3 out of 5

Label: Digital download

Producer: Christopher Rhyne

Thanks to the Humble Bundle downloads, I’ve had the opportunity to listen to a lot of game scores, something I’m relishing because it’s a unique little niche of the music world – separate aims and intentions from a film score or an album by a band, where the goal is to underline an (generally) interactive experience, I’m seeing that there’s just this huge cache of talented dudes and dudettes who maybe stick to this world, or maybe also work on commericals… or maybe not.  Maybe they just to do soundtrack and they’re out.  But as with people who are perhaps known for being the go-to to light breakfast cereal commercials or something, this realm has always existed in one way or another, from the bleeps and bloops of Nintendo to the full-blown compositions of God of War, and it’s cool to be able to piece through their labors.

And as I listen to more, I see that, of course, there is a range in how the exact implementation of the score is approached – do you choose a thematic feel that’s tied to the game – such as the Infamous soundtracks – do you write separate pieces for each section, do you go with an “inspired by” take and just let the game-makers divvy up the tracks as they see fit, do you resign to being background music and so play it subtle…  As with everything, what seems easy to summarize as “game soundtracks” becomes a pretty varied grouping upon a closer listen.

Closure is an awesome game.  And the music perfectly matches the unique look and feel of the game – this sort of creepy, earthy noise, with a bit of carnival bop thrown in to match the surreal look and cartoon shamble of your lead character.  Space and shadows are also a big part of the game, so Rhyne’s score has an echoey feel to it, like the music is bouncing around the inside of a cavern.  I loved the music while playing the game – I noticed it, I dug certain sections because of the accompanying dramatic pomp, and I was looking forward to the soundtrack.  Interestingly, Rhyne has composed something special in that it works perfectly inside the game, but doesn’t really connect as a separate listen.  The tracks are interesting, and I can hear more of the simulated bugs and outdoor noises were actually part of the score and not in-game effects, but robbed of the visuals, the flush pomp of these songs feel empty as opposed to echoey, nothing to bounce off of, I suppose.  That’s not to knock the effort.  Something is to be said for how well this enriches the game experience.  That it doesn’t necessarily stand on its own just means that Rhyne did his job VERY well.