The point is that when I sat down to write this opening paragraph, I realized that the problem was that I hadn’t experienced the soundtrack in the correct manner to form a good opinion of it. And no, I’m not usually given to self-reflection in the summary paragraph of a soundtrack review, so believe me when I say that there’s a point to all this. The more I listened to it, the more I realized that wasn’t quite right, though. At first, I thought it was just that life was busy, I was having trouble focusing, or some part of the soundtrack wasn’t really grabbing me. It was initially very hard for me to write about the soundtrack for Pyre. After the highly experimental takes on ‘trip-hop western’ and ‘lounge blues electronica’, Pyre represents a chance for Korb to solidify his iconic style as well as to branch out when the opportunity presents. The analogy is appropriate, too, both because Korb and Barrett have collaborated on every soundtrack that Supergiant has released and because in doing so, everyone involved had developed and reinforced their own unique collective style. It’s a story of collaboration that is told the way most people talk about the forming of a beloved and iconic band. Korb, in turn, brought in vocalist Ashley Barrett to sing and provide voice acting for one of the main characters in Bastion. Each game that Supergiant releases is a very personal endeavor, and so it made sense from the beginning that when co-founder Amir Rao needed music for Bastion, he turned to Korb, who was a longtime personal friend. It’s a sentence that one shouldn’t really have to type, as Supergiant’s history as a studio and Korb’s history as a composer are more or less the same thing. Pyre is the latest game by independent developer Supergiant Games and scored by composer Darren Korb.
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