Ok so I don’t know if it has been talked about a lot or not, but what do you guys think on the music we heard from the demo?
I personally loved it. It brought me back to playing halo for the first time when I was 11 (halo 3 on the 360). It blended the old familiar feel of Marty’s work but still sounded new and refreshing. It sounded like the music was inspired by the original halo soundtracks but was not trying to copy them completely.
I can’t wait to hear more of the music we heard because if the sound track for infinite is as good or better than the what we have heard so far, infinite may have some of the best music we have heard in halo in a long time.
I thought it sounded amazing. Definitely sounds like Halo.
Gotta Love the battle drums
Loved it. Personally I think each set of composers for all of the games have brought a really nice balance of their own creative output, and Marty and Michael’s original scores. I do definitely like keeping a general balance in the orchestration with consistent use of the plainchant style choir, and a more orchestral heavy score
Bringing in Gareth Coker was a great choice i love the strong, emotional Soundtrack of the two Ori Games and having him work alongside Curtis Schweitzer - who is responsible for another lovely Soundtrack i like - to “recreate” the iconic Halo Music as well a creating impactful new tracks for the Series. I liked the one in the Starting Menu, it had the same sense of wonder and mystery the original Halo theme had ( the only thing im sad about is that it wasn’t a camera moving around the Installation)
I mean… come on i want it!
I liked it! I hope the rest of the game sounds similar.
I hope there is going to be a soundtrack available some where either right after launch or soon after.
I’m all about it. However, I hope they don’t rely on the main Halo theme as much in the final game as they did in this demo.
I think it was weak and ineffectual and perhaps some of the worst music I’ve heard in a Halo game–and I’m not just emphasizing the music from the original trilogy, Reach and ODST; I think 4 has probably the best soundtrack, particularly if you understand 4 as a reimagining and reinterpretation of Halo*'s* aesthetic, tone, and narrative themes; musically, it’s second only to what O’Donnell did originally. 5 is also hit or miss, but there’re some good pieces there.
This? Ugh. Maybe it’s just the way it comes in during the demo, but it sounds very shallow, doesn’t emphasize the moment in any meaningful way. It sounds like stock Halo music if that’s a thing. It was very one-dimensional and didn’t have the packed emotional nuance and density that previous entries did. It just sounds like people singing the Halo theme and renditions of the motifs we’ve heard before. The little drum part? Terrible–and some of that is because it’s just set to Chief running toward a featureless, bland texture of a rock face to grapple up onto a platform that could’ve been a set of stairs or a ramp (instead of using the grapple to demonstrate ways the tool could fundamentally change how we position ourselves on a map, it just becomes a fancier way of getting from point A to point B).
And then at the end? Good lord is that sensory overload. You have homeboy brute, whatever his name is, rambling on and on and on and on and on with just complete melodrama–more melodrama than the Prophets had in 2 and 3 (if that was even possible)–while the melodies are just piled on top of the scene seemingly without any concern for how these things sit in a presentation and the amount of weight they take up–both on their own terms, and as pieces of music, we’re all familiar with. It reminds me of when I used to perform in theater and we used to talk about the importance of not throwing a line away and being careful about certain words mean in the greater context of the script and the performance. You can use powerful themes and statements multiple times, but when you cram them into place in a chaotic, melodramatic, and self-indulgent place, well, you make Kojima seem subtle in Death Stranding’s plot!
They ought to have taken notice of how Final Fantasy VII Remake and (to a degree) Resident Evil 2 (the remake) utilized their existing sonic and melodic library to play with a sense of the future and a nod to the past.
The music in the demo was pretty good they might add some cool banished music the game for certain banished characters or missions
I was wondering when a thread on the music would pop up.
I loved it. Halo 4 and Halo 5 had very forgettable soundtracks (although Halo 4 was better of the two). They really hit the mark this time. I loved the part of the demo when the player was going up the elevator and taking in the environment. The music at that particular point was absolutely top notch.
I’m excited for more.
So on the 28th the music from part of them demo went up on YouTube. I’m hoping we get more bits of music from the trailers as time goes on. While we don’t know how the overall soundtrack will be, it is probably safe to say there will be at least one great track. I really can’t wait to hear more of what is to come music wise, and hopefully we will get some more trailers in the near future that will feature some of that music.
Loved it.
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> I think it was weak and ineffectual and perhaps some of the worst music I’ve heard in a Halo game–and I’m not just emphasizing the music from the original trilogy, Reach and ODST; I think 4 has probably the best soundtrack, particularly if you understand 4 as a reimagining and reinterpretation of Halo*'s* aesthetic, tone, and narrative themes; musically, it’s second only to what O’Donnell did originally. 5 is also hit or miss, but there’re some good pieces there.
>
> This? Ugh. Maybe it’s just the way it comes in during the demo, but it sounds very shallow, doesn’t emphasize the moment in any meaningful way. It sounds like stock Halo music if that’s a thing. It was very one-dimensional and didn’t have the packed emotional nuance and density that previous entries did. It just sounds like people singing the Halo theme and renditions of the motifs we’ve heard before. The little drum part? Terrible–and some of that is because it’s just set to Chief running toward a featureless, bland texture of a rock face to grapple up onto a platform that could’ve been a set of stairs or a ramp (instead of using the grapple to demonstrate ways the tool could fundamentally change how we position ourselves on a map, it just becomes a fancier way of getting from point A to point B).
>
> And then at the end? Good lord is that sensory overload. You have homeboy brute, whatever his name is, rambling on and on and on and on and on with just complete melodrama–more melodrama than the Prophets had in 2 and 3 (if that was even possible)–while the melodies are just piled on top of the scene seemingly without any concern for how these things sit in a presentation and the amount of weight they take up–both on their own terms, and as pieces of music, we’re all familiar with. It reminds me of when I used to perform in theater and we used to talk about the importance of not throwing a line away and being careful about certain words mean in the greater context of the script and the performance. You can use powerful themes and statements multiple times, but when you cram them into place in a chaotic, melodramatic, and self-indulgent place, well, you make Kojima seem subtle in Death Stranding’s plot!
>
> They ought to have taken notice of how Final Fantasy VII Remake and (to a degree) Resident Evil 2 (the remake) utilized their existing sonic and melodic library to play with a sense of the future and a nod to the past.
I completely understand your argument and I partially agree with the song at the end of the demo, a faster “hans zimmery” version of the Halo theme associated with a Brute we never met before rambling at the camera kinda seems out of place and unnecessary. It reminds me of the implementation of the Force theme in the terrible new Star Wars trilogy. It is playing on every moment completely disconnected from the story, the emotion and the original message the theme was built for. It is there just for a throwback and it weakens the purpose of the music.
I’m afraid of this problem happening in Halo Infinite too. Most of the songs from the gameplay demo and the “Become” trailer have a slightly reference to the Halo theme and I hope they know how and when to use it and not just go with easy throwing the theme everywhere for nostalgia because we’re going to notice.
The song itself I really like it, but the context of the song ruins it for me.
As I said in another topic. If there’s one thing, of course, that not a single Halo has failed (even in Spartan Assaults and Strike), it’s certainly on its soundtrack. Goosebumps.