An interesting read on where videogame music is is going (among other things) from Kill Screen.
Videogames are changing. They’re changing in all sorts of ways: bedroom devs and established studios alike are finding new ways to tell intimate stories. Tech is, of course, getting increasingly intricate. Nintendo is coming back—or maybe giving it one last go before they expire. And diversity is finally sinking into the roots of the gnarled, calcified tree of tradition.
Tradition—men, men who came up as outcasts, geeks, and can’t let that go—isn’t taking it so well.
The heaviest metal is doom metal. Proving that slow beats fast as surely as paper beats rock, doom metal slouches toward riff-filled nirvana where its siblings thrash, black, and death all pummel the listener with inhuman speed. It’s a genre that women, in part, helped form: Coven and their singer Jinx Dawson prefigured Black Sabbath’s interest in the occult—if not their sheer heaviness—by scant months, an interest that would come to define heavyweights like Saint Vitus and Electric Wizard and a hundred other outfits.
Of course, since the hallowed days of Ozzy there’s been cross-pollination: sludge is doom with hardcore vocals. Occult rock is traditionalist doom, taken 70s-straight: metal’s answer to the pixel-art platformer. Death doom pits bellowed pit-of-the-stomach harsh vocals against grinding, patient chord progressions. Stoner doom, appropriately, wades through a thick haze of sheer bloody tone. It goes on and on.