painstakingly for the sixteenth time and counting. Touhou had always been sort of an oddball, a weird singularity on the already weird Japanese independent scene. But the music, the music was always right. Intoxicating and exuberant, much like the whole franchise, it constantly skirts the line between playfulness and seriousness. A fascinating and powerful dreamlike feeling is produced, that refuses to be pinned down as a self-serving exercise or an imitative, parodic recitation of Eastern mythology. ZUN is in top form in Hidden Star in Four Seasons, and the journey he takes us through spans every color in nature: from the beautiful pink cherry blossom of spring, to the serene white of snows in winter.

The Music Of Resident Evil 7

Composers Akiyuki Morimoto, Miwako Chinone, Satoshi Hori, Cris Velasco, and Brian D’Oliveira

Written summary by Geno

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 Listen: Main Hall

It seems that composers in the modern day have forgotten that horror is an element largely devoid of sound. With this in mind, the artist’s application then becomes a route of brute force in an attempt to pull their audience along a desired line with smoke plumes and poorly costumed thrills, but this guidance, this hand holding, only deadens the delivery of cortisol to the brain ensuring a reaction that is subdued, easily manipulated and controlled. Not so with Resident Evil 7. More a cast than conclave, Resident Evil 7’s multiple composers are each actors playing to individual scenes under widely contrasting circumstances. Disparities aside, the core of their work is one that emphasizes silence almost to vertigo. It is unobtrusive and distant, but this detachment is merely in the service of heightening some measureless form of malevolent dissonance, an unsteady clanging…perpetual ambiguity. Presence, not companionship, is everything a horror record should aspire to be, and Resident Evil 7’s score is an omnipresent diary of observation; it watches but has no inclination of ever interceding.

The Music Of Ruiner

Composer Susumu Hirasawa

Written summary by Bernard

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 Listen: Sidewalks And Skeletons

RUINER was perhaps one of those games that slid under some people’s radar. As a game it wasn’t exceptional. One of many stick shooters that don’t really reinvent the wheel, but provide solid entertainment for those of us with twitchy fingers and masochistic streaks. The main driving forces behind the soundtrack are two young electronica prodigies, “Zamilska” and “Sidewalks and Skeletons”, and they do not disappoint. The game’s score seethes with a retro futurism straight from the 80s, an electro-pop mix of hyper alert bounciness, and gleaming tubes with cables that connect Kraftwerk and dreams to the far horizon. It’s brutal and unforgiving, while at the same time melancholy and retrospective. Deliciously crunchy, but painful in its loneliness and the realization that the future that the 80s envisioned is no place for a god-fearing man.

The Music Of -Middle Earth- Shadows Of War

Composers Garry Schyman, Nathan Grigg, and Kelli Schaefer. 

Written summary by Geno

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Listen: The Siege Of Minas Ithil

For composer Garry Schyman, the previous decade was one marked by laconic verse and agonizing degrees of modulation. His scrupulous moves within the world of the Bioshock  franchise were indeed wholesale victories of faultless pitch, though it seemed that Schyman’s  tenor was purposely held below the octave it was meant to scale, and that without much effort seemed easily attainable. This delivery of restraint has served his records well, as with each of his new pressings, the level of human voice is increased, colliding ever closer to the desired mark. This progression comes to full-throttle maturity with Middle Earth-Shadows Of War. It is obvious that Schyman is no stranger to projecting, as the ink on his scores from Bioshock to Dante’s Inferno, and  Front Mission Evolved, among others, are song cycles that attempt to challenge ever the grander set-piece. Still, what Middle Earth: Shadows Of War achieves is unfettered grandiloquence, and the end result is quite possibly one the most lavishly ornate and italicized action scores of the last two decades in gaming.

The Music Of Hollow Knight

Composer Christopher Larkin

Written summary by Bernard

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Listen: Greenpath

Darkness and desolation are such overdone concepts, that when a game comes around completely cemented on these two concepts one cannot help but to raise a skeptical eyebrow. It was a pleasant surprise then, when Hollow Knight shattered every preconception when it came to both its gameplay and its music. Composed by relative unknown Christopher Larkin, there is darkness in the game’s music with a bit of Zelda’s DNA injected into its genes , but there is also a touch of renewal, a touch of new age whimsicality backed by a full orchestra. Hollow Knight rings like a musical dream about faith and forgiveness. A fairy tale for the modern gamer, where optimism has yet to drown in a sea of cynicism.

The Music Of Hellblade: Senua’s Sacrifice

Composers Andy La Plegua and David García Díaz

Written summary by Bernard

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 Listen: Passarella Death Squad – Just Like Sleep

Uncomfortable, unsettling, unnerving, unbalanced. It’s difficult to describe how Hellblade plays out without sounding a bit unhinged. But in the end what makes Hellblade so special is that it doesn’t try to separate violence from the mental wounds it creates. Senua doesn’t only physically fight the undead hordes of viking warriors, but she also fights the trauma of her past, tries to defeat the phantoms that inhabit her mind. Ninja Theory did a fantastic job with the sound direction, using binaural 3D to make the player feel like they’re Senua herself, wrestling with the demons of mental illness. It’s frightening and amazing at the same time, the music masterfully creates an atmosphere where fear is thick and permeates the air like a toxic gas. One must constantly remind oneself that this is only a game, brilliant and malevolent, but a game nonetheless.

Thanks for another great year with us here at! We’ll see you all in 2018!

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Listen: Metal Gear Solid V: Original Soundtrack: Mike Oldfield: Nuclear

In its most base form, composers Ludvig Forssell, Justin Burnett, Harry Gregson-Williams, and Daniel James’s score for Metal Gear Solid V: The Phantom Pain is the sound of ice, but not of it breaking, nor of it being formed…but the SOUND of it. It’s not something you can photograph or truly gauge with your ear. For some, it’s terrestrial, completely alien, a fogged intonation, a strange drowning sibilate. To others it’s an arrival knell: a sound only known and familiar to those who’ve been immersed in the throes of crippling mental and emotional isolation. Imagine its hollow encapsulation turned to physical echo, its corridor growing larger and longer. This is the frigid tolling that is to be found within much of the Phantom Pain, and it is this cold that is essential to its framework. Grieving and loss often rant indecipherably, their telegraphs exceedingly verbose as the mind becomes consumed and appropriated by schism and brokenness. Lead composer Ludvig Forssell and his collaborators must carefully interpret what little can actually be translated from the scribble, and make sense of what remains available from this dying white noise: this must be a meticulous clarification, a vision, a definitive account of the ordeal, no matter how boreal the chimera. Here is the sound of desolation: how I wish you were here with me now.

