“Venus Atmospheric Lab” feels like a tidal wave that’s about the crush listeners as it cranks up every single one of its components to 11 – be that the album’s heaviest, most singled-minded beat, an apocalyptic staccato synth riff or blindingly dissonant guitar riffs.
Through the framework of a space flight simulator, Parallax Software gave players six degrees of freedom to shoot their way through a series of off-world mines.
After all, what counts is that the, “Title” stakes the composers’ claim to fame firstly with a runtime of no less than six minutes – setting a template for the rest of, The constant onslaught of complex rhythm layers on “Title” and throughout the entire, And it only gets better from here – Langlie and Peacock keep realigning the musical colours on the, For any soundtrack that already starts at 100%, it’s hard to find places to go as the big showdown approaches, but the, And thankfully, “Titan Mine” is precisely the kind of jaw-dropping freight train of a closing track that this kind of album demands. Valin Halcyon.
Yes, this is clearly music inspired by contemporary industrial metal and electronic influences (similar to Burke Trieschmann’s best scores). The preference for the Mac score comes courtesy of a curated soundtrack release via GOG, while the PlayStation soundtrack is a confusing combination of licensed material, reprises of the Mac cues and new compositions. For any soundtrack that already starts at 100%, it’s hard to find places to go as the big showdown approaches, but the Descent soundtrack pulls off this rare feat.
Under the barcode there is a text: "NOT FOR SALE OUTSIDE NORTH AMERICA" Barcode and Other Identifiers Barcode: 0 40421 00150 7 ... Search for Descent II Soundtrack Sell CD. Among the titles that ushered in the new era of 3D gaming during the mid-1990s, Needless to say, the MIDI tracks pale in comparison to the far more powerful, fully-fledged CD audio cues. The score was heavily influenced by industrial music bands of the day like Nine Inch Nails, Skinny Puppy and Front Line Assembly, with this particular genre reaching its peak of popularity in the mid-1990s. And it only gets better from here – Langlie and Peacock keep realigning the musical colours on the Descent soundtrack’s massive palette for each track. Such frightening whiplash isn’t all that “Titan Mine” has to offer. What’s also intriguing is that the credits for the Mac port list, Be that as it may, there’s no need to ponder these questions for too long. Needless to say, the MIDI tracks pale in comparison to the far more powerful, fully-fledged CD audio cues. The industrial theme of the entire album fits perfectly with the environment that Descent takes place in. Listen to how the composers layer their competing musical ideas as the piece keeps building into the kind of majestic, magnificently controlled chaos only very, very few scores ever achieve. Such frightening whiplash isn’t all that “Titan Mine” has to offer. The cue moves smoothly from eerie sound collage to a groove-oriented hard rock sound that is soon undermined by a stumbling, disorienting synth line – only to suddenly explode in a savagely pounding industrial metal outburst. Be that as it may, there’s no need to ponder these questions for too long. The preference for the Mac score comes courtesy of a curated soundtrack release via GOG, while the PlayStation soundtrack is a confusing combination of licensed material, reprises of the Mac cues and new compositions. Statistics Have: 18; Want: 33; Avg Rating: 4.86 / 5 Ratings: 7; Last Sold: Never
It’s all anchored by hand percussion rhythms that imbue the music with a surprisingly organic groove, elegantly countering the cue’s densely arranged electronic elements. Such noise metal inclinations will come to dominate the soundtrack more and more, but first, “Lunar Military Base” surprises with a brief, welcome excursion into melodic 1970s hard rock. Critical acclaim and strong sales figures rewarded Parallax Software’s daring, leading to a number of ports and sequels – and enough fan devotion to crowdfund a prequel decades later! The computer versions of Descent received near-universal acclaim, with reviewers widely comparing it to Doom and noting its unique use of free motion, as well as a fully three-dimensional environment.
The Mac and PlayStation ports released later on used CD audio, including arranged versions of some of the PC MIDI compositions, as well as licensed tracks by Nivek Ogre and Type-O Negative.
