Celeste OST: Difference between revisions

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'''Resurrections''' is the main soundtrack played in {{Ch|2|lf=2}}. It introduces a completely new melody, with its own ''leitmotif'', and starts off relatively calmly, but builds up over the course of its nearly-ten-minute length. An upwards-arpeggio melody is well defined, possibly representing Madeline's climb upwards [[Celeste Mountain]], whilst a piano harmony gently creates contrast behind. The two sometimes go into a state of dissonance, depicting the unpredictability of dreams. After a cutscene {{c|in which [[Madeline]] meets [[Badeline]] for the first time, and the latter pops out of a mirror}}, the music becomes livelier, adding percussion, and the piano harmony increases in prevalence, to which point it starts acting as a counterpoint to the synthesizer. This happens at around 2:10 in the OST.

During another cutscene, {{c|one in which Madeline confronts Badeline for the first time,}} the music makes an unsettling turn, many major chords transforming into minor chords. This occurs around 4:25 in the OST. The piano stops, and the synthesizer starts playing the "Madeline" ''leitmotif'', but ~~mildly~~ ~~distorted~~. Following the cutscene, the music intensifies, and the melody, instead of solely ascending, now loops upwards and downwards, representing Madeline's unstable mental state at the moment. The same "Madeline" ''leitmotif'' is repeated throughout this {{c|chase sequence}}, but in a much more intense way. This continues until Madeline makes it out of the Old Site tower; the music fades away as Maddy approaches the phone booth which signifies the end of the level.

During another cutscene, {{c|one in which Madeline confronts Badeline for the first time,}} the music makes an unsettling turn, many major chords transforming into minor chords. This occurs around 4:25 in the OST. The piano stops, and the synthesizer starts playing the "Madeline" ''leitmotif'', but in a minor inversion: this is Badeline's theme. Following the cutscene, the music intensifies, and the melody, instead of solely ascending, now loops upwards and downwards, representing Madeline's unstable mental state at the moment. The same "Madeline" ''leitmotif'' is repeated throughout this {{c|chase sequence}}, but in a much more intense way. This continues until Madeline makes it out of the Old Site tower; the music fades away as Maddy approaches the phone booth which signifies the end of the level.

Lena Raine stated in an interview that she wanted to make Resurrections sound distinct from the theme featured in ''First Steps''. "Because all of Resurrections takes place in a lucid dream sequence, my first goal was to make an etherial sound evocative of a space that didn’t seem quite real."<ref>http://www.originalsoundversion.com/interview-composer-lena-raine-talks-celeste-soundtrack-working-in-game-audio/</ref>

Resurrections is one of the most well-recognized soundtracks in ''Celeste'', and has been subjected to various covers and remixes. A [[Celeste B-Sides|B-Side]] remix, {{soundtrack|num=02|track=Resurrections (Black Moonrise Mix)}}, is also officially present within the game.

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{{Ocsp|0fd80b61964b0ce56048a75bf3f2641ea1368e70fec0058594bce37e6348534c|Checking In}}

'''Checking In''' is the first soundtrack used in {{ch|3|lf=1}}. It plays throughout the ''Start'' chapter and the first portion of ''Huge Mess''. The tune creates a relatively mysterious ambience, whilst still introducing the "Resort" ''leitmotif''. Initially, the synthesizer forms the bulk of the melody here, whilst the piano serves as a light counterpoint; more synthesizers are added until they form a perfect harmony; in-game, these are added as Madeline progresses through the level. A [[Celeste B-Sides|B-Side]] remix, {{soundtrack|num=03|track=Celestial Resort (Good Karma Mix)}}, is officially present within the game.

'''Checking In''' is the first soundtrack used in {{ch|3|lf=1}}. It plays throughout the ''Start'' chapter and the first portion of ''Huge Mess''. The tune creates a relatively mysterious ambience, whilst still introducing the "Resort" ''leitmotif'', which serves as Oshiro's theme. Initially, the synthesizer forms the bulk of the melody here, whilst the piano serves as a light counterpoint; more synthesizers are added until they form a perfect harmony; in-game, these are added as Madeline progresses through the level. A [[Celeste B-Sides|B-Side]] remix, {{soundtrack|num=03|track=Celestial Resort (Good Karma Mix)}}, is officially present within the game.

=== Spirit of Hospitality ===

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{{Ocsp|ce3cb33bf9fb6f85d07edef2a4fc14616cd041f0cab1428c92da33b0b2917955|In the Mirror}}

'''In the Mirror''' plays following the ''Unraveling'' checkpoint in {{Ch|5|lf=1}}, until the end. It introduces a much more eerie melody, {{c|coinciding with Madeline's anxiety starting to peak, and her starting to face Seekers attacking her.}} Shortly afterwards (after Madeline makes it to a large chamber with split paths), a reversed version of ''Quiet and Falling'' is introduced. The piano is brought back later, playing a slightly modified but retrograde version of the aforementioned track, as the melody from the first part of the track is reintroduced (as Madeline approaches the temple's exit).