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 Listen: Metal Gear Solid V: Original Soundtrack: Withered Peace

But… before we talk about the later acts of The Phantom Pain, we have to make note of its preface. The mere fact that Metal Gear Solid V’s dual acts share closely related passages within the same novel would be of both failure and disservice to Forssell, as his sublime and inordinately pregnant dusk (Ground Zeroes score) requires and deserves separate and magnified praise. The compositions for Ground Zeroes offer up a striking penumbra. This is a finite, panoramic view of the moment where stasis finally fails and all its many delicate supporting mechanisms enter into a state of steady decline: things are simply, irreparably breaking down. Whatever glints, whatever thin parcels the aurora that may have remained are slowly being gagged from above. Withered Peace is the clearest mark of this shift, you can hear it as it stammers loudly, as if it were searching itself for some remedy, some tangible gadget to alter the present course: there’s regret, trembling, and an audible degree of indecision. Conversely, Bloodstained Anthem wholly embraces the boldness of the stygian landscape before it. Forssell’s work needs no anchor, as both these pieces demonstrate his innate and incredible abilities to advocate for both sides of the countered nature of The Phantom Pain. Composer Harry Gregson-Williams’ contributions are encompassed in their entirety within the Ground Zeroes prologue, but despite their brevity, serve as some measure of pavement to bridge the myopic night driving that’s about to take place in the Phantom Pain. She’s Rigged and The Fall Of Mother Base are key components within the full transition, and they do serve as reminders of why exactly Gregson-Williams has been kept on full retainer for some 14 years by Kojima productions. Ground Zeroes stands as a luminous signpost within the Phantom Pain’s many stunning and intricate lines and fractures. But…what of that ice?

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Listen: Metal Gear Solid V: Original Soundtrack: V Has Come To

Yes, back to that ice. Understand me, when I say that The Phantom Pain’s score is the fullest measure of destitution. If you were hoping for something gentler, some still-water alcove of obligingly arranged reminiscence, perhaps, I’d advise you to look elsewhere. I’d also add that in dealing with the subject matter of The Phantom Pain, doing the above described would be to erase all meaning from the text. While the vinyl for Ground Zeroes walked the scant hairline between the underworld, Phantom Pain’s LP proper dissolves all supporting allegiances with few exceptions. The opening, V Has Come Too, makes gorgeously vivid and painterly Forssell’s muse (Big Boss). Rather than draft him as someone or something fully one dimensional, villain or savior, Forssell instead makes a stunning cast from his fragments of deficiency, his failures, and his malcontent interspersed with what indeterminate good actually remains of the man this far down the wire, and shows us just how teetered our hero actually is. Listen closely and you’ll be able to hear the entire composition attempt to steady itself, a single note at a time, with some notes just under their range, some movements pushing too far to the right, and regular unscripted outbursts are common: conditions change. Without question, V Has Come Too is one of the greatest pieces of music I’ve yet heard in a videogame or film in over a decade, and one of the best pieces the medium of musical entertainment has produced as a whole: yes it’s that good. A Burning Escape runs deeply accented and caliginous strides around even the murkiest lore within the Metal Gear mythos. The wisely uncut full 9 minute duration of Escape is the very anchor of the 1st half of this record and composers Burnett and Forssell’s low agonized crawl give shape to all that the Phantom Pain represents, but these are moments recalled in short flashes without access to the full memory, and no doubt, Forssell and Burnett realize it NEEDS to be this way.

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Listen: Metal Gear Solid V: Original Soundtrack: Kept You Waiting Huh

Much of what the Phantom Pain is built around, is madness. Contrary to popular belief, madness isn’t a personal exercise, it’s not one of isolation…it’s shared, collective, and enabled. In the case of Big Boss, his lieutenants, his friends, and all his allies are complicit in his downfall: however much his men may object, they still goad their mentor to continue, and despite objections remain silent. Kept You Waiting Huh? expertly redecorates the Boss, reinstates him to a man in full, his former appearance, but not his former self. Waiting’s celebratory pomp perfectly masks Boss’s intent as Forssell’s multi-part walk on cues for the Boss via Waiting and Afghanistan’s A Big Place offer up both opulent pastoral stretches with enough room for imagined soliloquies, and physical enough that despite the years behind him, Big Boss is a man of undiminished build, undaunted and nonchalant as he reengages his enemy. Forssell intrinsically understands the importance of this moment, and he delivers it with gravitas and aplomb. And still, this is only just the beginning.

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Listen: Metal Gear Solid V: Original Soundtrack: On The Trail

Action is of course, a large and core proportion of Metal Gear Solid V: The Phantom Pain, and the things Forssell does with each piece of the script’s call for bullets will no doubt turn heads in sharp approval. Forssell’s treatment of celebrated director Hideo Kojima’s stage is one of the most radical and sharply visceral set-lists to grace a numbered MGS entry. Where Metal Gear Solid 4’s instrumentation was intent largely to pontificate and place every moment under glass and Metal Gear Solid 2’s was a touch too grandiose, Metal Gear Solid V, strips away that penchant of the series to lean on larger and grander orchestration: Encounters here aren’t sanitized, and any ideas you have about the sound of the action being overly, disproportionately produced, or densely populated with a symphony too enormous would be wrong. Forssell is intent to sell his pieces in exact dimensions with much of the fat being left to drain instead of further marinating a dish already fully seasoned. Forssell’s MGS is an experiment, a live improv with instruments strewn about the floor, all plugged and live with microphones. His methodology carries with it this capricious nature that seems to revitalize and re-invent this series very defined, very heavy accent. Take Encounter On The Plains, Metallic Archaea, On The Trail, Drop Off, Parasites, and Unforgiving Sands: each of them are imposing but palatial mutations that collapse and re-atomize with each passing second. Where you begin, you don’t end up. This is purposeful, I can only guess, because Forssell (rightfully) seems intent on dismantling the clarity of these once picked apart and perfectly cued junctions (action cues) . Surely nothing about a real firefight can be choreographed, and clarity itself has no place there: Forssell gets it.

