With over 130 new releases, July sure was a monster month for video game music
Your monthly VGM roundup has arrived.
“I Actually Started With Music for PS1”: Inside Andrew One’s Journey to Denshattack!
From learning how to compose on PS1 to mixing a monster 80-track OST, Andrew One opens up about his journey, working alongside VGM legends, and surviving the biggest challenge of his career on Denshattack!
Sitting between Sonic, Jet Set Radio and Splatoon, Denshattack! is on track to leave its mark on video game music
Denshattack's soundtrack boasts the most impressive lineup of VGM composers I've ever seen — listen now on your favorite platform.
Why nobody can agree on what to call video game music
Despite the roughly 1,200 soundtracks released every year on streaming platforms, there doesn't seem to be a fixed convention for album naming.
Contrast, candor, and crucial twists: inside the music of Deer & Boy with composer Corentin Brasart
From Inside nods to unexpected ambient layers, composer Corentin Brasart breaks down the heavy dualities, cinematic hooks, and sudden production twists that shaped the remarkably singular and emotionally gripping soundtrack of LifeLine's debut game, Deer & Boy.
At long last, the 1000xRESIST soundtrack hits Spotify, Apple Music, Tidal, and more
Just 24 hours after releasing the "dark mode" remix of "Fixer's Song," Sunset Visitor has finally dropped the full
Interview
“I Actually Started With Music for PS1”: Inside Andrew One’s Journey to Denshattack!
From learning how to compose on PS1 to mixing a monster 80-track OST, Andrew One opens up about his journey, working alongside VGM legends, and surviving the biggest challenge of his career on Denshattack!
Contrast, candor, and crucial twists: inside the music of Deer & Boy with composer Corentin Brasart
From Inside nods to unexpected ambient layers, composer Corentin Brasart breaks down the heavy dualities, cinematic hooks, and sudden production twists that shaped the remarkably singular and emotionally gripping soundtrack of LifeLine's debut game, Deer & Boy.
"I think there is an apparent shift from my usual style": Floex on his nesting-doll, spellbinding score for Phonopolis
Czech composer Floex breaks down his raw, primitive electronic soundtrack for Amanita Design's Phonopolis. He shares insights into his signature style, upcoming vinyl releases, and why indie game studios offer far more creative freedom and mutual respect than the traditional film industry.
"Don't Be Afraid to Shock the Players": Nicolas de Ferran on Scoring Battlestar Galactica: Scattered Hopes
From They Are Billions to Battlestar Galactica, Nicolas de Ferran discusses his 12-year career. He explains his choice to bypass the series' iconic style for his own blend of synths and cello. His goal? Giving players a "musical kick in the gut".
The Sound of Tides of Tomorrow: How Lou Corroyer Crafted the Identity of the Mystics
Dive into the choral and vibrant soundscape of Tides of Tomorrow. I chatted with Lou Corroyer to discuss his collaborative work with DigixArt and how he crafted a unique musical identity for this innovative narrative adventure.
From Award-Winning Cinema to Outer Space: Amine Bouhafa’s Video Game Debut in Aphelion
What happens when a César-winning film composer takes on a sci-fi epic? Meet Amine Bouhafa, the man behind the haunting and intimate score of Aphelion. From crystal organs to space-station-sized instruments, we dive into the sonic universe of DON'T NOD’s latest game.
Paul Aubry on Expanding the Musical Skies of Airborne Empire
Following the success of Airborne Kingdom, the composer returns to the franchise to craft a richer, more symphonic soundscape for its sequel. Paul Aubry breaks down his creative process, and how he used Ghibli-inspired melodies to bring this floating world to life.
"I put everything I had into it for years", VOLA default talks about Metal Eden
Discover VOLA default’s journey scoring Metal Eden. Insights on Mick Gordon’s influence, sound design, and the raw power of game soundtracks.
"Metal and hyperpop have a lot in common", Sarah Wolfe tells us about Don't Stop, Girlypop!
Since the release of DOOM in 2016, the fast-FPS deck has been completely reshuffled. But id Software’s hit was also somewhat dogmatic. Since then, most of the genre&
"Limiting your sonic palette helps a lot in finding an identity": Nicolas Gueguen talks MIO: Memories in Orbit
As I mentioned in my January mixtape: MIO: Memories in Orbit is my first crush of 2026. And that goes for its soundtrack too, mind you! You’ve already heard
"The challenge is writing music that can be listened to on a loop", Drew Redman talks 1000xRESIST
I started the year discovering 1000xRESIST, and I’m about to end it by playing through Sunset Visitor’s debut game once again. This is a first for me—I
"Jungle fits the PS1 aesthetic quite well", pr0te talks Easy Delivery Co.
Easy Delivery Co. had completely slipped under my radar back in September, but since then, I haven't been able to stop thinking about it—or its absolutely insane
"It’s been the greatest joy of my career", Eddie Marianukroh talks Chained Echoes
Chained Echoes is one of those games that appeared on my radar completely out of the blue, as I hadn't followed its successful Kickstarter campaign. To this day,
"This game adds a wider instrumental palette", Lucie Treacher talks Monument Valley 3
I’ve always been a huge fan of Todd Baker’s work—I still occasionally spin the incredible Tren soundtrack. Naturally, I expected him to be the one at the
"You have to make sure that no sound interferes with the gameplay", Trigg & Gusset talks Blue Prince
Blue Prince caught me completely off guard. I wasn’t expecting it in the slightest, and I even found its name a bit annoying (??). However, once I realized that Dogubomb’