Ah, video game music—where would we be without you? Still playing games probably, but silently and awkwardly so. It is mesmerizing how far music has come in video games. Like the reasons mentioned in our blog about the Impact of Music in Commercials, music in video games enhances the gameplay, helps set the tone, creates a pace, and enriches the storytelling. We know that narrowing down the best video game soundtracks of all time to just 10 is a very subjective pursuit. However, after consulting our team of music supervisors, film/TV trailer composers, video game composers, and, of course, the internet, we conjured up our list of the 10 best video game soundtracks of all time. So, grab your controller and headphones, and let’s dive in.
Oh, Tetris, the game that made falling blocks as addictive as your favorite earworm. One of the most remarkable aspects of Tetris’ music is its simplicity. The melodies are straightforward yet incredibly catchy, facilitating both concentration and relaxation. This unique balance helps players immerse themselves in the game without feeling overwhelmed, an essential quality for a puzzle game that demands sharp focus. The most famous track, “Type A,” is based on the Russian folk song “Korobeiniki,” which is a nod to the game’s Russian origins. The music evolves in real-time, contributing to the game’s escalating excitement or in our case, frustration. In summary, the soundtrack of Tetris is a masterclass in how to do a lot with a little.
The Last of Us is a sonic masterpiece! The themes driving this post-apocalyptic, zombie-infested universe are survival, loss, and hope. Composed by Gustavo Santaolalla, The Last of Us is praised for its emotional impact on all ends. For us though, it was the music that infected us the most (pun intended). From the iconic acoustic guitar featured throughout to the seamless integration between the music and sound effects, The Last of Us creates a holistic audio experience. Needless to say, the cinematic underscore to Joel and Ellie’s emotional rollercoaster, earns it an ongoing standing ovation in our list of the best video game soundtracks.
When it comes to epic video game soundtracks, God of War isn’t playing around. Well, except for the game it’s part of. The score is intricately crafted to align with the game’s themes of war, family, and fate. The use of haunting melodies and powerful orchestration reflects the emotional journey of the protagonist, Kratos. We also must make note of the instrumentation! Utilizing a combination of traditional Norse instruments such as the Nyckelharpa and Hardanger fiddle, along with full orchestral arrangements, the music immerses the player in a rich and authentic Nordic soundscape.
Crafted by the mad musical scientist Mick Gordon, the score for Doom is like the energy drink of video game music. It’s loud, it’s relentless, and it makes you want to slay demons. The music employs an innovative mix of 8-string guitar riffs, synthesizers, and heavily processed drum sounds to create a sonic landscape that feels both futuristic and gritty. It’s also incredibly adaptable. The music roars in triumph while taking down demons and makes you hold your breath while sneaking around a corner. In a nutshell, it is the 24/7 adrenaline rush in our list of the best video game soundtracks of all time.
In Fallout, one of the key elements to the soundtrack’s success is its blend of retro and futuristic styles. The soundtrack combines 1940s and ’50s era music with ambient, post-apocalyptic sounds, creating a dichotomy that perfectly mirrors the game’s setting: a futuristic world destroyed by nuclear war, yet stuck in a sort of mid-20th-century cultural stasis. I guess you could say that the Fallout soundtrack is the bee’s knees.
Moving right along with apocalyptic video games, we have Bastion. Composed by Darren Korb, the music is as if someone threw folk, rock, and electronic music into a blender and hit the ‘Pure Awesomeness’ button. The soundtrack also features vocal tracks that deepen the narrative. This is particularly effective because the game itself has a strong storytelling element, narrated by a voice-over that follows the player’s actions. To sum it up: the Bastion soundtrack isn’t just music, it’s an integral part of the game’s DNA and a must in our list of best video game soundtracks of all time.
Mandolin? Check. Accordion? You betcha. Mouth harp? Oh yeah, it’s there! Silent Hill composed by Akira Yamaoka uses instruments you’d expect to hear in a quirky European café in this survival horror video game. These unconventional choices resonate deeply with the narrative’s themes of distorted reality and existential dread. It’s not just “background music” but an integral part of the storytelling mechanism, making it a must-feature on our list of top 10 best video game soundtracks.
Grab your oversized sword and strap on your chocobo saddle, because we’re diving into the symphonic wonderland of the Final Fantasy series. The music catalog in this series is like a genre-defying Spotify playlist. It’s got it all: sweeping orchestral numbers, rock-inspired battle anthems, and electronic tracks. The strength of Final Fantasy music lies in its ability to evoke a wide range of emotions. And just like your favorite TV series, Final Fantasy uses recurring motifs—little musical Easter eggs that pop up across games, tying the series together like a well-placed plot twist.