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Listen: Metal Gear Solid V: Original Soundtrack: OKB Zero

Forssell’s scaled down approach to Metal Gear Solid V: The Phantom Pain also allows for more emotion from the personalities that he’s scoring for, with an emphasis placed on room for them to breathe, and time enough to manifest the traits of their character (this includes the environments). Let me be clear: Forssell’s compositions come closest to actually recapturing the feeling of the original Metal Gear Solid album by composer Tappy Iwase. Forssell’s design likewise maintains and even surpasses Iwase’s level of melancholy. OKB Zero ’s broken and fading string-light pageantry is one of the greatest moments of audio in any MGS title full-stop. The exact same could also be said of Shining Light’s, Even In Death and Beautiful Mirage as they bring this series to the point of full circle, similarly awash in the sound of white( there’s that ice again) that once greeted series mainstay Solid Snake as he infiltrated Shadow Moses Island some 17 years ago. In regards to the main vocal theme Sins Of The Father, Forssell deserves further standing ovations as it is probably not common knowledge that the lyrics were of his invention with music by series stalwart Akihiro Honda. It goes without saying that overdue credit goes to spectacular vocalist, Donna Burke, without whom it would be lost.

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Listen: Metal Gear Solid V: Original Soundtrack: Beautiful Mirage

The Phantom Pain is VERY much Ludvig Forssell’s show, but his collaborating composer Justin Burnett’s contributions are to be applauded for their excellence and their flawless adherence to Forssell’s ultra gritty vision. This is a seamless work that requires you to be able to live inside of it, where even the slightest incongruence would have had the power to remove you from its world: this duo is very tightly knit. Burnett’s Angering Mantis in particular follows the precedent that both he and Forssell set early on with Burning Escape, and exemplified further by Forssell on OKB Zero. Mantis is given ample time, because Burnett knows that for something to be truly frightening, grizzly even, it will take more than a first glance, as both glances and initial introductions can be deceiving, but given a little longer…that’s when the evil sinks in.

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Listen: Metal Gear Solid V: Original Soundtrack: Shining Lights, Even In Death

Fullest marks and the very highest of compliments go to those artists who can successfully weave the imagery of their LP cover into the tracks on their album. Composers Ludvig Forssell, Justin Burnett, Harry Gregson-Williams and Daniel James have indeed unraveled and decoded all of The Phantom Pain’s many variant 12 inch pressings: their combined inscriptions create a score to best and eclipse all of the series’ past masters. The mere existence of this record adds value and stock to the series of Metal Gear, and imbues its future with the numerous possibilities beyond the ice: a true passing of the torch.


Having fallen in love only 4 times in his life Geno counts Double Dragon as his second and truest love. He has worked in record retail since 2000 and believes David Hayter to be the one true Solid Snake. Currently, he is putting together a band which only perform songs from Street Fighter 3rd Strike.

Grief brings us together, it’s part of the human condition and what makes us the creatures we are. Sadness is no stranger to video games either, the many flavors of sorrow have painted a picture of dejection on screens almost since games first became a storytelling medium. The entirety of the Shin Megami Tensei series and its spinoffs, a few of the Final Fantasy games, Metal Gear Solid, and the Silent Hill series are all perfect examples of the different shades of misery that developers have employed to give their games that extra punch, that permanence in the mind of people who play them by associating the games with a heartache leaves an impression on all but the most stoic people.

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“I won’t scatter your sorrow to the heartless sea, I will always be with you.”

One might remember the Ar tonelico games, the PlayStation 2 and PlayStation 3 RPG series that, while no stranger to despondency, wasn’t particularly acclaimed or even well known in the west as the games previously mentioned. The Ar tonelico series was, however, fairly unique in the way dealt with concepts that few games had dared to explore to such a deep extent back then. Morality, the power of bonds, the schisms between different cultures and societies, psychological voyages to deep within the minds of our protagonists that change the way the see their world, an absolutely biblical amount of side materials that explained the universe of EXA_PICO, and a veritably gripping story were all elements that felt right at home in Ar tonelico. It was then, once NIS America localized the games, that Ar tonelico gained a fiercely loyal and extremely dedicated niche following in the west.

The developing team at GUST had been silent about the Ar tonelico series since the game on PS3 had, for lack of a better term, completely flopped. But they broke the drought and the skies opened in 2012 in Japan with the release of Ciel nosurge. Ciel nosurge was an odd game, and perhaps its oddness is a story for another day, but to make a long story short: The game was not a continuation of the Ar tonelico series, as it took place before the events of any of Ar tonelico games. However, Ciel nosurge does take place in the same universe as Ar tonelico, it deals with a fair amount of the same elements and greatly expands on the mythos and history of the series. Considering how it was a “life-sim” (think perhaps a Tamagotchi with RPG elements), the west never saw Ciel nosurge. But not all hope was lost for fans of the EXA_PICO universe. Soon after the release of Ciel nosurge was finalized GUST announced that they were working on a sequel to the game that would be a bit more traditional in terms of a Role Playing Game.

Listen: Ciel Nosurge’s OST – Ra Ciel Fusor

And then there was Ar nosurge. The game was released stateside fairly quietly in September 2014 for the PS3, it wasn’t advertised very much, if at all. Ar nosurge was not your standard JRPG from the seventh generation, compared to games such as Xenoblade, Ni No Kuni, the Final Fantasy 13 trilogy and the dozens more that saw English releases during the lifespan of the Wii, Xbox 360 and PlayStation 3. The closest comparison that comes to mind is Atlus’s masterful Persona 3 and 4 games from the PS2, seeing how both are immersive, text heavy RPGs that focus on character development.

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Ar nosurge’s male protagonists, Delta and Earthes.

Ar nosurge begins with an incredible opening, a tinge of malevolent tribalism in its notes. You can feel almost as if you’re being captured or drawn into this world that, according to EXA_PICO lore, lies beyond the Seventh Dimension.

Listen: Ar nosurge’s Opening – To The Songless Hill: Harmonics Pre=Ciel

The setting of the game is not as straightforward as one might think. We learn from the first pair of protagonists, rowdy Delta Lantanoil and his partner tomboyish Casty Rianoit, that the game takes place in the Soreil, a massive colony ship in the middle of an interstellar voyage searching for a new planet that its residents may call home. However, all is not well in town, as strange creatures known as the Sharl have attacked residents in the Soreil for unknown reasons. It is then, that the player’s adventure in the world of Ar nosurge begins, as Delta and Casty search for a lost friend in the vastness of the seemingly hostile and unforgiving Soreil.

