💿📀 Dying Light 2 | Original Game Soundtrack | Vinyl | Composed by Olivier Deriviere | @oderiviere 💿📀 #Vinyl #VideoGameVinyl

Black Screen Records

https://blackscreenrecords.com/dying-light-2

The original Dying Light - released by Techland in 2015 - is a game that I’m very familiar with, having completed it twice (once solo and once in co-op), as well as making my way through the DLC. I always secretly pined for a vinyl release of the OST for the original as the audio was memorable, harked back to the synthtastic ‘80s and had some gorgeous melodies.

Sadly, it was not to be and so Black Screen Records announcing pre-orders for the Dying Light 2 soundtrack within a few days of the game itself being launched is very much welcomed as it’s a very strong and emotive OST that Olivier Deriviere (A Plague Tale, Streets of Rage 4) is clearly very proud of, and rightly so.

Before I go into the release itself, I’d like to draw attention to Olivier Deriviere’s Twitter account (@oderiviere), which – leading up to the month of release – has been updated multiple times a day with fantastic facts and trivia about the creation of the soundtrack, as well as the reasoning behind specific choices made, with a focus on how it is adaptive to the in-game action, his comments make for interesting behind-the-scenes reading. Any concerns I had as to how this adaptive design would translate to vinyl was quashed upon my first listen, as it all fits together well, with some really beautiful moments.

Available from Black Screen records in three formats; a limited edition red/black and clear/black marbled vinyl (there are also signed versions of these) and a red/black vinyl, which is the standard retail variant, all versions are 180g. My record was very securely packaged and delivered in absolutely mint condition – also of note, each record is contained in an anti-static sleeve (good). 

I was sent was the marbled version and it really does look great, with the designs evoking blood, decay, dust and smoke. They also tie-up with another design choice in this release, to have each record stand on its own in terms of audio narrative, in Olivier’s words:

“On the first disc, you will follow the story of the main character and his personal journey through The city of Villedor. Like in the game, you will discover the different factions and the difficult choices he will have to take. The second disc is more about the world, its environments and dangers but through adversity, there is always time for comfort and joy.”

This really does feel the case, with each record very clearly having its own approach and audio personality.

The release is presented in a double gatefold sleeve, the main cover of which is the same image as the game; whilst the rear features a darker scene, in monochrome. The main portion of the image is taken up by the visage of a glitched and fractured person holding a vintage book of some kind. To the right of this is the tracklisting, comprising of 31 tracks spread over the four sides. Opening up the gatefold shows a double-spread landscape of the in-game cityscape of Villedor, and the protagonist leaping at and attacking a zombie with a hatchet as a trio of undead approach from the right. The muted colours and greyness of the ruined city, combined with the rising smoke is certainly echoed in the colour choice of the second record, ‘World’ (the first record is titled ‘Story’). There’s also a nice and subtle touch in how the gatefold is mostly matte, but the characters in this particular centrepiece image are slightly raised and glossy to make them pop.

Below this image is the credits, these state that the music was performed by the London Contemporary Orchestra (who have worked on releases such as the Suspiria soundtrack and various movies scored by Johnny Greenwood) and was recorded at the historic Studio 1 in Abbey Road. The album was mastered by Shawn Hatfield, who was also involved in the Streets of Rage 4 release alongside Olivier Deriviere. Kudos to Shawn, as the mastering throughout is smooth and warm, ensuring that the music never feels too overbearing; it’s clear, defined and crisp, regardless of whether it’s dealing with full orchestration, heavy layering or a more minimalistic electronic / synth-driven affair. Finally, there’s a reference to the creation and playing of a psaltery…which is definitely something that I didn’t have to look up.*

Story – Side 1

Run Jump Fight – The initial track instantly kicks off with a simple melody that will be referenced throughout the album. A slow opening, the percussion soon joins in, and whilst the theme is repeated, it builds with each revolution. This was the first teaser single released from the album some weeks back and shows a very carefully crafted blend of orchestra and synth, all working around that simple and ear-catching melody.

There is Hope – Beginning with an electronic beat, this was an early stand out for me; as slow, piano chords and delicate, atmospheric ambience gets joined by frisky violins that add an edge of threat to the track. The real highlight for me though, is the almost slightly atonal, heavily effects-driven synth (and guitar?) that plays a wonderfully melancholic version of that main motif. At just under two and a half minutes, this one really made an impression with richly-textured and yet simple melodies - a great ending, as well.

