the reviews – overall

THE REVIEWS

Big Idea Music on the Sony Playstation…

TWISTED METAL:

Game of the Year:

Winner Game of the year all game platforms and game of the year for Sony PSX:

1996 Video Game Buyers Guide

Winner Best SoundTrack of the year all game platforms:

“From the dark, sadistic version of a Christmas tune, to the wild electric guitar solos and the pumpin’ techno tracks, Twisted Metal’s soundtrack is a thing of pure musical genius. Not only is the music great on its own, but it really fits the action on the screen.  Too many games match explosions and actions to sappy elevator-pop jingles.  Not Twisted Metal!  We can’t wait to see, and hear, what Twisted Metal 2 has in store – oops, we weren’t supposed to say that…Anyway this is one you’ll want to take out and listen to on your audio CD player!”

Game Players, December,1995

Sound Rated 10 – “The musical score is also mind-boggling:  It changes depending on what’s happening in the game.  For instance, one minute you’re cruising along the river bed to a subdued hard rock ballad.  You’ve finally gotten away from those loonies and you can relax and regroup your thoughts, right?  Wrong!  All of a sudden the music changes to a full orchestral, ‘You will die now’ soundtrack-…”

Jim Loftus, Ultimate Gamer, December 1995

“Grandiose, gloomy, pseudo-orchestral music.  It’s very suspenseful and absolutely spot-on.”

Doug Bauer, Sony Reviews

Runner Up, Best Playstation Game

Game Players, December, 1995

” Soundtrack filled with great original theme music…well orchestrated that fits well with the game.”

Mike Salmon, Game Players, January 1996

Video Game of the Year –

Electronic Gaming Monthly

“The soundtrack is filled with great original theme music… Well orchestrated original music that fits perfectly with the game. Explosions and crashes are CD-quality sweetness.” Rating 10
Game Players, Jan 1996

“SingleTrac Entertainment Technologies’ ‘Twisted Metal’ has been named Game of the Year in the 1996 Video Game Buyer’s Guide from the editors of EGM!”
Salt Lake Tribune, Dec 12, 1995

“From the dark, sadistic version of a Christmas tune to the wild electric guitar solos and pumpin’ techno tracks, Twisted Metal’s soundtrack is a thing of pure musical genius. Not only is the music great on its own, but it really fits the action on the screen.”
Game Players, Dec 1995

“Cool metally rock stuff.”
Music rating: 86 CVG, 1996

“In the end, with it’s crazy characters, thunderous music and sound effects, and it’s break-neck speeds… Twisted Metal really pulls you.”
Playstation Interactive, 1995

WARHAWK:

Winner “Best Music, Best Graphics, Best Shooter for 1995: Warhawk for Playstation.”

Video Games Magazine, February 1996

“The music is simply awesome.”

Andrew Baran, Electronic Gamer Monthly, December l995

….”Then I heard the music.  By far the best soundtrack ever produced on a video game system.  It sounds a bit like a Danny Elfman Batman theme, but even more gothic – with a hint of John William’s Star Wars suite.”

Frank O’Conner, Ultimate Gamer Review, October 1995

“….The ominous soundtrack fits the elegant scenery and compelling gameplay quite well, lending a kind of ‘twilight struggle’ feel to the game.”

Next Generation, September 1995

“Congratulations to the sound crew. The background music and sound effects are just great!”

P. S. X. , Premiere Issue, Fall 1995

“Possibly the most exciting title coming for the Playstation….”

Game Player, July 1995

“The game will knock your booties off!”

Diehard Game Fan, September 1995

Sound rated 10 – “Warhawk is one of the most polished and accomplished pieces of software ever made… Did I mention the music, I should have.  A team of musicians has gone to great lengths to insure that this game sounds a lot like Star Wars, or Batman, or any other rousing movie score you can think of.  Best of all, the music is context-sensitive, so if you find yourself in a scary situation, especially scary music will play.  If you find yourself in a relaxed situation, then you must be playing another game.”

Frank O’Connor, Ultimate Gamer, December 1995

“Once gamers get a look at Warhawk, a new standard will be set, a standard that will be tough to beat.”

Video Games, December 1995

Winner of Best Flight Simulator all game platforms:

Game Players, 1995

“The music and sound effects in Warhawk are as good as the action.”

Gamefan, December 1995

“The sound fills the room.”

Gameplayers, 1996

“Stunning graphics and a wonderful soundtrack….Warhawk’s music is absolutely fantastic.  It is majestic, modernized orchestral music, with the feel of the Batman movie soundtrack.  The music just fits the game so well, it gives one that Star Wars, ‘It’s me against the world and I’m going to win!’ feeling…  Warhawk is the most graphically amazing console game I have ever seen, and the soundtrack is somewhere up there as well…Fabulous music sets the mood perfectly.”

