In this weekly feature, I recommend game soundtracks. I share a few of my favorite tracks, talk about why everyone should listen to the soundtrack, and a little bit about the composer. This week's choice is The Outer Worlds by Obsidian Entertainment.
THE STATS
Name: The Outer WorldsDeveloper: Obsidian Entertainment
Publisher: Private Division
Release Date: October 23, 2020
Genres: RPG
Composers: Justin E. Bell
MY FAVORITE TRACKS
(The full list of tracks are linked by playlist below... and I highly recommend some good headphones to best enjoy all of the subtle elements of the music!)(Length: 7:45) Maybe it's the really beautiful, mysterious and epic beginning with woodwinds, but I feel like this title track is the crown jewel of this soundtrack. (As a saxophonist, I'm biased towards the woodwinds. Sue me.) The transition into Marvel-esque strings, with supportive brass and percussion is nothing short of audio cinematography. You cannot listen to this without picturing the opening of an epic space adventure!(Length: 6:33) I wasn't going to choose this one at first, but then upon listening to the chord changes I started getting some massive Grand Finale from Edward Scissorhands vibe, and it made me too nostalgic not to share it. Do you hear it, too, or am I crazy?(Length: 1:49) Short, but lively -- conveying exactly what the title says. The ongoing percussion with a burst pattern, emphasized by the silent breaks, helps convey tension, action, and energy. It's a wonderful composition because it paints a picture beyond its title.(Length: 3:39) It's all about the magical, mystical, mysterious tones in this one. Isn't it lovely? In Greek mythology, Scylla was a nymph who was turned into a terrible monster -- one with 12 tentacle-like legs, a cat's tail or sea monster tail, and 6 dog's heads sprouting from her waist. In this game, it's an asteroid with laboratories and transmitting stations. The music feels like it's somewhere in between the two!(Length: 3:21) This track isn't my usual addition to favorites, but I was won over by the syncopation. And then I heard the many layers of percussion ( ::bongocat:: ). And the balance the rest of the instruments -- it just works and sings together. I'm left wondering if the Pink Slip Protocol is anything like Assuming the Party Escort Submission Position...
You can listen to the individual tracks here:
WHY DO I RECOMMEND IT?
The only real justification I can offer is that all of the compositions are extremely well-done and it nails down a full spectrum of ambiance. Having not played the game, I can only surmise it fills that background mood and ambiance need the way Justin's work did for the Pillars of Eternity games.
THE COMPOSER: JUSTIN E. BELL
I honestly can't seem to find much about Justin, but he certainly says plenty over on his Twitter account -- and followed me back in less than 5 minutes! He was previously the audio director for Obsidian (see the next paragraph) but is now the Supervising Sound Director for PlayStation Studios.
While I can't find much about him personally, I do know he also did the music for Pillars of Eternity and Pillars of Eternity II: Deadfire -- and I LOVE those games and their soundtracks. I probably played the intro to the first game so many times I could hum along to the entirety of the Encampment track.
While I can't find much about him personally, I do know he also did the music for Pillars of Eternity and Pillars of Eternity II: Deadfire -- and I LOVE those games and their soundtracks. I probably played the intro to the first game so many times I could hum along to the entirety of the Encampment track.
If they ever made a soundtrack for my life, I'd want him to compose it. He knows how to make the most of silence to emphasis the sound, and also knows how to balance the different sounds at his disposal. Go listen to all the things he's composed. Just do it!
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