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.

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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”.

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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.