Doug Bauer, Sony Reviews
Rating A
“Warhawk’s music is absolutely fantastic. It is majestic modernized orchestral music, with the feel of a Batman movie soundtrack. The music just fits the game so well, it gives one that Star Wars ‘it’s me against the world and I’m going to win’ feeling.”
Microsoft, Internet Explorer, Dec 1995

“But the thing that really kicks Warhawk into the ‘A’ rated, must-buy category is the music. There is a very John Williams (Star Wars) feel to the soundtrack in Warhawk that really intensifies the gameplay.”
PSX, Dec 1995

“Did I mention that the music is the best on any game, ever? A team of musicians has gone to great lengths to ensure that this game sounds a lot like Star Wars, or Batman, or any other rousing movie score you can think of. Best of all, the music is context-sensitive…”
Ultimate Gamer, Dec 1995

“The musical score…creates an interactive and mood-altering ‘visual sound’ that brings the game alive. At times, the score becomes so ominous that one can’t help but recall the ‘March of the Storm Troopers’ orchestration from Return of the Jedi.”
Entertainment, Nov-Dec 1995

“The scores… take advantage of musical composition and arrangement new to the interactive entertainment software industry,”
Next Generation, Sept 1995

“…this is the blow-away flight sim/combat game of the year. Amazing graphics, innovative game play and a perfect soundtrack make Utah developer SingleTrac an instant gaming star.”
Salt Lake Tribune, 1995

“… the orchestral music sounds like something from Star Wars.”
Game Pro, Jan 1996

“The graphics are incredible, the music is driving and the options are limitless.”
The Salt Lake Tribune, Nov 20, 1995

“…the ominous soundtrack fits the elegant scenery and compelling gameplay quite well, lending a kind of ‘twilight struggle’ feel to the game.”
Next Generation, Sept 1995

“…War Hawk still holds its own after more than three years out of the spotlight. This fight combat game packs killer sound and challenging battles.”
Game Informer, Mar 1999

“The icing on the cake has to be the magnificently orchestrated music and sound effects that accompany the graphics. They add another dimension to the game…”
Video Games, 1996

“The music is all with a full orchestra with some modern instruments peeking in and out. If you have a good stereo hooked up to your machine, then this is a good one to blast. I don’t mean blast, I mean *BLAST”… The music is every bit as cool as Return Fire for 3DO, except it is modern and new.”
Video Games, 1997

TWISTED METAL II:

“You couldn’t ask for a better sound track. It’s a sort of Pulp Fiction, Techno combination…”
PSX Extreme, Jan 1997

“ In addition to the beautiful visuals, great theatrical music keeps you gaming, as well as almost too-realist sound affects. I have to wonder if they sampled some of the sounds of actual warfare… awesome music.”
PSX Extreme, Dec 1996

Sound: “Harsh, head-banging rock tunes highlight the audio and work perfectly with the crash-and-bash action. Screams, gunshots, explosions, and other sounds of mayhem are all equally effective.”
Gamepro, Jan 1997

Sound: “It has great music. The music is appropriate for each level. The sound effects are amazing.”
Video Games, 1997

“As with the original, the music is phenomenal…”
Video Games, 1996

“The excellent, hard-driving sound track makes the gameplay even that much more intense.”
Game Spot, Jan 12, 1998

JET MOTO I:

“For Jet Moto, Sony chose Surf Music, The 60’s instrumental sound…It’s a perfect choice, resulting in a soundtrack so strong that it really could be enjoyed on its own merits (We know all games claim that…but this time it’s true!).
PSX, Feb1997

“… Jet Moto features a great surf guitar soundtrack (with a little southern comfort thrown in on the bayou style levels.)”
PS Extreme, Dec 1996

“You couldn’t ask for a better soundtrack. It’s sort of a Pulp Fiction-Techno combination that works well on every course… it’s the game play and the soundtrack that distinguish Jet Moto among its’ peers.”
PS Extreme, Jan 1997

Music Rating: 10/10 Video Games, 1997

“The soundtrack, too, was good… Personally I thought the music was just the adrenaline pump I needed…”
Game Spot, Jan 14, 1998

CRITICAL DEPTH:

“One feature that adds to the actions is a particularly strong soundtrack. This music increases both the tension and excitement level of the action, which is the most you can ask of the soundtrack.”
Ultra Gameplayers, Jan 1997

“…though the best effects in the game come in the from of the music; it’s some of the most appropriate and immersive music I’ve heard in quite some time. When the action heats up, the music will reflect this to get your adrenaline in check.”
PS Review, 1997

“Unlike most other games that have lame-ass soundtracks, Critical Depth surprisingly does not.”
Game Revolution, Dec 1997

OUTWARS:

“Sound in the game is of unusually high quality. Sound effects are clear and concise, and the music is not only brilliant, it changes along with the pace of the game. All sound is crystal clear, realistic, and appropriate to the mood of the levels. It’s so good that it stands out from the rest of the game. The sound and music are among the best I’ve heard in a game.”
Electric Games Review, Aug 1998 “

WOW! Interactive music has promised to do great things for video games ever since Tie Fighter, but I didn’t imagine it could add so much feeling to a game. The orchestra adds intensity when you are under heavy attack, and makes some amazing transitions to some more peaceful music when things calm down. When you first open your glider wings, the music changes to give you a feeling of awe when you look out on vastness of the terrain…”
WO Review, 1998

