Review Summary: Varied and as off-the-wall as the game itself, Christopher Larkin knocks it out of the park here
Sound design has always been an integral element of video games, from the hyperactive Sonic The Hedgehog music, to the bombastic Skyrim chanting. This was particularly true during the SNES and Megadrive era, with numerous sprite-based 2D games utilizing exceptionally designed music to help distinguish between stages. For the largest part of the seventh generation of consoles, however, this appeared to take something of a back seat, with the rise of behemoths such as Call of Duty and Gears of War ensuring that gunfire and explosions took center stage, but this isn't true for everything. If there is one aspect of gaming that the works of developers such as From Software has rekindled, it is the way in which the soundtracks backing boss fights can be used to convey changes of mood and phases, whilst also providing a brilliant backdrop for the jaw dropping fights in which the player participates. Of course, that isn't to say that music wasn't a fascinating component of gaming throughout its entire history, nor that each player's experience will not be completely different, but I believe it fair to say that this is the general trend, and this interest in gaming soundtracks to compliment the on-screen action is one that I also found in the exceptional Hollow Knight, a game developed by a very small team of people and with music provided by one Christopher Larkin.
This soundtrack is truly beautiful, adding a whole other dimension to the gorgeous visuals and entertaining gameplay. From the peaceful, tranquil piano sounds heard during the games menu, to the theatrical and over-the-top Nightmare King Grimm composition (admittedly one reserved for the downloadable content and the follow-up soundtrack accompanying that work), this music never drops the ball. These pieces can be very simplistic, but tracks such as White Palace showcase the progression that can also be found here, with the song remaining cohesive whilst rarely repeating the exact same passage more than a couple of times, and with several different instruments including a harp and flute further embellishing his work throughout. Dream Battle begins with a much more aggressive feel, reminding me of something like a tribal battle from a movie, containing a pulsating programmed drum beat that shines in the central third of the track. For those of a more gentle persuasion, Resting Grounds contains some truly gorgeous piano work that is entirely soothing, perfect for unwinding from a hard day smashing bugs to pieces with a nail. Perhaps my favorite track here, however, is the frantic Mantis Lords, which never settles down, and yet retains complete clarity and sense from start to finish. Much like the accompanying fight, this keeps the listener on his or her toes throughout, and it is very difficult to sit still whilst listening to.
It is the sheer variety on offer here that makes it stand out from so many other soundtracks, and why it can fit a game as varied and off-the-wall as Hollow Knight. Picking flaws is difficult, and it is a work I consider to be amongst the best of its kind. There is nothing more to say other than, listen to the soundtrack, play the game, and prepare to be amazed.