The combat is fairly simple, nothing really to write home about and standard JRPG fare for the 7th generation of consoles. You have a limited amount of attacks, that once exhausted will prompt the enemy to take their “turn” and attack in return. If you have successfully destroyed all enemies marked by an exclamation mark, you will gain an extra turn and an extra set of attacks, thus making it possible to destroy the enemy without taking any damage. Once the player is well acquainted with the gameplay, the game becomes a relaxed, downhill coast.

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Ar nosurge in action, note the buttons corresponding to each attack on the lower right side of the screen.

However, one of the most remarkable and intense things about Ar nosurge is the absolutely beautiful soundtrack. The excellent song during the opening draws a picture that the rest of the game flawlessly colors in with a stunning plethora of emotional shades: a sensual passion, a deep and intimate heartache, the hooks of despair that sink into the flesh and rip through skin and tendon alike, a cold melancholy that gives you gooseflesh and runs shivers down your spine, and a pure fury that glows white hot and pristine like the beat of thunder.

Listen: Judgement in the Soreil – yal fii-ne noh-iar.

Ar nosurge’s soundtrack truly runs the gamut. The track linked above, “yal fii-ne noh-iar” is one of the pivotal moments early in the game, just after the second set of protagonists, robotic knight Earthes and the innocent maiden Ionasal, are introduced. The momentous crescendo in the song ties into the end of the first “phase” of the game. It is after this introductory part that the story begins to hit you with tragedy after tragedy. The game overall is extremely text heavy, and the player is expected to do a lot of reading to fully understand just what is going on, but the plot and the characters are engrossing enough that it doesn’t seem to be an issue. With time, one begins to think of the characters in the game as old friends, and care about their ultimate fates in or out of the Soreil.

Not everything is gloom though. Another great thing about Ar nosurge is how it still manages to have excellent moments of comic relief every so often; usually in the “Synthesis” screen, where the player creates useful pieces of equipment and items to help throughout the journey to save the Soreil.

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Don’t ask what Silent Green is made out of.

Without spoiling much more of the story, let it be said that Ar nosurge is not a perfect game, far from it. It clearly suffers from budget problems, as some enemies and NPCs are recycled throughout the whole game. It also has some pacing problems, as the game instills upon you a sense of urgency to finish the main task while at the same time punishing you for not taking it leisurely and crafting the best equipment before continuing. That is not to say that these faults make the game unplayable, or even bad. Ar nosurge is a complete experience, the amazing soundtrack, the touching story, and the surprises along the way make this game a must get for anyone who enjoys Japanese RPGs.

Listen: Ar nosurge’s third battle theme – Tsukuyomi.

Verdict: Recommended for JRPG fans, someone looking for more action or not wanting to invest 50 hours of their life towards a game might want to look elsewhere.


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Playing video games since he has a conscious memory, Bernard has fond memories of the Super Nintendo and the 16 bit MIDI symphonies emanating from it. Since then, he has acquired fairly atypical tastes in games and game music. Nowadays, you can find him dodging bullets and bobbing his head to the music in the Touhou Project, or fighting against gigantic monsters in Monster Hunter, God Eater, or Toukiden. Deep down, he believes portable consoles are king, long live the PS Vita and 3DS!


One of my favorite soundtracks I rarely discuss comes from Portal 2. I figure I forget about it because it’s so completely not orchestral music. But my, my… it has delicious counterpoint!


Mike Morasky wrote it, and if you don’t know much about Mike, I imagine he’ll be your hero before the end of the day. I dunno, just a hunch. Here’s a taste from Valve’s website:

“Teenage guitar player in a bar band in Montana; award-winning experimental composer in Tokyo; audio hardware programmer in Silicon Valley; underground art rocker touring the world; 3D animator and director for television; electronic audio collage artist in France and Japan; visual fx artist on The Lord of the Rings and Matrix trilogies; AI animation instructor at an art college.”



There’s an overarching theme to this soundtrack worth mentioning, and forgive me for diving into the music theory waters for a moment. Major and minor scales are built from a series of half-steps and whole-steps. The scales aren’t symmetrical. For instance, the major scale consists of the following series of steps: whole whole half, whole whole whole half.

In the 20th century, composers started using symmetrical scales like the diminished scale (also called the octatonic scale, because it has eight notes instead of seven). The diminished scale can start with a whole step or a half step, but then it alternates until you get to the top. So, whole half whole half whole half, etc.


The whole tone scale is symmetrical too, and is constructed only of whole steps, no half steps. This scale only has six notes, and all the chords you can build from it are augmented chords. It has an otherworldly sound. To me, an augmented chord (or a whole tone scale) sounds very open and wide, compared to a more crunchy, compact diminished chord or scale.

Hungarian composer Bela Bartok was into all of these scales, as were Claude Debussy, Igor Stravinsky, and a ton of the Russian composers. Bartok supplies some pretty amazing, concise examples. Here’s an example of the octatonic scale from Bartok.

And here’s an example of the whole tone scale, also written by Bartok. To my ears, whole tone sounds open, and the octatonic scale sounds closed.

In any event, with that sound of the whole tone scale in your ears, listen to Technical Difficulties by Mike Morasky for Portal 2. In fact, listen to the full soundtrack with that in mind (you can, to this day, download the entire thing for free on their site here). Morasky expertly chose that sound to weave throughout the game. It’s brilliant, and I love it.


Emily Reese is an on-air host for Classical Minnesota Public Radio. She is also the host and producer for Top Score, Classical MPR’s podcast about video game soundtracks, and created MPR’s Listening to Learn series. She earned an undergrad certificate in music education and jazz studies from the University of Colorado — Boulder, and a Master’s degree in music theory from the University of Nebraska, Lincoln. Emily lives in Twin Cities with her cat June Bug and loves gaming, with or without friends.

When I hear music, I see shapes and spaces with defining characteristics. Often, I see the music in a line, moving up and down as it would on a staff, regardless of if I’ve seen the score before. The dimensions form from melody, harmony, dynamics, texture – all of the things that make a piece of music unique.

Mike Raznick’s music for Spate is a big, round space – like an older, cavernous warehouse. The floor isn’t flat though – as I said, this is a round space. I suppose if one encountered such a space in reality, it would be disconcerting, disorienting and disturbing. But that’s where the music lives in my mind.


Within that round warehouse with round walls, a curved floor and a ceiling too high to see, exists a gripping sonic world.

I highly recommend listening to the soundtrack in one session. It requires a lot of patience and discipline to do that in this world, but I feel the payoff worthwhile. Much like Austin Wintory’s beloved Journey score, Raznick’s music evolves over time.

