Vancouver stalwarts Front Line Assembly provided the soundtrack to free-to-play real time strategy game AirMech. While the album sounds very much like a “video game soundtrack”, FLA manage to pull off fusing their classic brand of hard-edged-yet-dreamy electronica with post-dubstep wubs in a way that sounds unaffectedly modern. Continue reading
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Every parent can relate to that. Your child is your whole world: you love them more than you ever thought possible; you spend every waking moment fussing over them, cuddling them, cleaning them, feeding them, cuddling them some more, and fantasising about what they’ll be like when they’re older. But if you get the slightest chance to dump them on someone else and run the f*** away, you seize it with both hands and scarper. Continue reading
If you say that you enjoy film soundtracks, most people wouldn’t react at all. Everyone knows that a lot of movies have great music. It’s even acceptable to admit to buying a television soundtrack, since many of them have cinematic-style scores.
Video games, by contrast, have no such respectability. Even though you might spend sixty hours wandering around a fantasy landscape and even realise that on some level a great deal of the lure is your enjoyment of the game’s music, there’s something a little silly about saying you love the score, because they’re just not taken seriously.
I think that’s a little ridiculous when you consider that just the same processes have gone into each, and that if you listen to the music on its own terms, it has just as much “worth” as music written for any other purpose. Take a listen to this piece (TES IV: Oblivion medley) by Jeremy Soule, for example:
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I defy anyone to say that’s not great music.