“…Proper interface music is something usually overlooked by most design teams, but SingleTrac struts their stuff by fleshing out the atmosphere. Just sitting there listening to it, toggling options, gets you in the mood for one thing and one thing only: war. As good as the tune is before the game proper even starts, it just gets better when the mission actually begins, quickly reminding me of John Williams in a militaristic mood.”
ORG.COM-Previews, 1998

“The music in the game is excellent. It’s ‘dynamic’, so it adapts to the situation in which you find yourself, and it switches between different moods pretty well. Open the glider wings, and you have a kind of swooping ethereal soundtrack; close them and get into combat, and the music changes to a more dramatic theme. It all adds up to a really atmospheric soundtrack… Music is awesome; a cinematic score that adapts to the situation. Sound effects are spot on. I LOVE the sound in this game!”
Games Domain Review, April 1998

“Outwars features an intelligent music engine, on of the crowning achievements of the title. The effect of this is simply that the music changes accurately to reflect the mood… Out wars is a real treat for ears.”
The Adrenaline Vault Reviews, 1998

“As with all of our SingleTrac games so far, the music in Outwars is phenomenal. When we (or Microsoft) demo our game or answer interview questions about it, the music is always one of the main selling features we demonstrate and brag about… It is truly one of the biggest strength of the game.”
Ken Carlson, SingleTrac 3D Graphic Designer

“While the graphics are not state of art, the music is. Eighteen powerfully emotive tunes that transition to fit the situation with the help of a multitude of cleverly integrated .wav files always seem to match the intensity of the moment.”
Game Power, May 1998

“On the audio front, the Outwars boasts a relatively dynamic soundtrack that appears to be triggered by events. For example you may be slinking along a dark corridor and the accompanying music is suitably suspenseful. When you then walk into a Hydran ambush, the score changes to a rousing symphony, the likes of which could be seen in any good action movie.”
Next Generation, 1998

“The first thing you may notice though might very well be the music. The music is rich and powerful. As you play the game the music changes to reflect the action… Kudos to the sound and music team for an exceptional job. The music does wonders for the overall affect of the game.”
Game Worlds Network, May 1998

STREAK:

“Another staple of SingleTrac games has always been their great soundtracks… Streak definitely delivers a solid selection of fun and unique songs. Ranging genre from techno (which is actually very good, unlike the majority of video-game techno), to punk, and even dabbling in rap and country, Streak’s music rips it up.”
Intense Games, 1999

Sound Rating 4.0. “The music matches the scenario, from the mild punk on Skyview Highway to the Scottish ditties in Aerie Keep. It’s all upbeat stuff to keep you movin’ with extra credit for the amusing yelps when riders bail.”
Game Pro, Dec 1998

ROGUE TRIP:

“The game also excels in the sound area. Each tourist has a few comments to make while going through the levels, and Rogue Trip’s music keeps pumping along from level to level with some great tunes.”
Inside Games, Feb 1999

ANIMORPHS (PSX):

CIRCVS MAXIMVS:

The “Circus Maximus” audio is excellent. The soundtrack meshes almost perfectly into the background, so that it provides a steady, dramatic pulse to the racing without ever becoming distracting. The racing effects are powerful, and match the action well.
techtv Extended Play Reviews, Feb 2002

TOY STORY 3 – the video game:

Coinciding with the theatrical release of the third animated Toy Story film, Disney Interactive has launched a Toy Story 3: The Videogame to complete the media circle… and we all know how that can go. However, before you prematurely judge Toy Story 3 based on its tied in roots, you might be pleasantly surprised to hear that Toy Story 3: The Videogame is a lot better than expected…

You’ve Got a Friend in Me

Lastly, the production values in Toy Story 3 are above expectations. This game looks great and has a superb flair for the “over-the-top.” From the introductary level that is crumbling around you to the excellent lighting showcased in the buzz level, Toy Story 3 is a looker. This continues with the audio portion, which is equally impressive. The sound effects are superb with an all-star voice cast lending a hand in the production. I’m talking about Tom Hanks, Tim Allen, Michael Keaton and more. The voice-work, soundtrack (which also supports 7.1 surround sound) is excellent. I could go on and on, so in the perspective of a “kids” game, Avalanche knocked this one out of the park.

http://www.extremegamer.ca/multi/reviews/toystory3.php

“The voice work is excellent and the soundtrack is most superb.”

Video Game ExaminerMatt Furtado  June 18, 3:04 PM

“The music is well suited for each scene.”

“So with no problems, fun gameplay, and the addictive Toy Box mode Toy Story 3: The Video Game gets a 5 out of 5.  It’s perfect for kids and fans of the Toy Story series.”

by TRACY-MARK GORGAS / Special contributor to NWCN.com  Posted on June 17, 2010 at 4:17 PM

“…the soundtrack straight from the movies but because the environment it really sets in quite nicely and gets you pumped for the game…”

By YellowDinghy.com