That payoff starts early. Once I heard the Prologue, I didn’t want to stop listening. Raznick drops tidbits of themes and melodies here and there, mostly using sweeping cello lines (gorgeously performed by Martin Tillman).

It’s not obvious from the start, but Raznick employed a string quartet that occasionally adds a double bass to become a quintet. One of the first tracks he wrote was “A Dedication to Rain” – a winding homage to precipitation and string quintets. From this point forward, strings take a stronger role as an ensemble in the soundtrack.

spate 2

You can hear this in “The Graveyard”. The strings are larger in number now, more like an orchestra, rather than a quartet or quintet. A violin (probably) plays harmonics, the cello continues his fragmented cries in the foreground and background – and the addition of a bassoon and an oboe adds a delightful contrast to the sawing sounds of the strings.

I think this expansion and contraction of players helps define the roundness of the space in which I hear Spate. In “The Cave”, the texture narrows considerably at the outset, with only bassoon, oboe and cello. But just like the soundtrack evolves over the course of 53 minutes, “The Cave” also changes and grows.

I’m impressed with the improvisatory feel in this music – it sounds spontaneous, with nothing out of place. Throughout the score, Raznick adds a female voice. In “Skybridge”, it’s as though she’s merely passing by, hearing a song she likes, singing along in the distance. I love the mix of that voice in this soundtrack. Seriously, listen to “Skybridge”.

spate 3

Spate is a dark game with a heartbreaking story and an equally poignant score. There is a glimmer of hope, particularly in “A Choice”. This piece doesn’t especially fulfill my hopes for a soundly constructed quartet, but the intent is there and it’s well done. Regardless, Raznick wrote a brilliant and edgy score, and I look quite forward to hearing more from him.

Emily Reese is an on-air host for Classical Minnesota Public Radio. She is also the host and producer for Top Score, Classical MPR’s podcast about video game soundtracks, and created MPR’s Listening to Learn series. She earned an undergrad certificate in music education and jazz studies from the University of Colorado — Boulder, and a Master’s degree in music theory from the University of Nebraska, Lincoln. Emily lives in Twin Cities with her cats Atticus, June Bug and Lee, and loves gaming, with or without friends.

strider A

Listen: Raid

Some things you can fake. Take for instance the feigning of interest in some long-winded conversation on beading and buttons. You’ve been cornered and there you sit… generalized in your remarks, nodding in larger, grander motions with your neck. Your hands move, you shift positions in your chair and lean forward, eye contact. By all accounts you are engaged, taut, showing palpable anticipation, and it is pleasing whoever is opposite you. This is a false connection between both parties (albeit one that feels real enough) and that’s fine. Nothing is on the line here and everyone loves a good show.

However, there are things you simply cannot fake. True story. Once I was compared to a fake Rolex watch. I looked, sounded and ticked like the real thing, but as it turned out passing through the metal detector, exposed my fraud. From precious to semi-precious, to clouded, muddied stone; I couldn’t ever be that genuine sought after prize. This anecdote proves that in some cases, either you ARE the real thing or you aren’t. Well, at least I had the look.

And that brings us to composer Michael John Mollo’s take on the world of Capcom’s legendary ninja Strider Hiryu.

Strider E

Listen: Coup

Close your eyes. Now imagine how you personally envision the music that would make up Strider in 2014. Whatever it is, it would have fallen doornail flat. Your mixture would have ended up a maligned, ill-conceived schematic of contrived homage. Your ideas reaching to strike a balance between a personality of its own and a nod that might find a mere wink of acceptance from the series original composer Junko Tamiya. I say this harshly because the entirety of Mollo’s LP for Strider is something I imagine ONLY coming from him. Something that is so gorgeous and well fitted to the universe of the Strider legend, it becomes absolutely integral, an ingrained piece of the series canon after a single, solitary flip of the record from side A to side B. While your musical take might have been passable, capable even… your salt, mine, anyone else is nowhere near the grain of Mollo when it comes to Hiryu.

strider B

Listen: Military

It all comes down to understanding. You may read a paragraph in a textbook, a passage in a novel, and think your paraphrase aptly summarizes and plucks the meaning from every letter. In reality, you are missing details. Something about it, those words, your words, feel grayer once the pen leaves the page. Then you start scratching your head. What were they saying? Mollo, however, KNOWS Strider. KNOWS those details that anyone else would have missed. He has swung that light-cypher, recalls the oddity of its texture, its uneven handling. Mollo’s sat and traveled with Hiryu long enough to know his flaws. Hiryu’s not perfect, but you wouldn’t know it until you’re standing physically next to him. To have a genuine comprehension of a person requires more than you can discern from hastily written Cliffs notes. Mollo knew that to reach the full summation of Strider as a man, one must stand inches from his breath, watch him shift just as he’s about to leap. The ordinary and the spectacular are things not lost on Mollo. Legends after all are just people carrying upon them a fictional paradigm. Mollo understood that to make their stature larger, you must tap into every conceivable avenue available however mundane the task they are performing.

Strider C

Listen: The Mechanical Dragon

Mollo is beyond the understanding of Strider, and that’s what makes his interpretation so faultlessly compelling. He is able to do anything he chooses. Each move he makes seems richer, more alluring than his previous play. He knows this world so well that he can let loose with his material; time signatures fluctuate rapidly, his tone shifts completely inspired, and his cross fades are playful. Mollo knows when to apply hard pressure, ease his hand if need be, and steer towards any bearing of his choice. Strider is so lively and brilliant a concoction that its closing shot remains as fascinating and impeccable as the album’s opener. Mollo is nothing short of jubilant on Strider and you can hear it. It is a picture that couldn’t be any clearer. Mollo loves Strider and it is this love that puts Strider as an LP into a class completely its own.

Strider D

Listen: Kazakh City

Strider in the hands of composer Michael John Mollo is as monstrous and bold as its namesake. It is doubtless one of the most intoxicating, exciting collections of music in recent memory. Mollo effortlessly plays all sides of Strider’s daunting field: paying sumptuous and expected tribute while expanding boundlessly upon the possibilities, the dimension’s within Strider Hiryu’s frozen world of ice, tundra, and mechanical Dragon. While there may have been many candidates to helm this score,  Michael John Mollo is most assuredly the ONLY REAL choice, the ONLY GENUINE article. Everyone else would have simply looked the part but like that Rolex, the tell is in how it ticks.


