BioShock Infinite is getting a 95 on Metacritic which is spectacular! Congrats to the whole team that worked on this amazing game
Emily Reese of Minnesota Public Radio interviewed me and it is available online here.
Four recent reviews of my scores for Dante’s Inferno and BioShock:
- Square Enix Music
The score for BioShock marks one of the most satisfying matches of narrative and musical accompaniment in game history: the music successfully mirrors the game’s period setting, its location, its habitants, and its ambiguous history and what remains of it. Hitting all these marks, while producing a game soundtrack quite unlike any other, Schyman can lay claim to having composed a modern game score classic.
- Higher Plain Music
Technically stunning and flawless, the way it captures the essence of the otherworld is memorizing and is already vying for Higher Plain Music’s 2010 soundtrack of the year award.
- Square Enix Music
… it is one of the most intriguing and fascinating scores game music has produced in a while and shows how many more creative venues are still there to be explored by game composers who deploy orchestras to create their scores. … Schyman further cements his reputation as one of game music’s most interesting and innovative composers.
With this release, Schyman has definitely captured what he has described as “the scary, grotesque, beautiful and tortured sounds” of this game world. The orchestrations are big and pristinely recorded affairs, appropriate, as the scoring was done at the legendary Abbey Road Studios, played by the Philharmonia Orchestra with the Metro Voice, both of which are on excellent display…
I did an interview with Annette Gonzalez of GameInformer . Much thanks to Annette for a great article!
Today there is a nice article about game composers in Variety, which I was grateful to be a part of.
Check out this interview with me on Soundtrack.net about the score to Destroy All Humans: Path of the Furon!
Today there was a front-page story in the LA Times about video game music that I feature prominently in. I am very grateful to the reporter, Alex Pham of the LA Times, who took so much time to work on this piece.
The Scifi Channel rarely reviews game scores, but they have reviewed my score for BioShock, saying: “Remarkable and remarkably good, the music for Bioshock is a feast for the musical connoisseur.”
Film Music Monthly
“The result is an amazingly crafted and resoundingly effective score that mimics, pays tribute to, and re-energizes the inventive clarity of 1960s horror scoring. There is still plenty of the 1950s style that defined the first DAH gamescore, but DAH2 is a little more progressive in its musical palette. and pervasive chords rage in colorful battle while other moments brood in reserved rage, biding its time. Tunguska Disguised harkens back to the impenetrable requiems of Akira Ifukubes Gojira scores, with their irrepressible sadness and funereal cadence. Moon Base Hunted, which closes the CD, is a brilliant amalgamation of Barry and Bernstein and Bernard Herrmann.
Film Music Monthly
“This score continues to offer up that homage to the music of 1960s sci-fi explored in the previous score. Furon Theme, the opening score cue, is just that updated sound most closely resembling a cross between a Barry Bond score mixed with the theremin-tinged Herrmann sci-fi sound with nods to North By Northwest and The Day the Earth Stood Still. One might also hear in the score tracks an extension of Elfmans music from Mars Attacks! (the Hollywood homage to 1950s sci-fi.) Bay City Disguised is like a cross between Schifrin and Goldsmith taking a page from Mission Impossible along the way. The result is still interesting if not at times amusing. This cue abruptly ends and sounds as if it continues in Bay City Hunted interrupted by the licensed material. The score is a fun companion to Giacchinos The Incredibles of which it is a kindred spirit in intent if not in compositional style.
Schymans music is really an exciting listening experience filled with engaging musical lines and accomplished and polished orchestration. All the things that separate the merely interesting from the above average are on display here. The music has rhythmic vitality that falls into the same category as Goldsmith, a wide harmonic palette and moves freely, though not distractedly, between its purely orchestral sound and the addition of electric guitars. The orchestration is also varied and superbly crafted”.
“..an impressive score (once again from Garry Schyman) is perfectly in keeping with the 60s setting and the feeling of the game”.