2 out of 5

Label: 2K

Produced by: ?

There’s a lot to credit on this score: we have several composers who are mostly aligned on a general style, such that – while you can find differences if you’re looking for them – the score comes across as a single voice. It’s a very cinematic score without being overly orchestral or bombastic. And though I’m going to criticize the music for not emphasizing this more, the “age”s into which the music is split up do have different moods, creating a gentle progression throughout.

And I know this isn’t “my” music: I tend to not go for scores of this type (cinematic is a word I’ll try not to overuse, but it’s key: swelling strings and brass; atmospheric whispers of the same), and I haven’t played the game – which might be critical for mapping the experience to the sequencing.

At the same time, as my comment on the sections of the score already includes a criticism, the same is true for all the positives – I have a critical take on them – and I’ve listened to plenty of “not my music” scores and found to appreciate, and dig into. Similarly: many games not played; many of their scores nonetheless enjoyed.

I don’t want to discredit the talent of the composers, as there is clear thoughtfulness here, and complexities and patience to / with the design that my ears are not fully appreciating. Have I wound you up enough with “Yeah, but…” setups? Because while I can appreciate the juxtaposition of an epic game like Civilization: Beyond Earth having a relatively sedate score, it really may just be the kind of music that only works in game, as the standalone experience does not conjure any real imagery or emotion for / from me.

I’ll address the ages, which go from pretty formal (The Lush Planet series) to more abstract and Earthy (The Fungal Planet), to more upbeat, with notes of electronics included in the orchestral base (The Arid Planet), and finally something of a dramatic, merged sound of digital and analog approximations – Planetfall. In general, the emotional range starts a bit more timid and sad, with confidence and more positive notes dotting in, before Planetfall introduces boldness, and with it, dangers; risks. That said: I am working to make the divides, especially in Lush versus Fungal, which really have only a couple of clear examples to draw from, otherwise falling into a rather themeless stock of… cinematic tracks. Stuff you’d set to “stirring” montages, or contemplative pans over landscapes. Grant Kirkhope joins on Arid Planet, accounting for some uptick in pace, which his platformer bop hovering in the background, and Michael Curran joins for Planetfall’s dramatics, which are admittedly a strong way to close things out. But even with these more notable moments, I cannot say I sense any real theme or tone that makes this score “Civilization” over any other game.

I’d rewind back to promoting the positives: I’m not trying to suggest these songs are effortless, or poorly conceived, more just that there’s not a great standalone experience here, and not one that matches the “story” suggested by its song titles. Even on a basic level: I could not tell you that this game takes place in space. We have several loops of atmospheric tracks growing into some big ol’ brass and strings climactic tracks – again, though, nab X battle theme from a AAA game or movie, and… yeah.

As a retroactive note, this feels massively corrected on the score for followup game Rising Tide, which underlines that I can listen to things not in my genre and, I think, still appreciate them. I think, perhaps, this game / score gave the team clarity on how to better sharpen / personalize the music. At this point, though, there’s a generic template of “epic,” and while there’s a bit of patience in building to those moments, it’s fairly unremarkable without gameplay to coax you along.