Ah, nostalgia! The music from The Legend of Zelda sticks to your brain like that stubborn piece of gum on the sole of your shoe. Except, you know, you actually want it there. You’ll find yourself humming the “Song of Storms” during a downpour or quietly playing the “Zelda Lullaby” to your houseplants. Now, let’s talk about Koji Kondo, the musical sorcerer behind the game. Through leitmotifs, Kondo manages to evoke specific emotions, be it the tranquility of a pastoral setting or the tension of a looming battle. Needless to say, this game is legendary (feel free to judge us for that pun).
Koji Kondo strikes again! He’s like the Spielberg of video game music. The man has basically soundtracked our childhoods. The “Super Mario Bros. Theme” is so catchy that it’s practically a universal language at this point. One moment you’re bouncing along to the upbeat main theme; the next, you’ve plunged underwater, and the music mellows out. It’s also got genre-bending: everything from jazzy New Orleans vibes in Super Mario 64’s “Dire, Dire Docks” to the tropical rhythms in Super Mario Sunshine. Super Mario Bros.’ music is more than just a collection of tunes, it’s the heart and soul of the franchise.
That’s a Wrap on Our Top 10 Best Video Game Soundtracks EVER!
To the gamers reading this, we hope this list holds up! We are certain we will revisit this topic in a few years. If our list of the best video game soundtracks doesn’t hold up, let us know what we missed in the comment section of this Instagram post!
Welcome to the wild world of TikTok, where a 15-second clip can turn a song into an overnight sensation and have you accidentally learn a dance routine at 2 AM. TikTok has not only revolutionized social media but has also reshaped the music industry. Now, music supervisors for TikTok are the secret sauce in navigating your musical strategy and the unpredictable turns TikTok trends can take.
The Value of Music Supervisors for TikTok
Breaking Down Their Role
Music supervisors for TikTok might as well have a job description that reads: ‘must pick hits before they hit and know Gen-Zers better than they know themselves.’ They must have a keen sense for music that resonates with a global, predominantly younger audience, and the ability to foresee a song’s viral potential. This role extends beyond traditional music supervision, requiring a deep dive into the analytics and trends that drive TikTok’s ever-changing landscape.
Mastering the Art of Virality
One thing that makes music supervisors for TikTok unique is their ability to gauge the virality of a track. They analyze elements like the rhythm and lyrics of a song to understand how it can be used in challenges, dances, and other popular TikTok formats.
Catering to a Younger, Digital-First Audience
Music supervisors for TikTok face the unique challenge of appealing to a younger demographic. This involves staying ahead of musical trends, discovering emerging artists, and understanding the genres and beats that captivate TikTok users. It’s a constant race to stay relevant in a platform defined by its rapid content turnover.
Collaboration in the TikTok Era
Collaboration is key, and music supervisors often find themselves brainstorming with artists, labels, and creators to craft the next TikTok hit. This collaboration can involve creating special edits of songs or strategizing on how to launch a track on the platform for maximum impact. They’re the bridge between the music industry and TikTok’s quirky realm, ensuring everyone speaks the same viral language.
Navigating Licensing in the TikTok World
Licensing music for TikTok presents unique challenges, to say the least. Music supervisors for TikTok need to be adept at negotiating rights in a digital space where a track can go from unknown to driving the next viral dance trend overnight. This demands a flexible and innovative approach to music licensing that’s tailored to the platform’s unique usage patterns.
Final Thoughts
As the TikTok world spins on, the role of music supervisors for TikTok becomes increasingly pivotal. They are tasked with keeping the world’s toes tapping. They stand at the forefront of fusing music curation with an intricate understanding of social media dynamics. With three years under our belt as TikTok Sound Partners and our music supervision team’s diverse knowledge in sync licensing, we stand prepared and excited to elevate your TikToks and TikTok ads to new heights. Are you ready to make your sound resonate in the TikTok universe? Contact us to request music today.
Welcome back to another Sonic Story! It’s time to hit play on our chat with Jonathon Deering, where he unwraps the rhythms and riffs of being a trailer composer.
Sonic Stories with Jonathon Deering
How did you get into composing?
My family is very musical. My dad is a concert pianist and my mum has worked most of my life in the music department of BBC. My musical journey wasn’t straightforward, though. I never really wanted to pursue music, almost as an act of rebellion. I initially went down the performing route and attended a couple of renowned schools to study musical theatre and then acting. It was only about six years ago that I realized I went to the cinema more interested in the film’s music and composer than in the acting!
