Meridian Beauty: GRIS Original Game Soundtrack (Review)
GRIS, developed by Nomada Studio and published by Devolver Digital is one of the most beautiful gaming experiences of this year. Released a few days ago (on December 13th, 2018) the game is a watercolored realm of surrealism with simple gameplay mechanics, an outstanding art direction and a very emotional soundtrack.
Composed by Berlinist, a Barcelona-based Spanish band, the game soundtrack consists of 27 tracks of pure beauty.
The first track is a surprise by itself. The track title suggests that “Mae” could probably be the actual name of our nameless girl, whose theme is made up by piano floating over vibrant waves and sweet resonances.
“Gris, Pt. 1” serves as the main theme for the game, showing the multitude of instruments that would show up on the following tracks: keyboard, violins, harmonium and those beautiful vocals that are so vital in the whole experience.
Both “Mae” and “Gris” are the driving core for the entire soundtrack since Berlinist makes use of these themes plus different shapes, instruments, samples, and synths to create the rest of the pieces. A clear example is “Descent” which extends the structure of “Mae” for ten minutes with the aid of harmonic sounds and a variety of keyboard notes.
“Debris” uses keyboard and crystalline beats for creating a very hypnotic ambience track while “Meridian” is much denser, giving a subtle introduction to “Chiasm” which goes in crescendo with keyboard and wind.
I consider “Perseverance” to be one of the most intense tracks in the score. The piece consists of slow notes that every 8–to–10 seconds fade to let that pipe organ enter: a sound taken from the depths of a church. There is even a digital choir that makes this piece really mature. The closing part of the track is strong, with the chorus becoming possessive and singing in an apotheosic way. Probably the darkest (but still subtle) of the tracks in the game. A personal favorite.
Another beautiful track is “Windmill” because of its eeriness of detail in the synths. The piece transmits hope as it grows and becomes more upbeat on its own progress.
“Komorebi” is a sad and beautiful ballad adorned with more synths and occasional violins (which I actually think are also a product of the pump organ) while “Environments” changes from synths and distant tones until it finally develops a beautiful Asian melody, simulating the sound of a Chinese flute. “Komorebi, Pt. 2” is shorter than its predecessor but still does an incredible use of wind and of sounds from the outer space.
I’m totally impressed by the two action tracks in the soundtrack. “Karasu” is the first one and it actually sounds like a JRPG battle theme but still retaining the sense of solitude that bounds Gris. It’s a really beautiful track that expresses our protagonist’s challenge against destiny.
The second action track is “Unagi”, which is a bit more aggressive given the moment in which it plays during the adventure. Both the violins and the chorus become predominant at the beginning and at the end of the song, adding epicness to the overall score. However, there is a segment of synths starting at minute 1:27 that strongly reminded me of NieR Automata’s “Significance — Nothing”, extending until almost the end, where the epic rush returns.
“Boundary”, “Opaque”, “Comparison”, “Symmetry”, “Rain” and “Sparks” are beautiful transitions between both the game and the soundtrack levels, as well as the rest of the tracks that I’m not mentioning.
Another incredible use of the harmonium is the first minutes of “Ascension”, a song that goes into silence around minute 2:40 and then returns with its eerie synths doing a duet with a singer whale. By the way, “Firmament” is a puzzle-track filled with more of those outer space samples and happier notes.
The female vocals are back in “Gris, Pt. 2” — of course, the follow-up to its predecessor — that builds a dramatic symphony until the point that a heavenly organ resounds. “In Your Hands” develops the iconic chant too, but in a binaural mood with crystalline textures.
The last track is “Circles” which is an outro derived from “Mae”, giving a circular closure to the score by ending in the same way that it started.
My Final Thoughts:
As well as the game, Berlinist’s beautiful and complex work for the music of Gris is a journey towards the surrealism that defines it. The score allows you to dive into the girl’s world: the ruins, forests, sunken places, and crystal staircases came into life in your ears through the power of keyboard, organ and a smart selection of musical curiosities. There is absolutely no doubt that this band really knows how to create perfect music for a perfect video game, and more than that, they know how to create ART.
I’m so impressed by this Spanish band and for the entire team behind the game. I loved the game and its music so much that everything that I can say to end this review is: Maravilloso trabajo!
GRIS is available through Steam and for the Nintendo Switch.
GRIS Original Game Soundtrack is now available through various platforms.
Spotify: https://open.spotify.com/album/2YMWspDGtbDgYULXvVQFM6?si=i9iXokEITou6mBA2XJdfXQ.
Bandcamp: https://berlinistband.bandcamp.com/album/gris-original-soundtrack
Steam: https://store.steampowered.com/app/986250/GRIS_Soundtrack
iTunes: https://itunes.apple.com/us/album/gris-original-game-soundtrack/1445760963