Having fallen in love only 4 times in his life Geno counts Double Dragon as his second and truest love.  He has worked in record retail since 2000 and believes David Hayter to be the one true Solid Snake.  Currently, he is putting together a band which only perform songs from Street Fighter 3rd Strike.

A month ago I began counting down the best music tracks from games across this generation of consoles. Today we have one more to add to that list.

In case you missed last couple of entries click: HERE

If you are just joining me in the countdown then click: HERE

5. Street Fighter 3: Third Strike Online Edition – “Theme of Remy”

Street Fighter 3 Third Strike

Listen: Theme of Remy

Without question, Street Fighter 3: Third Strike is a brilliant fighting game.  The meticulous and illusive nature of its jab mechanics alone is one of hundreds of systems in place within the game, with each one of its multiple branches measured, tiered and rated through some perfectionist, critical red-eye.  Success is calculated in the frame-by-frame, and not through obligatory, slack-jawed execution.  Movement to either side of the screen is pass/fail, Silver or Gold, and sacrificing precious strikes in favor of form and temperance is the doctrine by which it grades.  This isn’t slam poetry nor inebriated karaoke.  Watch yourself.

The question then becomes: could the game have achieved its balance, wit and flavor without the score from composer Hideki Okugawa?  Absolutely not.  Okugawa provides the only outlet of creative expression allowed by Street Fighter 3: Third Strike’s wizened, embittered high council.  Okugawa was given no formal restraints and thus crafted a boldly layered, hallucinogenic death disco.  Outlandish, capitalized, and furious; Okugawa’s themes are the work of an unfiltered, burgeoning genius.

When Capcom optioned Third Strike for an all gloss HD remodel back in 2011, complete with all new musical accompaniments, I had reservations… that is until Simon Viklund (Bionic Commando Rearmed) was attached to fill the slot left vacant by Okugawa.  Viklund effortlessly manipulates the spirit of the titles strict adherence to both time signature and ticking metronome with a much-needed dose of post Y2K acid-house thump.  What once belonged to Okugawa found new permanent residence in the hands of Viklund.  Simon Viklund could have filled all of his contractual objectives through re-enactment and tracing, by simply gliding over Okugawa’s old hits note for note.  This would have been fine, if not spectacularly sterile, and Viklund would never have been content with such a limiting exercise.  Instead he set fire to the idols of his own youth, turning dials on a whim, and accelerating the already frantic pace of the originals.  Viklund saw no need to reupholster, and his all-new additions re-stylize and reinvigorate the troubled murmur of heart found in Okugawa’s near-obsolete, sputtering battleship.  Viklund’s forte with these old classics seems to hinge on lengthy, pointed observation, but then wisely, he ignores his own notes, as he opts instead to tear apart the foundation with his bare hands.  A successful renovation requires the signature mark of its creator and here on “Theme of Remy”, Viklund showcases the deafening sound of a night out with his shiny shoes, proving there’s no party like the after-party.

Stay tuned now through November 22nd for the remaining 4 entries in my list of the best musical tracks from this generation of consoles.

Having fallen in love only 4 times in his life Geno counts Double Dragon as his second and truest love.  He has worked in record retail since 2000 and believes David Hayter to be the one true Solid Snake.  Currently, he is putting together a band which only perform songs from Street Fighter 3rd Strike.

December 31st, 2011 and things are quickly moving far from the expected close to an average New Year’s Eve.  In the span of one night, less than eight hours, one of my very best friends will be married and one of my old roommates will be murdered.  This is also the night I realize that I am in love with someone who is inconceivably out of my reach and hundreds of miles away.  It is 4 am that morning and as I am booting-up the Deus Ex: Human Revolution’s menu for the first time… I am given this startling and heartbreaking news (my roommate’s death) from my sister who is quite literally standing on a volcano in Hawaii some 3000 plus miles away.  My sister is emotionally unraveling on the other end of the line.  I can hear the desperation in her voice.  She wants to control the situation wholesale, manipulate the night’s horrific events, anchor them with safeguards.  She can’t.  Our friend is gone.  What’s left is a terrible feeling: having no control is real paralysis.  It’s something that also reminds me that life can be much more than cruel; it is largely evil.

Deus Ex Z

Listen: Main Menu

The multiple major turns of that night altered everything.  For the first time in years, I was completely lost.  Realizing that everything is fragile and is made to spoil upon mere contact gave me reason to retreat.   Coming to terms is a brutal process for anyone, that unbeknownst to me, is something I left almost entirely in the hands of Deus Ex: Human Revolution’s composer Michael McCann.  His score followed me everywhere for months.

Deus Ex Y

Listen: Icarus

Upon its outset, the score for Deus Ex: Human Revolution is concerned with fact, with answers… it wants them, and someone living in the past like Adam Jensen (our game’s protagonist, and at this point in our story… myself) is by definition existing in abstraction.  Nothing in this state can be measured, read or prodded with any amount of accuracy.  Searching for hard data here would be like asking ears of corn to make exact change.  Answers similarly will be hard to come by as the days spent in a cycle of this nature revolve around ritual.  Cornerstone to the passing of these hours is a focus on the splicing together of old images.  Those past experiences involving whomever, or whatever, now newly colored with some form of bias.  Where the original event ended in tears, or disagreement, the reassessment now grasps to find the positive slant.  This is Michael McCann’s daunting insertion point into Deus Ex: Human Revolution: to articulate the paralysis of consequences, of choices, and finding enough strength to move beyond the specters of looming emotional wreckage.  It is something you might have not expected if you were going by box art and static images alone.  This is not a game of mercenaries, nor is it splintered factions blindly moving forward with heavy weapon.  Deus Ex: Human Revolution is the story of a very broken man, trying to meet the middle ground of accepting what he’s lost and salvaging whatever is left of the pieces that remain of his old life.

Deus Ex X

Listen: Home

Set against a limping Jensen, it is astounding to hear Michael McCann’s vision of the future world.  McCann’s gorgeous destitution can be found in every pore of every building, every vacant hallway.  The score serves to make each moment something to analyze.  McCann realizes that so much of what is going on is mental, and he tackles the games set pieces with such a degree of organic and metaphysical concentration that while you know Jensen is half machine, there is also nothing irregular, or unnatural in his blood.  Nor is there anything amongst his surroundings that was made by any other process than by hand.  You become connected to everything and everyone in the world as you can easily see them being connected to you.  McCann trades the bellowing toll of gargantuan symphonies and their signature mark of the fantastical for something with unparalleled grit.  The music keeps everything grounded.  It harnesses, maintains even, its glaring weaknesses, in place of some sterling armor.  One shot to the wrong part of the body is enough to kill, and the events unfolding inside this Detroit could very well be happening inside the home next to yours.  McCann creates his tension with a visceral, mortally wounded despair that is intent on staying with you.

