![]() ![]() It is a consistently delightful set of tunes that feel modern and original even as they pay homage to the past. In case it isn’t obvious by now, Undertale is one of my favorite OSTs of 2015. There are also a few smart references here and there Phoenix Wright fans will get a kick out of the three “Dating” tracks. Even the game’s most intense tracks never feel busy or unfocused. His melodies are consistently engaging and memorable, and the tracks have an overall economy of composition that allows these melodies to shine. Between the jingle bells in “Snowden Town,” the funky baritone-sax in “sans.,” the rustic guitar in “Home,” the techno-synths in “CORE,” the sparse duo of piano and strings in “Snowy,” and the martial intensity of “Spear of Justice,” Toby Fox navigates an impressive range of styles. It certainly doesn’t hurt that the various themes are bursting with atmosphere and character. This is a soundtrack that rewards repeated listening. Try listening to “sans” and “It’s Raining Somewhere Else” back to back. Most of these connections are immediately apparent, but Toby Fox also throws in a few more subtle reworks of previous themes. One of the album’s standout tracks, “Death by Glamour,” combines and reinterprets bits and pieces of several tracks that precede it. The melody of “Once Upon a Time” may sound prosaic at first, but it gradually emerges as one of the game’s most prominent themes and is used to great effect in “Undertale,” “Hopes and Dreams,” and a half-dozen others. This soundtrack, despite its brevity, is incredibly dense with motifs that repeat and recombine in fascinating ways all throughout. This unity is partly a result of the Undertale‘s thematic richness. In theory, I wouldn’t have expected this to work, but Toby Fox somehow manages to weave these disparate styles into a unified whole. The battle tracks in particular, like “Enemy Approaching” and “Heartache,” tend to blend these formats together. In fact, one of the defining features of Undertale‘s soundtrack is the way it combines and fluctuates between chiptunes, more sophisticated soundfonts, and occasionally live instruments. Once the piano kicks in on “Ruins,” though, it becomes clear that Toby Fox is working from a wider palette. In its first few tracks, Undertale initially comes across as a faithful tribute to the NES era à la Shovel Knight. 35 – Bird That Carries You Over A Disproportionately Small Gapĥ5 – Can You Really Call This A Hotel, I Didn’t Receive A Mint On My Pillow Or Anythingħ2 – Song That Might Play When You Fight Sans ![]()
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