© Valve Corporation. Needless to say, the MIDI tracks pale in comparison to the far more powerful, fully-fledged CD audio cues. Your email address will not be published. “Venus Atmospheric Lab” feels like a tidal wave that’s about the crush listeners as it cranks up every single one of its components to 11 – be that the album’s heaviest, most singled-minded beat, an apocalyptic staccato synth riff or blindingly dissonant guitar riffs. In other words, does this list imply that Ken Allen and Leslie Spitzer’s contribution to the PC score didn’t receive any CD audio treatment? What’s also intriguing is that the credits for the Mac port list, Be that as it may, there’s no need to ponder these questions for too long. Among the titles that ushered in the new era of 3D gaming during the mid-1990s, Descent sometimes gets a bit overlooked. It’s all anchored by hand percussion rhythms that imbue the music with a surprisingly organic groove, elegantly countering the cue’s densely arranged electronic elements. There’s trippy 90s electronica, squealing free jazz saxophone leads, hauntingly atmospheric synth leads, noisy guitar episodes driven by textural exploration rather than melodic gratification. Interestingly, the Mac and PlayStation soundtracks aren’t identical. Be that as it may, there’s no need to ponder these questions for too long. “Title” alone circles through more styles than other game soundtracks in their entirety. The multiplayer aspect received equal acclaim.
And thankfully, “Titan Mine” is precisely the kind of jaw-dropping freight train of a closing track that this kind of album demands. Matching Descent’s elevated standing in game history, its soundtrack is a momentous achievement – industrial music at its most excessive and yet tightly controlled.
Critical acclaim and strong sales figures rewarded Parallax Software’s daring, leading to a number of ports and sequels – and enough fan devotion to crowdfund a prequel decades later! Valin Halcyon. However, Langlie and Peacock’s pieces mash such a staggering amount of ideas and styles together that their score emerges as something entirely original – constantly intense and innovative, but equally blessed with such assured pacing that the music’s relentless attitude never becomes overbearing.
Tracing the creation of the Descent soundtrack is a mildly confusing affair, thanks to the game’s various ports. The industrial theme of the entire album fits perfectly with the environment that Descent takes place in. “Venus Nickel-Iron Mine”’s progressive techno gives way to the almost hypnotic nightmare that is “Mercury Core”’s combination of downright catchy rhythms assaulted by some of game music’s most abrasive guitar lines. Two years after Doom, Descent took the depiction of three-dimensional spaces in video games to the next level. Track 1 was the CD-Rom Data for the Descent II computer game. All rights reserved. The preference for the Mac score comes courtesy of a curated soundtrack release via GOG, while the PlayStation soundtrack is a confusing combination of licensed material, reprises of the Mac cues and new compositions. And it only gets better from here – Langlie and Peacock keep realigning the musical colours on the Descent soundtrack’s massive palette for each track. The Mac and PlayStation ports released later on used CD audio, including arranged versions of some of the PC MIDI compositions, as well as licensed tracks by Nivek Ogre and Type-O Negative. The original PC release came with a MIDI soundtrack composed by Ken Allen, Brian Luzietti, Larry Peacock, Leslie Spitzer, Jim Torres and Tim Wiles. https://www.ebay.com/itm/Descent-II-Interplay-Parallax-Software-PC-1996/332411181127?hash=item4d65401847:g:7dQAAOSwceNZO5AB, Matrix / Runout: FM 13607-B (CD-ICD-083-1/IN0002).
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Descent Soundtrack (Mac), Johann Langlie / Brian Luzietti / Larry Peacock / Jim Torres / Tim Wiles, 1995. Ghetto Rock Written by Mark Charles Richardson, Dante T. Smith Performed by Yasiin Bey (as Mos Def) Published by EMI Blackwood Music Inc (BMI) “Title” stakes the composers’ claim to fame firstly with a runtime of no less than six minutes – setting a template for the rest of Descent soundtrack, where most tracks enthusiastically cram in so much that they can’t help but break through the five-minute mark. Listen to how the composers layer their competing musical ideas as the piece keeps building into the kind of majestic, magnificently controlled chaos only very, very few scores ever achieve. The score was heavily influenced by industrial music bands of the day like Nine Inch Nails, Skinny Puppy and Front Line Assembly, with this particular genre reaching its peak of popularity in the mid-1990s. That the whole thing comes together organically without collapsing under its own weight is further testament to the composers’ skills. [Sound Blaster (Opl2) edition.] After all, what counts is that the Descent soundtrack is a masterful exercise in maximalist genre-bending, a monumental beast of a game score written during a time when composers discovered the joys of working with live instruments – throwing caution and restraint to the wind in the process. Yes, this is clearly music inspired by contemporary industrial metal and electronic influences (similar to Burke Trieschmann’s best scores).
Such noise metal inclinations will come to dominate the soundtrack more and more, but first, “Lunar Military Base” surprises with a brief, welcome excursion into melodic 1970s hard rock. Two years after Doom, Descent took the depiction of three-dimensional spaces in video games to the next level. Under the barcode there is a text: "NOT FOR SALE OUTSIDE NORTH AMERICA" Barcode and Other Identifiers Barcode: 0 40421 00150 7 ... Search for Descent II Soundtrack Sell CD. The cue moves smoothly from eerie sound collage to a groove-oriented hard rock sound that is soon undermined by a stumbling, disorienting synth line – only to suddenly explode in a savagely pounding industrial metal outburst.
“Lunar Outpost” introduces hip-hop beats and a fantastic, almost funky bass line that keeps the centrifugal musical forces from spinning out of control. Such frightening whiplash isn’t all that “Titan Mine” has to offer. Could be worth noting that the names for "Techno Industry" and "Robot Jungle" are switched on both the mp3 release Interplay did in the early 00's and the Definite Collection soundtrack (which includes extended versions of the music, but split them up across the Descent 2 and Vertigo expansion CD's). Track 1 was the CD-Rom Data for the Descent II computer game. Such frightening whiplash isn’t all that “Titan Mine” has to offer. Matching, Langlie / Luzietti / Peacock / Torres / Wiles, Terminator 2: Judgment Day Soundtrack (NES). For any soundtrack that already starts at 100%, it’s hard to find places to go as the big showdown approaches, but the Descent soundtrack pulls off this rare feat. While the graphics and gameplay certainly don't flesh it out, if you look past the graphics it's much darker - a lot like DooM.
Descent Soundtrack (Mac), Johann Langlie / Brian Luzietti / Larry Peacock / Jim Torres / Tim Wiles, 1995.
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