Terri… you know, shodan. I know that’s voice but she’s got a lot of musical talent and experience with both games. I’m sure it will come in handy.
Bring back Robotkid!
I still would dig guitar drone & ambient feedback for the quieter moments. Think Sunn O))). (Look them up on YouTube.) The rest can build intensity at key moments, just like SS2 and the original Half-life.
Drum & Bass/Jungle is a thing of beauty & class, if you know where to look (mostly into the past):
And a little less classy and beautiful, but more system shock-y, adrenaline pumping and dark:
Finding good, lasting techstep tracks remincent of Shock 2 is not easy, Robotkid definitely injected his own style into System Shock 2’s soundtrack to some degree, and it worked fantastically.
Obligatory Immersive Sim meets drum & bass as examples of why I want more:
Darkwave like Gary Numan and Switchblade Symphony (music only) would fit the theme, also, during quieter moments.
Ah, gotcha. For a moment there I was hoping you knew something that I didn’t.
That ops2 is just amazing. Hell, if they outright ripped it and shamelessly re-used it I’d be just fine with that.
Hell, if they based their soundtrack on any of either System Shock’s soundtracks, i’d be happy!
He (arguably) already has - compared to “Head Like A Hole”, the Reactor level music in the original game was just the right side of the tribute:ripoff ratio to have avoided a lawsuit!
[Though it should be pointed out that Tribe and NiN were more-or-less contemporaries and I suspect Trent would have been flattered rather than PO’ed had he known…]
In answer to the original question, my answer would be three words - Brosius, Brosius and LoPiccolo. I know they’re all busy with Harmonix these days (and more power to their elbows), but it wouldn’t be the same without them even if they can only do so in a consulting sense…
Here is one example of Darkwave:
I took that one since Gary Numan was an inspiration for/worked with Trent Reznor of NIN.
Minus any vocals, of course. Just feedback.
One of the most David Lynchian sounding albums in my collection, and something I wouldn’t mind see influence SS3. Especially if they keep the ‘elevator music.’
Personally, I believe going more in a direction that is reminiscent of the soundtrack from Shock 2 would be best. Its the soundtrack that most people remember and, in my opinion, captured the intense, hostile, and creepy atmosphere of the series very well.
I wouldn’t mind though if some songs that were closer to System Shock 1’s style were made for it as well though, there could probably be a blend of both styles in the game, really. Also, the theme song should definitely be somewhere in the game. Shock 1’s theme was really memorable and I’d like to see it be in the next game as well.
I love an upbeat soundtrack, if it kicks at the right moments, it’s perfect! Ambient’s also a good choice, but I think ambient works best at calm situations, to build up tension, suspense! But when you’re catched, when the Hybrid sees you and begins chasing you yelling “Your song is not ours!”, that moment, my friend, is when the upbeat music must come! It will kick your fight-or-flight responde and will give a lot of goosebumps! If the soundtrack is a good one, like System Shock 2 was (Engineering level is incredible), it will boost you up! Not only for sections of fight an upbeat soundtrack works, but also for sections where you must keep moving forward, running. I think that would work out pretty well! Also, such an upbeat soundtrack may work to build up tension as well, like the moment in System Shock 2 where you’re approaching the shuttle bays and the dark techno kicks in, rising unexpectedly. The song gives a strange feeling of creepyness, and you’re surrounded by Cyborg Midwives and such, so, it’s a perfect match.
I, for one, love both types of music (ambient and upbeat) and feel they need to coexist and work well in a game. You know, those who don’t like the music because it breaks the atmosphere (for them) can just mute it.
Half-life and SS2 did this perfectly, IMHO.
Ultimately a music system that is dynamic might be best, with more action driven tracks playing in appropriate situations. I just hope that such a system would be used effectively.
For what it’s worth, as a part-time musician with a home project studio on tap there’s a little voice inside of me that says I’d give a nutsack to get involved if I can be of any help…
I would also love to get involved…though maybe not as much as you…maybe half as much?
I’d love to get involved with the UA soundtrack as well.
Santa’s got skills! Seriously, check out his SoundCloud for tracks in Shroud of the Avatar, and the atmospheric sounds he made as Underworld tribute. +1000
Proper Industrial music, Tech step, Dark Ambient, Drone and/or IDM.
I suggest they get Keith Baker, Justin Broadrick, Rachael Kozak/Hecate, Displacer, Current Value, Cooh/Balkansky, Iszoloscope/Camanecroscope or Scott Sturgis/Converter to do the soundtrack.
That would be ace.
Another Justin Broadrick fan!
I want something that sounds like now in the same way that SS2 sounds like 1999. Or rather today’s idea of futuristic music, not the 80’s or 90’s. It annoys me sometimes how what passes for a “futuristic” aesthetic now is still straight out of the 80’s. Green-text monitors on spaceships, that kind of thing. We’ve moved on, but our ideas of futurism are weirdly retro. Collecting logs on a spaceship was fine in the 90s but in an era where everything is cloud based today that mechanic would need updating in SS3. The music needs to be similarly new.