Matt Uelmen Archives - The Greatest Game Music

Diablo Soundtrack – Review

Diablo Soundtrack, Matt Uelmen, 1996

When Blizzard announced Diablo III at the 2008 Blizzcon Worldwide International, they chose a simple way to do so. All guitarist Laurence Juber had to do was to play the first few chords of the original Diablo’s signature tune. Of course, the piece in question was Matt Uelmen’s immortal “Tristram”. And according to Diablo III’s lead composer Russell Brower “over 10,000 people in the room knew EXACTLY what was coming”. Such is the power of a truly classic soundtrack composition that it can become the most memorable and thus quickest reference to the game or film it accompanied. That makes it all the more remarkable that it took 15 years for this composition – and the rest of Diablo’s music – to get a soundtrack release.

No wonder that “Tristram” is still fondly remembered by millions of gamers. In short, Uelmen’s composition is a masterpiece of subtly evoked atmosphere. Those opening strummed guitar chords herald a piece that still remains fascinating for its ambiguous, multi-layered atmosphere.

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Hob Soundtrack – Review

Hob Soundtrack, Matt Uelmen, 2017

With their two Torchlight titles – particularly the excellent Torchlight II – developer Runic Games had established their credentials in the action RPG space, even managing to hold their ground against all-mighty rivals like Diablo III. Their next title was Hob, which shifted focus towards an open-world adventure that bore a clear debt to The Legend of Zelda: A Link to the Past. The world of Hob is a giant machine, a contraption made of myriads of levers, dials and pulleys that the title character must utilise to repair and cleanse the land, which has been corrupted by a mysterious force. Hob’s concept of its realm as a titanic mechanical contraption is appealing and the perfect set up for many visual wonders and intriguing puzzles, although reviewers also pointed out the game’s more frustrating aspects, for example its combat.

What critics also highlighted were the game’s aesthetic strengths – its gorgeous visuals, but also its soundtrack by veteran Matt Uelmen. Having scored Runic Games’ Torchlight titles, Uelmen had celebrated a resounding return to form with Torchlight II. That soundtrack had felt like the apex of Uelmen’s meticulously composed trademark style that mixes electronics, orchestral and rock elements, setting his fantasy scores apart from the (often homogenous) competition. For Uelmen, Hob was an opportunity to expand his sound palette once more, as he was actively looking to avoid genre clichés – both those heard on other fantasy scores and his own common stylistic traits.

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Torchlight II Soundtrack – Review

Torchlight II Soundtrack, Matt Uelmen, 2012

To call one particular creation the culmination of an artist’s oeuvre can be a risky maneuvre. It suggests linear development across works and prescribes an easily identifiable trajectory. But it’s hard not to fete a work like the Torchlight II soundtrack as the realisation of a specific musical approach. On this album, Matt Uelmen combines all elements that have characterised his previous scores and perfects them.

As always, his music deals in textures rather than melodies, suggestions rather than definitive manifestations. At its best, this approach leads to wonders like Diablo’s “Tristram”. This game music classic was an instantly striking demonstration of how to score fantasy environments in new, idiosyncratic ways. However, taking the same approach, Diablo II and Diablo II: Lord of Destruction ended up veering between scintillating and meandering.

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