Interestingly, the Mac and PlayStation soundtracks aren’t identical. Among the titles that ushered in the new era of 3D gaming during the mid-1990s, Descent sometimes gets a bit overlooked. What’s also intriguing is that the credits for the Mac port list Johann Langlie and Larry Peacock as responsible for “CD Music”, “partially based on music by Brian Luzietti, Larry Peacock, Tim Wiles (Q), Jim Torres”. Among the titles that ushered in the new era of 3D gaming during the mid-1990s, Descent sometimes gets a bit overlooked.
Track 1 was the CD-Rom Data for the Descent II computer game.
Matching, Langlie / Luzietti / Peacock / Torres / Wiles, Terminator 2: Judgment Day Soundtrack (NES). While the graphics and gameplay certainly don't flesh it out, if you look past the graphics it's much darker - a lot like DooM.
Some of these artists had previously worked on other titles by publisher Interplay, while other composers don’t seem to have had much of a career in games outside of the Descent franchise. Matching Descent’s elevated standing in game history, its soundtrack is a momentous achievement – industrial music at its most excessive and yet tightly controlled. Thank you for recorded By Charles McKee, aka. That the whole thing comes together organically without collapsing under its own weight is further testament to the composers’ skills. https://www.ebay.com/itm/Descent-II-Interplay-Parallax-Software-PC-1996/332411181127?hash=item4d65401847:g:7dQAAOSwceNZO5AB, Matrix / Runout: FM 13607-B (CD-ICD-083-1/IN0002). Descent Soundtrack (Mac), Johann Langlie / Brian Luzietti / Larry Peacock / Jim Torres / Tim Wiles, 1995. Tagged With: 1995, Brian Luzietti, First-Person Shooter, Jim Torres, Johann Langlie, Larry Peacock, Mac, Mixed Music Genres, Parallax Software, Tim Wiles. All rights reserved. Listen to how the composers layer their competing musical ideas as the piece keeps building into the kind of majestic, magnificently controlled chaos only very, very few scores ever achieve. That doesn’t stop “Lunar Scilab” from starting with what sounds like pistons mercilessly firing away, before the composers introduce one of the soundtrack’s trademarks: some almost experimental guitar work that tweaks the instrument’s riffs into their most aggressive, torn shape possible, distorted almost beyond recognition.
Ghetto Rock Written by Mark Charles Richardson, Dante T. Smith Performed by Yasiin Bey (as Mos Def) Published by EMI Blackwood Music Inc (BMI) Interestingly, the Mac and PlayStation soundtracks aren’t identical. “Title” stakes the composers’ claim to fame firstly with a runtime of no less than six minutes – setting a template for the rest of Descent soundtrack, where most tracks enthusiastically cram in so much that they can’t help but break through the five-minute mark. Another first was the use of (almost) exclusively 3D graphics to depict the game’s world, instead of bitmaps. Track 1 was the CD-Rom Data for the Descent II computer game.
Thanks to its seamless construction, “Title” is not just gritty and adrenaline-pumping, but also convincingly expansive and spacious in its world-building – if one had to find an industrial game score that truly deserves the designation ‘epic’, it’s this one. And thankfully, “Titan Mine” is precisely the kind of jaw-dropping freight train of a closing track that this kind of album demands. © Valve Corporation. The cue moves smoothly from eerie sound collage to a groove-oriented hard rock sound that is soon undermined by a stumbling, disorienting synth line – only to suddenly explode in a savagely pounding industrial metal outburst. Two years after Doom, Descent took the depiction of three-dimensional spaces in video games to the next level. Could be worth noting that the names for "Techno Industry" and "Robot Jungle" are switched on both the mp3 release Interplay did in the early 00's and the Definite Collection soundtrack (which includes extended versions of the music, but split them up across the Descent 2 and Vertigo expansion CD's). Two years after Doom, Descent took the depiction of three-dimensional spaces in video games to the next level. This s the Original soundtrack of Descent 1. There’s trippy 90s electronica, squealing free jazz saxophone leads, hauntingly atmospheric synth leads, noisy guitar episodes driven by textural exploration rather than melodic gratification.
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