'''In the Mirror''' plays following the ''Unraveling'' checkpoint in {{Ch|5|lf=1}}, until the end. It introduces a much more eerie, synth-powered melody, {{c|coinciding with Madeline's anxiety starting to peak, and her starting to face Seekers attacking her.}} Lena Raine stated that she tried to reserve heavy synths only for moments when Madeline's fears are truly apparent; {{c|this happens also in ''Anxiety'' and ''Starjump''}}.<ref>http://www.originalsoundversion.com/interview-composer-lena-raine-talks-celeste-soundtrack-working-in-game-audio/</ref> Shortly afterwards (after Madeline makes it to a large chamber with split paths), a reversed version of ''Quiet and Falling'' is introduced. The piano is brought back later, playing a slightly modified but retrograde version of the aforementioned track, as the synth melody from the first part of the track is reintroduced (as Madeline approaches the temple's exit); unreversed sections of the melody were mixed in, in order to suggest that the end is near.

When ''In the Mirror'' is reversed, Madeline, voiced by Lena Raine, can be heard talking about her own anxieties; when played back normally it merely sounds like glitch sounds in the audio.

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{{Ocsp|85972c31f46588b842aa0c17510d7554789242b53848a48d0f2f1bde9928961f|Exhale}}

'''Exhale''' plays during the {{Ch|Ep|lf=l}} following {{Ch|7|lf=1}}. It is played on the piano (primarily), with a synthesizer joining along at a few moments in order to serve as a harmony.

'''Exhale''' plays during the {{Ch|Ep|lf=l}} following {{Ch|7|lf=1}}, and during the credits following the Summit. It is played on the piano (primarily), with a synthesizer joining along at a few moments in order to serve as a harmony.

=== Heart of the Mountain ===

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{{Ocsp|febfef913f0b03369ad97fa7c12624c8e282059e441d946b0653fc96232d5bdd|My Dearest Friends}}

'''My Dearest Friends''' is the final track in the Celeste OST, and plays during the credits. It is primarily on the piano, but is also accompanied by a synthesizer. It is a very calm track, ~~serving~~ as a "goodbye" ~~of sorts~~.

'''My Dearest Friends''' is the final track in the Celeste OST, and plays during the credits (when opened from the main menu). It is primarily on the piano, but is also accompanied by a synthesizer. It is a very calm track. Lena Raine stated that this track didn't fit in well with the rest of the game, but was a fitting goodbye nonetheless.<ref>http://www.originalsoundversion.com/interview-composer-lena-raine-talks-celeste-soundtrack-working-in-game-audio/</ref>

[[Category:Lena Raine]] [[Category:Music]]

