“Omen” is very much a, ah…microcos, or some say microcosm of the entire soundtrack, demonstrating Ryan Amon’s emphasis on strings and vocals, with recurring disjointed escalating notes reminiscent of horror movies.Īmon also sets himself apart from Sakuraba and Shunsuke Kida (木田 俊介 ) of Demon’s Souls fame by introducing tempo shifts in several tracks. The bass strings advance to a steady march, and when the lone vocalist begins her somber note, you know you are once again subject to From Software’s twisted sense of beauty.
That said, strings do take the forefront of Bloodborne, an appropriate choice considering the game’s pseudo-Victorian England setting. Unlike its predecessor, however, the piece follows with a slow, brooding cello, setting the overall dark background that permeates the soundtrack in contrast to Motoi Sakuraba’s (桜庭 統) grandiose use of brass in Dark Souls, lead composer Ryan Amon only uses brass to accentuate certain notes and to reach low ranges of the audio spectrum where strings could not. You know you’re not in for a good time when the track listing begins with a piece called “Omen.” The track begins with the boom of a concert bass drum, reminiscent of the beginning of the Demon’s Souls main theme. Otherwise, plunge yourself into the darkness. For those seeing a completely unspoiled experience, look away, because some of the boss themes may give away certain things. Bloodborne’s soundtrack is another shining example of classical composition in videogame music. Underneath the screeching, disjointed notes is a majestic, diverse soundtrack unlike any other.
Like the game itself, things are seldom as they seem. The eerie sensation that perpetuates it often produces uncomfortable sounds, and for that reason it may put you off, at least before you gain the necessary… insight. Bloodborne’s soundtrack is not for everyone.
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