The Good Doctor – Starting with airy, swirling synth and held violin notes, it soon strips right back to allow the string section to take the lead with a heavy focus on emotional weight. This could almost be taken from a straight RPG as it feels somehow classic in its presentation, hinting at the narrative drive in the game.

It Begins – A short piece at just over a minute, this is an interim passage that returns to the main motif, with the strings this time playing a solo version, accompanied by that dirty and yet quietly epic synth-line.

Rushing – As the title suggests, this is an energetic one. With an electronic beat keeping the pace up, the same iconic synth effect from the preceding tracks returns briefly, but it’s the violins that carry the main theme as punctuations of percussion and the horn section hammer home a seemingly looming threat that’s hot on the heels of the protagonist.

The Survivors – A softer affair than the previous track, The Survivors begins almost cautiously before going into quite a tribal percussion that feels celebratory as opposed to battle-hardened as if it is the music accompanying a room full of suspicious dancers.

The Peace Keepers – This one is far more sure of itself, coming straight out of the gates with solid, powerful drumming that has a military precision to it, there’s a confidence and almost fanfare vibe, like a fear-evoking general moving through a crowd.

We Are Citizens – This track crawls at you out of the darkness, with slow strings and what seems like a distant, discordant guitar swirl in the distance, lurking in the half-light. The strings that rise above it at the halfway mark feel like light breaking cautiously through grey clouds, a soft and gently hopeful ending to the first side.

Story – Side 2

Empowering Yourself – with a solid bass-drum beat driving the vehicle, the violins again take up an energetic role as the horn section slowly swells and rolls back above it all. Shortly to be joined by that wonderfully discordant synth that creates such a charming cacophony, like a homemade instrument falling apart, but still yearning to create. 

The Bound – A more delicate track than Empowering Yourself, The Bound is all low, slow strings and subtle flute. It feels like someone wandering forlornly through snow in a bright, cold light. Single-note piano adds to the sense of quiet drama, a very pretty piece.

Choice and Consequences – I loved the start of this as it sounds like an orchestra hiding in a distant bush trying to be quiet as people look for them in the night, pulses of music are punctuated by a single bass swell. Pretty soon, the threat is upon us as the horns and strings creepily make themselves known and any thoughts of light-hearted comedy in the first few seconds vanish, ending in deeply ominous stuff.

Wandering in the Wastelands – This features a great deep monster growl as part of the beat, which I thought was pretty cool. The violins are playing in a slightly panicked fashion as other instrumentation dips in and out until the electronic beat returns, its intent matching the violins as the horns again echo above. This very much continues the sense of pervading darkness that crept out of Choice and Consequences – and references that main motif towards the crescendo.

A Cursed Medicine – A return to a more folkloric sound, hinted at in The Good Doctor on the previous side of the record, there’s certainly a thematic link in the dovetailing titles. Whilst this begins optimistically -as the track progresses, it’s very clear that all is not well...especially in the last thirty seconds!

The Last Parkour – Carrying on almost straight away from A Cursed Medicine, this feels like a continuation – and all bets are off, this is a pulse-pounding chase sequence through and through. Following a fantastic, scratchy breakdown - the tension ramps back up and almost sounds like a jam, I was hips deep into this one and then...yes...that awesome dirty synth came hurtling out of nowhere, and blasted out the main refrain. Glorious.

Monsters We – a buzzing bass line that slowly fades into the distance as vibrant strings ache into play makes the initial tone unsure, is it a celebration? Is it over? Within moments we know...no, it’s not. A rasping growl and instrumentation that screams ‘danger’ rises up, eventually returning to that main motif in the most desperate way possible, sounding like a fading cry for help. That main riff that appears throughout the album almost feels like a character in different situations, it’s used to such great effect.

World – Side 1

Start – Right off the bat, the heavier focus on a more electronica-based sound differentiates the two records. This features a saucy bass beat with ambient vocals and effects. All together, it creates a moody, cool atmosphere. Alerting you to the fact that this is the sister-side to Story, the main riff is briefly referenced as a wink. That said, this track eschews traditional orchestration, diving into electronica.

The Renegades – A fuzzy line and distorted/swelling drums continue this side, and it’s not long before a sense of darkness rises up. A clashing, descending three-note guitar line gives way to thudding percussion and more buzz and fuzz, a druggy and entrancing track that feels like someone lost in an underground urban complex, lit frantically by a strobe. Possibly the most intense track of the album.

The Night Runners – Another that really stood out to me from the first listen, this features Giani Caserotto on a beautifully played (and recorded) acoustic guitar. It feels so organic and evocative when set up against the more electronic tracks that lead up to it. The dusty, ambient sounds that swirl around the solo guitar really makes it stand out, I really liked this one. It’s subtle and emotive without being flashy or overplayed. Again, a great ending chord, understated and perfect.