What is your creative process like?
Usually, the whole process revolves around mild panic—the good kind, maybe. Especially if it’s for a custom brief or composed specifically for a film. I have the attention span of a headless chicken, so I’ve had to distinguish between distracting panic and the good, helpful panic that helps me get as many ideas down as quickly as possible. The beginning is always the hardest, but what’s most interesting for me is finding my way into a project, especially with such tight deadlines. I like to enter into something through a particular sound, whether that be a signature sound that will be featured throughout, a specific instrument, or the way that instrument is played.
What is your specialty/what are you known for when it comes to your compositions with SAS?
Maybe it’s the wondrous, expansive style of sound that I love writing for trailers and commercials. I think it’s because it is so polar opposite to the grittier side of things I’m known for in the film-scoring world. I like to think I can specialize in a majority of styles and I think my trailer placements vouch for that. I’ve always been obsessed with different genres of music, which is the main reason I wanted to become a composer in the first place. I never wanted to be doing the same thing all the time. The same goes for the specific sector of music too. I’m slowly starting to work with music artists and songs. The difference between working on film scores, trailers, and artists’ song releases really keeps me creative and prevents me from falling into a routine or churning out the same things.
What Score a Score placement of yours are you most proud of?
I landed a really great TV spot for The Flash not too long ago. The music they used was never written with that genre in mind. It just goes to show that you never know where things will end up.
What lesson took you the longest to learn in your career?
Celebrating your wins with yourself is important. The world of composing for media is so fast-paced that sometimes you don’t have enough time to sit down and pat yourself on the back, or you’re so stressed about the next tight deadline that you never get the chance to close the chapter of the previous work. A friend told me the other day, “You are the version of yourself you wanted to be five years ago.” It’s important to see your progression and take the time to at least think, “Well done for doing/creating that! That’s great.” Then the chapter is closed, and you can look forward to what you’re working on next. This is also so important to me because I was brought up by parents who never really believed in pat-on-the-backs, and I feel like I’m missing a good 20+ years of it!
If you could talk to your younger self when you first started composing, what would you say?
“Hurry up and get into trailer music sooner. Maybe you’d own a house in London by now…”
What is your proudest accomplishment as a composer?
Being able to do this full-time. I’m also apparently the youngest composer to have ever scored a Paramount Pictures feature film! I was 23. That’s quite cool but ultimately meaningless.
If your life were a movie, what genre would it be and who would compose its soundtrack?
Genre: Tragicomedy Composer: John Powell
Cue the Outro!
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Today’s Sonic Story is pulling back the curtain on Score a Score’s very own Roland Bingaman! Prepare yourself for an illuminating discussion where Roland shares his perspective on the evolving world of trailer and ad music.
What is your creative process like?
My go-to for anything is sitting at the piano and coming up with a melody. Even for my brooding slow-burn trailer tracks, I tend to find the melody first and foremost. The rest of the track then gets built around that idea. It’s a constant struggle to put the right puzzle pieces together. And then, sometimes, the unpredictable happens and I find a super weird sound that inspires the whole song.
What is your specialty/what are you known for when it comes to your compositions with SAS?
With SAS, I assume most clients would know me for my trailer score work. I have had some exciting placements with custom ad work as well, but I’d say trailers are my “thing.” I hope that the thing that connects my music to agencies and supervisors is the melody; the hook that gets stuck in their heads. A good melody transcends genres, so when you apply that to trailers, you get to cross over into lots of sounds and styles.
Are there any new trends or techniques that you are loving right now?
I do love a classic A24 trailer that’s almost nothing but sounds and subtle low synths and textures. Although I can’t pull those off because of the lack of melody in them, I still enjoy them. When I attempt those types of tracks 100% of the time it ends up with a massive full-blown melodic act 2 and act 3.
What is your favorite piece of gear in your studio, and what is your latest gear purchase?
I’m not sure I could choose a favorite piece of gear to be honest. I’m quite thankful for the tools that I have at my disposal. If anything my computer is probably my favorite because I love working “inside the box.” I don’t NEED any of the external gear that I own, but it’s great to mix things up occasionally. My latest gear purchase is the Soyuz Deluxe pre-amp and my lovely Ear Trumpet Labs Edwina mic. The combo of those two has been THE sound of my folk artist project.
How did you discover SAS?