Deus Ex W

Listen: Everybody Lies

Don’t let me mislead you because when action is called for, McCann has few, if any, contemporaries that can even pay compliment to his brand.  Propulsive and seedy, McCann can be absolutely terrifying in encounters.  Bullets remaining is only part of the focal point here though, it’s the emphasis placed on the doubt and on the demons that come with leaving an opponent to bleed out that make it something without measure.  McCann wants to understand the plight of his enemy, he wants to hear out their cause, peruse their pamphlets of propaganda.  The enemy has been bred and built to stand for something averse to McCann, but is it enough of a reason to stand behind a wall waiting for a lucky shot.  McCann’s playground of physically violent cues is of the few that take into account the entire sphere of its malignant consequences.

Deus Ex V

Listen: The Mole

Wisely, McCann composes fragments of music that are revisited and carefully, CAREFULLY distributed throughout the album.  By doing this, he creates moments of dignified time.  Giving you a brief pause to look back at whatever you choose, what you’ve done, who you’ve met and most importantly… to think.  It is something I rarely see game composers tackle: the moment alone.  Listen intently to the refrains found in The Mole, a gorgeous string of 7 notes that not only creates the well of regret Adam Jensen is drowning in, but it also becomes his ally.  This theme is central to everything in the game and has the gut-wrenching ability to provoke any number of unexpected emotional responses from its audience.  Michael McCann’s approach on Deus Ex: Human Revolution is something that is so plainspoken and honest that it makes you want to reach out to him, to communicate and project your own failures upon his tablature.  I have never seen it done quite the way McCann does it.  The score exists solely to tie itself to the user, and that gives it an uncanny ability: the prowess to count itself among the records that could save your life.  No score this generation can even come within reach of McCann’s own Bridge Over Troubled Water.  Nothing here is too much.  Nor does it sound forced.  Nor seem added for trivial flare.  This is as confessional as McCann could ever hope to be, locked away in some dreary cabin pining for the love of his life, or grieving for the loss of family.  It cannot be manufactured.  McCann isn’t drawing you silhouettes, he’s painting exhaustive, painstaking portraits.

Deus Ex U

Listen: Hensha Daylight Part 1

Michael McCann’s Deus Ex: Human Revolution compositions are by far this generation’s most brilliant musical pieces.  It is rare to find something this revealing, uncensored and heartbroken anywhere.  This is such a personal statement that those who actually play the game and hear his chorus will likely be transformed by it.  McCann went beyond every parameter set for him, laying waste to even the greatest and most celebrated of cyberpunk, sci-fi recordings.  This is indeed the genre’s new benchmark, and nothing can touch it.

Having fallen in love only 4 times in his life Geno counts Double Dragon as his second and truest love.  He has worked in record retail since 2000 and believes David Hayter to be the one true Solid Snake.  Currently, he is putting together a band which only perform songs from Street Fighter 3rd Strike.

MLL Digital Cover

Listen: Echoes of the Past

Ten years ago… I got thrown out of a club.  It wasn’t something I did habitually… or ever.  I hadn’t had a single drink, swallowed any pills, threatened the bartender or leered at any disinterested women in close proximity.  No.  I was violently heaved from the premises as I casually danced with a plastic tree.  It seemed the most obvious choice as I wasn’t about to you know… ask someone to dance (I try to go through my life annoying the fewest amount of street pedestrians as possible).  So I chose this immutable, inanimate mock up of a coconut tree.  Now, mind you, I was completely isolated from everyone, and there was nobody for a good 100 feet on all sides.  Then out of nowhere these two HUGE bouncers grab me one on each arm, dragged me outside and flung me into the street.  Not the sidewalk… the street.  On my way through the air, I hit one of my co-workers who was on her way to meet up with our group.  I never went out in Austin when I lived there.  The ONE time my friends invite me to come out, and not 20 minutes into our night, I get tossed out into traffic.  There is something though that will never leave me about that moment and the reason this story bears repeating here: hitting the pavement, and more importantly the grime, I became equated to nothing in someone’s eyes.  The catapult to the road left me lying in the street face down in muck.  You never feel like a zero, until you meet the being Zero – his filthy asphalt, the upchuck that dotted his landmass.  It’s a very important thing to understand when approaching Metro: Last Light, and composer Alexey Omelchuk’s lavish spectacular of ponderous basalt and weighted granite.

Metro 1

Listen: Halls of D6

Omelchuk certainly knows how to shovel the grim, and rightly he should, as it is core to the game’s tenability and central in defining the level and pitch of discomfort in players.  When it goes below the surface, you can feel the traces of light lose their incandescence.  Omelchuk deftly references the disorientation one might feel amongst a world bathed in soot.  It’s more than just survival.  It’s knowing what not to touch, and that every step carries with it the ability to incapacitate and disfigure.  What’s incredible is how Omelchuk seems to count off: “Two steps to the left and a slide against that wall will reach our encampment.. 7 steps and a turn and I’ve…”  Omelchuk has dedicated himself to decoding the variations of Metro’s prodigious grayscale and in doing so, provides a recollection of his wanderings down to the subtle shudder of his eyelids when startled by his own breath.  Few composers could ever hope to match his sense of instilled, constant panic.  It’s a much more basic fear he’s channeling too, much like the timidity of a child who has yet to discover there is nothing inherently dangerous about the dark.  The emotion Omelchuck derives is the one that lacks the confidence of age, the absence of reassuring mantras, and the perspicacity to discern what is real and what is phantom.

Metro 2

Listen: Vessel of Sin

To call Metro: Last Light all blacked volcanic rock, would do total disservice to it, as Omelchuk has crafted not only its unforgiving austere soil, but also the surrounding worldview, its shifting culture, and the local’s harried diction.  It grounds itself in reality, through random distribution of disparate temperatures.  In one moment the cradling of a stricken comrade in his labored moment of passing, the very next a burlesque peepshow, the next showcasing a typical Friday night or an ice cream social – it‘s unclear which.  It’s jarring on paper, but the movement from boardwalk to disease provides Omelchuk’s bi-polar anecdote with a persuasive and effectual power.  Omelchuk came on the scene much earlier than anyone else here, and as the structures collapsed and people reached desperation, they turned to the man for guidance.  Omelchuk is both fastidious and exhausting when he speaks of those early years, but nonetheless, his collected charts and history are fascinating to behold.

