![]() ![]() ![]() This is an area where Oleksa Lozowchuk’s work really captivates, as his contributions are lovely, emotional, and thematic. Cutscene music is plentiful, rich, and gorgeous. There are three basic categories of music on this soundtrack: cutscene, exploration, and battle themes. (See pieces like “Restricted Access” and “The Sky Remade.”) But you can clearly hear it throughout the soundtrack, weaving in and out with organic instruments in ways that create interesting textures and remind you that this is a world populated by giant machine dinosaurs. Some of it is featured in areas where it would make sense to hear more artificial music, such as the cauldrons and various old-world ruins. Given Horizon Forbidden West’s heavy sci-fi influence, there are plenty of electronic sounds and synthesizer work. It’s not all organic instruments, though. You can expect to hear lots of natural instruments like strings and woodwinds, but there are also more obscure musical implements and even some original contraptions the music team used to help give the score a sense of place. As mentioned above, this is a very atmospheric soundtrack, just like Horizon Zero Dawn. Now that we have that out of the way, let’s talk about the rest of the music. It’s also very cool that Guerrilla chose to feature something created by their own team and that they showcased the composer’s own voice. The lower key, acoustic accompaniment, and personal lyrics transform the song from a character anthem to something that feels intimate and sad, and I can’t get enough of it. “In the Flood (Lovisa’s Version)” is the original version of the song, composed and sung by Lovisa Bergdahl, a sound designer at Guerrilla Games. As good as this piece is, I think I like the closing credits version even better. I was so entranced by this song that I had to rewatch the opening credits several times before moving on when I played the game. A cappella is such a fun way to sing, whether a song is original or a cover, and it’s not something you often hear in video games.įinally, Horizon Forbidden West features a captivating opening song, “In the Flood.” Performed by Ariana Gillis, this piece brilliantly combines a somber tone with evocative, meaningful lyrics and an understated yet powerful accompaniment. It’s a lovely, soothing song with in-game lore behind it, but even if it didn’t, I still think it’s incredibly cool to have a piece like this. The fact that they chose to have these two characters represented by vocalists who sound similar but are still distinct is not only a brilliant sound design choice but also an example of how music is truly a core component of this game.Īnother vocal performance that deserves mention is the Canadian group Musica Intima in “As Before, We Are.” This is an a cappella piece that plays in the agrarian Utaru tribe’s capital city up until a certain point in the main story. When these two sing together, such as in the fantastic “Trinity,” the soundscape they create is so powerful that the music itself tells a story. Without spoiling things, these two vocalists each represent a major character in Horizon Forbidden West. First, there’s Melissa Kaplan, featured on a handful of tracks, sometimes on her own but often with Julie Elven. Julie Elven returns with her ethereal, haunting vocals, and several other performers who each bring something beautiful to this soundtrack join her. So now I find myself hoping that he’s on board for the next game in the series.īut it’s not just composers that we need to talk about. In fact, he’s responsible for some of my favorite pieces on the album, and his work fits in perfectly with the returning team. But after hearing his work in the full soundtrack, I realized I was wrong to worry. Lozowchuk is responsible for a little over a third of the soundtrack, and I must admit, I wasn’t initially sure about his involvement. Joining these three (well, really four - The Flight is a duo) is Oleksa Lozowchuk, whom you might know from the Dead Rising series. Joris de Man, Niels van der Leest, and The Flight all return to compose for Horizon Forbidden West, and their involvement means that the game’s music sounds like a natural continuation of the music in Zero Dawn. Let’s start by talking about that venerable sound team. It’s better in almost every way, much like the game itself. The music in Horizon Forbidden West is not just “as great” as Zero Dawn. I knew the aural experience would be as great as the first game. Hearing that Horizon Forbidden West would include the same sound team, with an additional member even, was a considerable hype factor. The game didn’t just look great, run well, have a good story, and star a fantastic leading lady it also had a gorgeous, atmospheric soundtrack that immediately stood out from practically the first cutscene to the ending credits. Music was an essential part of what made Horizon Zero Dawn so special to me. ![]()
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