Up the Tower – A subtle refrain doused in reverb opens this one, echoing electronic snare and uneasy synth create a restrained soundscape that called to mind someone stuck in a small space, the driving, tube-like bass notes hammering the quiet panic home.

Urgency – Following on from Up the Tower, the panicking violins return as a relentless bass drum pounds home the urgency of the situation. I think the bowed psaltery is used here, I could be wrong but either way, there’s a lovely, dry and dusty organic instrument that cuts through.

Be at Peace – A three-note riff of loss opens this, it’s very much a mood of mourning as lilting, single notes chime out. Other instruments join in delicately, as if in a funeral procession in the rain, awkwardly unable to meet each other’s gazes. 

Inside Their Lair – Straight away, I’m scared. Inside Their Lair has a cavernous opening, that made me feel like I was walking into a huge, dark room with a fading torch. Soon, that sense of ominousness is replaced by mounting panic, something is shifting around you in the darkness, in the periphery of your vision. Distorted, synth and clattering electronic, chittering percussion add to the mounting sense of impending doom.

Mia – That dusty stringed instrument is back – it really is a great sound, up there with the atonal synth. Even here, alone and playing sparse notes, it creates an entire scope of visuals in your mind. Another highlight, especially in how the playing gets more and more shaky, feeling like the life slipping out of someone. it’s a powerful song and the decision to play the instrument in such a fractured way is a bold and brilliant one.

World – Side 2

The Mark – Another example of a melody sounding like it’s coming through a failing machine, like some alien alarm - this track sets you off on unsure footing. Soon, another ‘80s-tastic theme comes through, like a warped cassette. Good. Soon though, rising notes come at you, getting higher and higher until they explode and completely let loose, like the scream of a madman. 

Breath of the City – Breath is definitely a good word to use here to describe the opening moments, volume swells and a trance-like approach fill out the track, a mental search for a nostalgic memory that is always out of reach whilst stoned and watching a kaleidoscopic and twisted VHS tape.

Up the Windmill – Dusty, held notes echoing into the distance over an electronic under beat gives way to more sub-bass swells, like a didgeridoo of doom. Soon, chiming melodies dance around the track, all with that pulsing beat underneath it all, driving you ever onwards. There are a lot of little ambient touches in the background, meaning that this is a richly-textured track that, in some moments, also flashes towards a ‘90s vibe, as does Breath of the City.

The Joy of Parkour – very much a track that goes hand-in-hand with Up the Windmill, the slow start soon picks up speed and drops in a single-note riff that reminded me thematically of the fantastic Damon Albarn ‘Ravenous’ theme, another example of making the fractured and atonal a beautiful, idiosyncratic highlight. I adore these parts of the record that sound like someone making music in a ruined cityscape with whatever is left to create upon.

Big Boy – He most certainly is a Big Boy, if the theme is anything to go by! This wastes no time in pumping out of your speakers, threateningly. Dive-bombing horns and scratchy violin give off serious boss-theme vibes as the solid electronic beat keeps the energy levels up amidst the carnage.

Surrounded by Infected – the scratchy violins hang around here, following – I assume – the fall of the Big Boy. Thudding beats are at the heart of Surrounded by Infected - and by the sounds of it, those infected are relentless, and many.

The Warmongers – Huge tribal drums practically burst forth from the speakers here, and keening metallic sounds underscore the sheer power of them. A short track this may be, but it stamps down a mark to be reckoned with.

The Mission – a pretty-but-warped duel of instruments leads us into the final track of the album. I can’t help but feel that this is the soundtrack to a pyrrhic victory. I’ve always enjoyed understated codas and this fits the mould well - a twisted, uneasy theme from a broken world. You can almost imagine the camera zooming out and up, away from the wrecked city - as smoke billows to the heavens.

This is an album painted from the colours of a broken city, learning to live and breathe again, unsteady on its feet and unsure of the future. I’m typically drawn to smaller, more intimate tracks, or ambient soundscapes and funky percussion; but here, I found myself longing for and enjoying certain synths, effects and instruments as if they were favourite characters in a movie that I was watching.

It would be so easy for this approach to go too far and become overly challenging, alienating or just a tough listen but the balance is such that the instrument, effect and melodic choices always feel rewarding and interesting.

I would smile to myself when a familiar sound came back into play, often shaky and on the verge of collapse, it really gives the album a very singular identity that reveals more of itself with each listen.

*I did. I did have to look it up.