I discovered SAS in 2018 through composer Daniel Ciurlizza. I had decided that year that I wanted to pursue being a composer full-time. Eventually, I reached out to many composers asking how they started. Daniel was the only composer who responded and shared with me how excellent the folks of SAS were and have been to his career. I immediately placed them at the top of my “I hope to work with” list. He gave me a lot of feedback until my music was solid enough to eventually pitch to them.
What are your top three spots/placements that you did for Score a Score that you are most proud of?
I think my top three placements would be the See Season 2 trailer, Charlie Brown’s ‘To Mom (and Dad) With Love Mother’s Day special trailer on Apple +, and my very first placement for SAS, which was a commercial for ServiceNow. It was a charming Christmas ad that I put a ton of love and hope into and it ended up being my first big placement.
Your work with Score a Score covers both music for ads and music for trailers. How does your approach differ when composing music for advertisements as opposed to trailers?
I feel very fortunate to be able to switch back and forth between trailers and ads with SAS. I thrive off of the short-form variety of this job. One day I can be making a hip-hop trap beat for a hip Gen Z ad, and the next day I’m grunting into my mic creating some dark Viking fantasy trailer. Ads, to me, are a fun way to keep up with my pop production chops. I enjoy the upbeat cues but also the more emotional cinematic hybrid cues. The nice thing about ads is that typically you’re scoring to a locked picture. Whatever the genre is, it’s always nice to write music to go hand in hand with moving images. Trailer music, on the other hand, is a great sandbox of experimentation. While the formula remains the same, the sounds you can fit inside are always changing. I love honing into a darker/cinematic soundscape when creating trailers. I also love watching trailers so that makes it even more fun. At the end of the day, either for ads or trailers, the hook is still king. When someone is finished watching, can they leave humming the melody line or your cue? I’m always chasing down that melody.
What are some of your favorite TV jingles?
Two theme songs that literally shaped my composing interests have always been Batman The Animated Series as well as Gargoyles. Two cartoon shows that I obsessed over as a young kid. Hearing those dark-building theme songs with powerful motifs really left an impact on me. I highly recommend looking up both of those themes and being blown away that these were written for kid’s cartoons in the ’90s. They had no business being that amazing.
What have you learned about yourself as a composer since creating music with Score a Score?
I think the biggest thing that I’ve learned as a composer with SAS is how quickly you can actually write something. If left to my own devices it would take me weeks to write music. When you have a 48-hour deadline to turn in a finished piece of music, you can really dig your heels in and make it happen. That process has pushed me in my growth and speed.
What’s the first piece of music you ever composed, and how do you feel about it now?
One of the first pieces of score music that I remember writing was about my childhood pet cat named Rigatoni. I had this idea to make a cartoon about that cat as he went on various quests. The song and subsequent show was called The Adventures Of Rigatoni. The melody holds up, but that’s about it.
What lesson took you the longest to learn in your career?
Oof… Restraint! I’m still learning this lesson when it comes to trailer music. My main instinct has always been to make something sound epic, you have to use every instrument at your disposal. That usually results in a clumpy, muddy, bland mess (which many of the early trailer tracks were). As I listened carefully to my favorite trailer tracks from other SAS composers (Daniel Ciurlizza, Dan Rosen, Steve Sopchak, Joni Fuller, etc.), the thing I picked up on was their ability to practice musical restraint. Each moment and section has a purpose to fulfill while also needing to leave space. That’s a lesson I’m still challenging myself to put into practice.
If you could talk to your younger self when you first started composing, what would you say?
I would eagerly tell my younger self to stop trying to tour in a pop punk band and start writing library music and trailer music. Pop punk was just a phase so stop it. Stop it right now.
When was the last time you surprised yourself both personally and professionally?
Professionally speaking, anytime my music lands in anything I feel the same excitement that I felt with my first placement. I don’t think that feeling will ever get old. It’s always a wonderfully thrilling surprise when I see that “Placement Locked” email come through. Musically, I feel surprised anytime I finish a trailer track and I don’t think it’s terrible.
If your life were a movie, what genre would it be and who would compose its soundtrack?
So my life often feels like a Paddington The Bear movie or like Mr. Magorium’s Wonder Emporium. By that I mean the happy, whimsical parts of life are often just that. Whimsical and happy. But those movies dive into some really heartbreaking emotions too and life, while beautiful, gets rather grim. The struggles in life have purpose too though and build us up. I would love for Alexandre Desplat to score my life.
That’s a Wrap!
Our sonic story with Roland has come to an end but an encore is in store! Stay in touch with us for all SAS updates by subscribing to our newsletters. Chat soon!
