Alone in the Dark
Olivier Deriviere
" The most surprising and attractive element in this game score, is the choir. "Written by Bregt De Lange - Review of the regular release
The in 2008 released Alone in the Dark game is the fifth one in the game series that started in 1992. Back then heralded as one of the scariest games ever and often seen as an example for later horror games in the genre such as Silent Hill and Resident Evil, it was sad to see that its sequels never reached that same level. The 2008 resurrection of the series again received mixed reviews, resulting in distributor Atari going paranoia and claiming some websites had reviewed an early, unfinished version of the game. For the latest incarnation of Alone in the Dark, French composer Olivier Deriviere was hired to score its visuals. With a set of other game scores on his cv, including the quite remarkable music for the Obscure series (free to download at his website), and some work for tv, his name probably won't ring a bell. With all the attention the release of Alone in the Dark gets, that may change soon.
The most surprising and attractive element in this game score, is the choir. Deriviere hired the Grammy Award winning Mystery of the Bulgarian Voices to perform the almost religious Bulgarian lyrics written especially for the game. The score's opening sets the tone immediately, with an almost nasal voice as lead towards a dark and scary performance with full choir. Throughout the 66 minute album, the choir creates an odd atmosphere, especially because of its unusual sound. It's not the first time Deriviere uses choir this way. His previous game scores for Obscure 1 and 2 contain the same kind of uncomfortable feeling that voice can create. In any case, it sounds fresh and it serves as an alternative for the often unnecessary overuse of typical wordless epic choir in game scoring.
The orchestral side of the score, while clearly performed by a sample library, is impressive as well. It's quite a nervous score, with fast paced strings and a lot of focus on the brass section. The latter colours some of the most exciting pieces, like "The Humanz", "Bethesda Fight" and "The Fissure. Wild percussion and lively woodwinds usually support the brass. Pity the middle section includes some of the less interesting pieces, which could easily be skipped, as the album offers enough material for a solid 45 minute listen.
While the composer certainly had high quality samples at his proposal (according to the booklet, they come from the Vienna Symphony Library), it still takes away a part of its power, resulting in, to my ears, a slightly less fluent and more colder sound. Not money was the reason to use samples, but, according to Deriviere, the fact that the music had to change very quickly in-game, with using a lot of short passages and patterns, wouldn't have been easy to be performed by a real orchestra.
Though, it would be quite spectacular to hear some of these very impressive pieces with a live orchestra. The situation reminds me of an earlier release this year, Justice League, by composer Kevin Manthei. A really fine score, one that also would've benefit from a real orchestra performance.
Deriviere tied the use of choir in the game together with the unveiling of the game's mystery. According to gamers, it's a score that works with great effect, really nailing the tension with the visuals when it has to. Towards the finale, the influence of the Bulgarian Voices becomes grander and reaches its climax in the final couple of tracks. "An End for a Prelude" is a very fine conclusion and one that may end up in various playlists. Its driving and swirling strings, the still going crazy brass section and the combination of the two main themes, results in a spectacular ending.
Tracklisting
1. Prelude to an End (1.33)
2. Edward Carnby (2.36)
3. The Fissure (3.43)
4. Collapsing Floors (4.35)
5. The Façade (4.59)
6. Reception Hall (4.39)
7. The Humanz (4.26)
8. Who Am I? (2.25)
9. Central Dark (1.24)
10. Crying New York (2.36)
11. Loneliness (2.03)
12. Bethesda Fight (2.02)
13. Killing the Fissure (3.47)
14. No More Humans (4.40)
15. Truth (1.11)
16. Niamam (1.00)
17. The Light Carrier Test (5.51)
18. Shto Li (a cappella) (2.20)
19. The Final Gate (5.08)
20. The Choice (1.35)
21. An End for a Prelude (4.11)
Total Length: 66.44
The most surprising and attractive element in this game score, is the choir. Deriviere hired the Grammy Award winning Mystery of the Bulgarian Voices to perform the almost religious Bulgarian lyrics written especially for the game. The score's opening sets the tone immediately, with an almost nasal voice as lead towards a dark and scary performance with full choir. Throughout the 66 minute album, the choir creates an odd atmosphere, especially because of its unusual sound. It's not the first time Deriviere uses choir this way. His previous game scores for Obscure 1 and 2 contain the same kind of uncomfortable feeling that voice can create. In any case, it sounds fresh and it serves as an alternative for the often unnecessary overuse of typical wordless epic choir in game scoring.
The orchestral side of the score, while clearly performed by a sample library, is impressive as well. It's quite a nervous score, with fast paced strings and a lot of focus on the brass section. The latter colours some of the most exciting pieces, like "The Humanz", "Bethesda Fight" and "The Fissure. Wild percussion and lively woodwinds usually support the brass. Pity the middle section includes some of the less interesting pieces, which could easily be skipped, as the album offers enough material for a solid 45 minute listen.
While the composer certainly had high quality samples at his proposal (according to the booklet, they come from the Vienna Symphony Library), it still takes away a part of its power, resulting in, to my ears, a slightly less fluent and more colder sound. Not money was the reason to use samples, but, according to Deriviere, the fact that the music had to change very quickly in-game, with using a lot of short passages and patterns, wouldn't have been easy to be performed by a real orchestra.
Though, it would be quite spectacular to hear some of these very impressive pieces with a live orchestra. The situation reminds me of an earlier release this year, Justice League, by composer Kevin Manthei. A really fine score, one that also would've benefit from a real orchestra performance.
Deriviere tied the use of choir in the game together with the unveiling of the game's mystery. According to gamers, it's a score that works with great effect, really nailing the tension with the visuals when it has to. Towards the finale, the influence of the Bulgarian Voices becomes grander and reaches its climax in the final couple of tracks. "An End for a Prelude" is a very fine conclusion and one that may end up in various playlists. Its driving and swirling strings, the still going crazy brass section and the combination of the two main themes, results in a spectacular ending.
Tracklisting
1. Prelude to an End (1.33)
2. Edward Carnby (2.36)
3. The Fissure (3.43)
4. Collapsing Floors (4.35)
5. The Façade (4.59)
6. Reception Hall (4.39)
7. The Humanz (4.26)
8. Who Am I? (2.25)
9. Central Dark (1.24)
10. Crying New York (2.36)
11. Loneliness (2.03)
12. Bethesda Fight (2.02)
13. Killing the Fissure (3.47)
14. No More Humans (4.40)
15. Truth (1.11)
16. Niamam (1.00)
17. The Light Carrier Test (5.51)
18. Shto Li (a cappella) (2.20)
19. The Final Gate (5.08)
20. The Choice (1.35)
21. An End for a Prelude (4.11)
Total Length: 66.44