PlayStation 4 Archives - The Greatest Game Music

Everybody’s Gone to the Rapture Soundtrack – Review

Everybody’s Gone to the Rapture Soundtrack, Jessica Curry, 2015

Coming off the critical and commercial success of Dear Esther, British indie developer The Chinese Room began work on two projects: Amnesia: A Machine for Pigs and Everybody’s Gone to the Rapture. Out of the two games, the latter was no doubt the bigger undertaking, co-produced by industry giant Sony Computer Entertainment for the PlayStation 4. By and large, Rapture took the same gameplay approach as Dear Esther. Gamers are tasked with walking through a deserted village, trying to piece together what happened to those who once inhabited this piece of idyllic English country side – no battles, perils or game over screens in sight. Not surprisingly, the limited interactivity within Rapture’s world wasn’t to the liking of everybody. All in all though, reviews were positive, with critics particularly pointing out the game’s strong narrative, placing Rapture on several year-end lists.

Rapture did reap several awards as well, including for its music. As with previous The Chinese Room titles, Jessica Curry provided the game’s soundtrack – deservedly taking home a BAFTA and two Game Audio Network Guild Awards for her efforts. Curry was involved with Rapture throughout the entirety of its three-year development period, both as composer and director of the project. It’s no surprise then that the music’s shape and function within the game was carefully considered. With the game’s design strongly influenced by the peculiarly British sci-fi sub-genre of the “cosy catastrophe”, Curry’s music was bound to follow suit.

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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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TowerFall Ascension Soundtrack – Review

TowerFall Ascension Soundtrack, Alec Holowka, 2014

Created by Alec Holowka’s friend Matt Thorson, multi-player brawler TowerFall proved to be a hit with gamers and critics. In 2014, Thorson ported TowerFall as TowerFall Ascension over to the PlayStation 4 and other systems. Essentially, Ascension is an upgraded version of TowerFall, and this time the music received a dedicated soundtrack release on Bandcamp.

What luck, because TowerFall Ascension delivers some of the most creative Western game music ever written. The game’s visual retro stylings and simple yet addictive gameplay would have suggested a chiptune soundtrack. On the other hand, Ascension’s fantasy trappings could have easily resulted in yet another late-romantic orchestral score. Holowka eschews both these options. What he comes up with instead is a head-spinning concoction that combines rock, orchestral and electronic elements with such virtuosity that the TowerFall Ascension soundtrack rivals the best works of Falcom, Gust and CAVE – or a classic fantasy-themed genre merger like Matt Uelmen’s Torchlight II.

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