The track plays as Satan and our heroes confront the real bad guys - three squirty former child stars called The Soda Poppers - who don burger joint uniforms (and S&M gear) in the process of revealing their demon forms. For this cue, Emerson-Johnson throws every condiment into the pot: latin chanting, discordant stabs, honky tonk piano, and a hundred different lines of mad-sounding melodies cascading over one another. Indeed, the composer was on fine form for the hilarious second season: the final episode sees Sam and Max travel to hell, depicted as a typical office workplace where it’s always 4:59pm and Satan is the boss.
**Spoilers for the second season of Telltale’s Sam & Max series**ĭaft, silly, random, puerile, ridiculous: all these adjectives and more apply to the Sam & Max series, and composer Jared Emerson-Johnson’s scores for the Telltale entries perfectly support the madcap characters, storylines, and gags. “Absorptio Bullenscens Fatiscores Daemona” by Jared Emerson-Johnson from Sam & Max: Beyond Time and Space (2007) Not everything hell-related has to be fire and brimstone: here, Matt Uelmen layers acoustic guitar parts featuring tricks like harmonics, bends and slides he then employs delay effects and supporting digital instrument parts to create the haunting atmosphere of a town ravaged by the Lord of Hell’s awakening. It’s a memorable location from the series, the enjoys a central place in the lore. With the titular baddie Diablo unleashed on the mortal realm, the town of Tristram has become a fearful place, with nighttime abductions and no ruler - and accompanying army - to protect the inhabitants. “Tristram Village” by Matt Uelmen from Diablo (1996) (I toyed with including “Wings of Hell” from Silent Hill, but it’s too much of an unlistenable onslaught even for this list!) Yamaoka was still at it for the 2009 title Silent Hill: Shattered Memories ( Spotify, Apple Music), freaking players out with discordant drone noises, loops of gates squeaking, and murderous clown laughter stuck on repeat like a broken toy with faltering batteries.
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They can be, if not pleasant, then emotive and relaxing in their own way (stand out track “Betrayal” from Silent Hill 2 made it into our Halloween 2017 list).īut many of his most effective in-game cues are made up of aurally repulsive sounds - lopsided loops of sirens, metal clanging, ethereal voices, low drones - something that Yamaoka established from the very start of the series during the first hell dimension sequence in 1999’s Silent Hill. Many love Akira Yamaoka’s music from across the Silent Hill series because of the many chilled-out, downtempo electronica tracks. “Devil's Laughter” by Akira Yamaoka from Silent Hill: Shattered Memories (2009) (In case you missed it, Laced announced that DOOM (2016) is coming to vinyl and CD - check out the various editions at Bit.ly/DOOMOST.) He’s forthcoming about wonderful details like how he tuned his 9-string guitar, pitch-shifted the sound of a chainsaw, and ran sine waves through monstrous chains of effects. True to his generous spirit, Gordon reveals plenty about his many scoring tricks and tools in his GDC developer talk also in an interview with the Noclip documentarians as well as during numerous other interviews and talks on the web. To to Aussie composer, the sound of hell is a woozy, gloomy thrum punctuated by violent bursts of repetitive, machine gun rhythms. A blend of ambient electronica and industrial metal, the moment-to-moment music is carefully crafted to keep you pushing you forward with tactical aggression. Mick Gordon’s groundbreaking score for 2016’s DOOM ( Spotify, Apple Music) is perfectly tuned to encourage you to do a bit of ripping - and, after lunch, maybe engage in a little light tearing. “Damnation” by Mick Gordon from DOOM (2016) Game composers often find themselves having to soundtrack hellscapes and demonic infestations - here’s a round-up of some sizzling examples of such music, to help you fire up your day. A perfect setting in which to contemplate damnation, and explore the darkest corners of the fantastical hell dimensions that video game creators have depicted over the years. Depictions of hell, and similar demon dimensions, are common in video games - we delved into the depths to find some devilishly dark music that’s been used to soundtracked virtual hellscapes.īy Thomas Quillfeldt (with help from Steve Vancouver)Īs I write this, it’s a blissfully sunny day in my quiet suburban neighbourhood.
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