The insight and inspiration don’t stop as we are back with another Sonic Story! We had the pleasure of catching up with the very talented, Felix Manzi. So sit back, grab a paper and pencil (or the notes app from your iPhone), and get ready to feel inspired.
Sonic Stories with Felix Manzi
What is your creative process like?
If I’m working on a custom/specific project, I usually start by reviewing the brief, highlighting and making note of any keywords, moods, moments, styles, etc. Then, the real fun begins! Typically, I start with some kind of chord progression or rhythmic pattern to build on top of. If I have more time, I’ll even start with a full piano sketch, and orchestrate it. Once the composition is done, I finish up with any more mixing, master it, and send it off!
What would you consider to be your specialty?
I’d like to think that my specialty is that I’m a jack of all trades. I really love to study and immerse myself in all different styles of music to really get into the intricacies of what makes each genre special and unique.
Are there any new trends or techniques that you are loving right now?
I’ve been hearing a lot of unique sounds in trailers these days. For instance, there are ear-pleasing, clicky, percussive, vocal, ASMR types of sounds. I really love that because it allows for more inventiveness, and the ability to really think outside the box.
What is your favorite piece of gear in your studio and what is your latest gear purchase?
Favorite: Would probably be my 1960s Gretsch Round Badge drumset. They just sound so beautiful!
Latest Purchase: I recently purchased a portable recorder. I’ve been having a blast recording different sounds, and working on more unique sound designs.
How did you discover SAS?
I’m pretty sure I discovered SAS through a Google search. I got a sense that they really cared about the composer and not just the music. I was right!
What are your top three spots/placements that you did for Score a Score that you are most proud of?
Google Cloud – They wanted a very drumset-centric score, so as a drummer, I loved recording live drums for this one!
Hocus Pocus 2 – As a ’90s kid growing up with the first movie, this was really special to be a part of.
Gone In The Night – My very first real, official trailer placement .
Your work with Score a Score covers both music for ads and music for trailers. How does your approach differ when composing music for advertisements as opposed to trailers?
I would say that because of the nature of trailers, I approach trailer music in a more structured way. I often start with the biggest part, the final act, and sort of work backward (or at least have an idea for the final act). When it comes to advertisements, it’s much more of a toss-up with how I tackle the track.
What have you learned about yourself as a composer since creating ad and trailer music with Score a Score?
I’ve learned that I’m capable of more than I think. I’ve had some pretty specific, and odd musical directions for projects, where I thought, “There’s no way I’m gonna be able to make this work!” But I always have. If there’s a will, there’s a way!
What are some of your favorite TV jingles?
I love the classics:
Folgers “The best part of waking up…”
Mentos “The Freshmaker”
Bounty “The quilted quicker picker-upper”
Toys R Us “I don’t wanna grow up…”
ABC bumpers “After these messages…”
And I don’t know if this counts, but I looooove classic sitcom themes, especially from the ’70s through the ’90s.
What’s the first piece of music you ever composed, and how do you feel about it now?
The first real thing I composed, and finished, was a mockup trailer piece for my music tech class, during my freshman year of college. It was over a trailer of The Incredible Hulk, and listening back, it’s so outdated! I like to keep it as a reminder of where I started vs. where I am now.
What lesson took you the longest to learn in your career?
Patience…in everything!! Career aspirations, skill and production growth, the creative process, and even the business stuff. It took a while for me to stop obsessing over achieving everything fast, and to just enjoy the journey/process as it happens. This business really is a marathon, not a sprint.
If you could talk to your younger self when you first started composing, what would you say?
I would definitely tell myself to just jump in, and get my music out there! I waited for the “perfect” time to start putting my music out there, but there really is no perfect time.
When was the last time you surprised yourself both personally and professionally?
Personally: In 2020, I was diagnosed with Hodgkins Lymphoma and had to go through chemotherapy. I went into it with a calm, almost zen-like, “accept what you cannot change” mindset, and I think that helped, tremendously. I was surprised I was able to keep that mindset throughout.
Professionally: I recently did a trailer album focused on bespoke sound design. I’m somewhat new to creating my own custom sounds, so I was surprised that I pulled it off, and how much I enjoyed working on it.
If your life were a movie, what genre would it be and who would compose its soundtrack?
Definitely a comedy composed by Randy Newman.
That’s a Wrap!
As the curtain falls on our inspiring chat with Felix, remember that every finale is just the prelude to another masterpiece. Stay tuned and keep an ear out on our Instagram, because our line-up of empowering interviews with our SAS composers is far from over!