Metro 3

Listen: Chase

Given the astonishing amount of Omelchuk’s work on Metro: Last Light, you might be tempted to think that somewhere along the line he loses grip, or perhaps stalls out under the shattering weight of expectation… but to Omelchuk neither length, subject matter nor conjecture from stockholders ever seem to derail his resolute vision, or cloud its potency.  Omelchuk does something completely brilliant to maintain his hold: he plays every piece here like rock groups play in crowded clubs.  He mutates, never musing too long on one single musical passage or another; he plays the radio hits for his casual audience, and never forgets his more dedicated fans; he goes dark with songs so off the radar you actually had to be there the day those 7-inches were cut.  Metro: Last Light plays like the very best double albums you own: something that sprawls, but is genius and cohesive in all of its motivations.  Omelchuk is an entertainer, and never has it been more obvious than on his lengthy thesis for Metro: Last Light.

Metro 4

Listen: The Last Stand

Omelchuk is everything the universe of Metro requires, but he’s infinitely more than that sum.  His charisma goes beyond the empty application of hand gestures and the brow-beating of his flock.  It takes more than the spirit to lead those who might follow him to his mountaintop.  It requires familiarity with those constituents, with the water they drink, the children they rear, and the strength of hands to lay upon them.

Purchase the soundtrack today on RIGHT HERE on!!


Having fallen in love only 4 times in his life Geno counts Double Dragon as his second and truest love.  He has worked in record retail since 2000 and believes David Hayter to be the one true Solid Snake.  Currently, he is putting together a band which only perform songs from Street Fighter 3rd Strike.

Amnesia: A Machine for Pigs comes out today, and even if you’re too scared to play it, you won’t want to miss out on one of the most incredible game soundtracks of the year, written by Jessica Curry.


Listen: Full soundtrack streaming here

The music is, at times, so beautiful it breaks your heart.  Other times, it’s so terrifying that it nearly breaks your spirit.

Mind-blowing fact: the music budget for Pigs was less than the music budget for Dear Esther.  Curry did more with less than just about anyone else I can think of, other than John Cage.

But let’s talk about the music.  I’ll start with what’s melodic, or close to it.  We’ll get to the scary stuff in a bit.

Honestly, though, one of the most impressive aspects of the entire soundtrack is how Curry is frightening even at her most gorgeous musical moments.

Pigs is set in Victorian London, a time when art song was at the peak of its popularity, and everyone had a piano.  It was fashionable to have one, in fact.  Nearly everyone was, at the very least, an amateur musician.  People got together so they could play music.  It’s why music by composers like Chopin, Schumann, Schubert and others was so popular – it was for everyone, not just for the pros.


Curry reflects this historical fact brilliantly in the score, with musical gems like “Recital”, or “In Lily’s Honour” (both of which share a theme).  These are simple melodies, and it’s easy to envision novices sitting down to play this type of music together.

Music boxes were really popular in the Victorian era as well.  Check out “Music of the Spheres.”

Subtleties like this add an immense depth and maturity to the score.  This is not work by a self-taught musician, but from a studied professional.

“The Children” also features piano, along with a boy soprano (who happens to be Curry’s son).  Again, this is a simple song (even though the harmonies are beautifully complex), with an understated sorrow to it.

Not once do I feel Curry is hitting me over the head with her intentions.  Well…. maybe just once, but it’s so perfect I really just want to give her a high five.

I’m speaking of “Mors Praematura”.  The piece starts with heavily-bowed strings. If you could put an instrumental sound effect to someone plodding through thick mud in big boots, it would be the sound of these strings sawing back and forth.

And the singer, Joanna Forbes L’Estrange, nails the idea of someone who thinks they’re great but is just a tiny bit over-the-top.  You know who I’m talking about.  It’s that lady in church who’s maybe like 5 or 10 years past her prime, yet who insists on singing solos for every single holiday, with a vibrato that has a mind of its own, and a somewhat unpredictable concept of melody.


“Oh joy, Beverly has prepared a song.”

In all fairness, L’Estrange is a trained classical singer, and Curry had to coax her to sing a little…. off.

L’Estrange sings similarly in the main Pigs theme (called “A Machine for Pigs”), but another shining star of the soundtrack comes in “Dieses Herz”.

With “Dieses Herz”, Curry is referencing art song and its ubiquity in the Victorian era.  More specifically, she is imitating German Lieder.

So these are basically songs written for a voice to sing with a piano.  Simple concept.  Lieder were hugely popular in the Victorian era, helped by the fact that Franz Schubert wrote more than 600 of them before he died at the age of 31.  Curry puts her own twist on the genre, but honors it with German lyrics.

Now let’s talk about the creepy shit, because there’s plenty of it.  Having spoken to Curry twice, it’s difficult to understand where that comes from due to her my-cup-runneth-over-with-kindness-and-warmth type of personality.

There are so many different kinds of scary music.  The two notes from the Jaws soundtrack by John Williams are scary.  Symphonie fantastique by Hector Berlioz is scary.  Threnody to the Victims of Hiroshima by Krzysztof Penderecki is scary.

The Penderecki is evident here – Curry’s music is a kind of audio torture.  She creates sounds that make us really uncomfortable.  Check out “The Descent Begins”.  Metallic sounds that put us on edge.  Nothing about it sounds welcoming or warm.


It hurts so good!

A different kind of discomfort rattles my bones in “New Year’s Eve”.  The plodding strings are here, too, playing so passionately it conjures images of some type of freaky, drugged-out zombie orchestra.

Spend some time with Curry’s score.  I encourage you to own this one if it’s within your means, especially if you’re a composer.  It’s an impeccable study of a musical nightmare.

Emily Reese is an on-air host for Classical Minnesota Public Radio. She is also the host and producer for Top Score, Classical MPR’s podcast about video game soundtracks, and created MPR’s Listening to Learn series. She earned an undergrad certificate in music education and jazz studies from the University of Colorado — Boulder, and a Master’s degree in music theory from the University of Nebraska, Lincoln. Emily lives in Twin Cities with her cats Atticus, June Bug and Lee, and loves gaming, with or without friends.

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