@@ Line 41: / Line 41: @@
 '''Resurrections''' is the main soundtrack played in {{Ch|2|lf=2}}. It introduces a completely new melody, with its own ''leitmotif'', and starts off relatively calmly, but builds up over the course of its nearly-ten-minute length. An upwards-arpeggio melody is well defined, possibly representing Madeline's climb upwards [[Celeste Mountain]], whilst a piano harmony gently creates contrast behind. The two sometimes go into a state of dissonance, depicting the unpredictability of dreams. After a cutscene {{c|in which [[Madeline]] meets [[Badeline]] for the first time, and the latter pops out of a mirror}}, the music becomes livelier, adding percussion, and the piano harmony increases in prevalence, to which point it starts acting as a counterpoint to the synthesizer. This happens at around 2:10 in the OST.
-During another cutscene, {{c|one in which Madeline confronts Badeline for the first time,}} the music makes an unsettling turn, many major chords transforming into minor chords. This occurs around 4:25 in the OST. The piano stops, and the synthesizer starts playing the "Madeline" ''leitmotif'', but mildly distorted. Following the cutscene, the music intensifies, and the melody, instead of solely ascending, now loops upwards and downwards, representing Madeline's unstable mental state at the moment. The same "Madeline" ''leitmotif'' is repeated throughout this {{c|chase sequence}}, but in a much more intense way. This continues until Madeline makes it out of the Old Site tower; the music fades away as Maddy approaches the phone booth which signifies the end of the level.
+During another cutscene, {{c|one in which Madeline confronts Badeline for the first time,}} the music makes an unsettling turn, many major chords transforming into minor chords. This occurs around 4:25 in the OST. The piano stops, and the synthesizer starts playing the "Madeline" ''leitmotif'', but in a minor inversion: this is Badeline's theme. Following the cutscene, the music intensifies, and the melody, instead of solely ascending, now loops upwards and downwards, representing Madeline's unstable mental state at the moment. The same "Madeline" ''leitmotif'' is repeated throughout this {{c|chase sequence}}, but in a much more intense way. This continues until Madeline makes it out of the Old Site tower; the music fades away as Maddy approaches the phone booth which signifies the end of the level.
+Lena Raine stated in an interview that she wanted to make Resurrections sound distinct from the theme featured in ''First Steps''. "Because all of Resurrections takes place in a lucid dream sequence, my first goal was to make an etherial sound evocative of a space that didn’t seem quite real."<ref>http://www.originalsoundversion.com/interview-composer-lena-raine-talks-celeste-soundtrack-working-in-game-audio/</ref>
 Resurrections is one of the most well-recognized soundtracks in ''Celeste'', and has been subjected to various covers and remixes. A [[Celeste B-Sides|B-Side]] remix, {{soundtrack|num=02|track=Resurrections (Black Moonrise Mix)}}, is also officially present within the game.
@@ Line 61: / Line 63: @@
 {{Ocsp|0fd80b61964b0ce56048a75bf3f2641ea1368e70fec0058594bce37e6348534c|Checking In}}
-'''Checking In''' is the first soundtrack used in {{ch|3|lf=1}}. It plays throughout the ''Start'' chapter and the first portion of ''Huge Mess''. The tune creates a relatively mysterious ambience, whilst still introducing the "Resort" ''leitmotif''. Initially, the synthesizer forms the bulk of the melody here, whilst the piano serves as a light counterpoint; more synthesizers are added until they form a perfect harmony; in-game, these are added as Madeline progresses through the level. A [[Celeste B-Sides|B-Side]] remix, {{soundtrack|num=03|track=Celestial Resort (Good Karma Mix)}}, is officially present within the game.
+'''Checking In''' is the first soundtrack used in {{ch|3|lf=1}}. It plays throughout the ''Start'' chapter and the first portion of ''Huge Mess''. The tune creates a relatively mysterious ambience, whilst still introducing the "Resort" ''leitmotif'', which serves as Oshiro's theme. Initially, the synthesizer forms the bulk of the melody here, whilst the piano serves as a light counterpoint; more synthesizers are added until they form a perfect harmony; in-game, these are added as Madeline progresses through the level. A [[Celeste B-Sides|B-Side]] remix, {{soundtrack|num=03|track=Celestial Resort (Good Karma Mix)}}, is officially present within the game.
 === Spirit of Hospitality ===
@@ Line 99: / Line 101: @@
 {{Ocsp|ce3cb33bf9fb6f85d07edef2a4fc14616cd041f0cab1428c92da33b0b2917955|In the Mirror}}
-'''In the Mirror''' plays following the ''Unraveling'' checkpoint in {{Ch|5|lf=1}}, until the end. It introduces a much more eerie melody, {{c|coinciding with Madeline's anxiety starting to peak, and her starting to face Seekers attacking her.}} Shortly afterwards (after Madeline makes it to a large chamber with split paths), a reversed version of ''Quiet and Falling'' is introduced. The piano is brought back later, playing a slightly modified but retrograde version of the aforementioned track, as the melody from the first part of the track is reintroduced (as Madeline approaches the temple's exit).
+'''In the Mirror''' plays following the ''Unraveling'' checkpoint in {{Ch|5|lf=1}}, until the end. It introduces a much more eerie, synth-powered melody, {{c|coinciding with Madeline's anxiety starting to peak, and her starting to face Seekers attacking her.}} Lena Raine stated that she tried to reserve heavy synths only for moments when Madeline's fears are truly apparent; {{c|this happens also in ''Anxiety'' and ''Starjump''}}.<ref>http://www.originalsoundversion.com/interview-composer-lena-raine-talks-celeste-soundtrack-working-in-game-audio/</ref>  Shortly afterwards (after Madeline makes it to a large chamber with split paths), a reversed version of ''Quiet and Falling'' is introduced. The piano is brought back later, playing a slightly modified but retrograde version of the aforementioned track, as the synth melody from the first part of the track is reintroduced (as Madeline approaches the temple's exit); unreversed sections of the melody were mixed in, in order to suggest that the end is near.
 When ''In the Mirror'' is reversed, Madeline, voiced by Lena Raine, can be heard talking about her own anxieties; when played back normally it merely sounds like glitch sounds in the audio.
@@ Line 151: / Line 153: @@
 {{Ocsp|85972c31f46588b842aa0c17510d7554789242b53848a48d0f2f1bde9928961f|Exhale}}
-'''Exhale''' plays during the {{Ch|Ep|lf=l}} following {{Ch|7|lf=1}}. It is played on the piano (primarily), with a synthesizer joining along at a few moments in order to serve as a harmony.
+'''Exhale''' plays during the {{Ch|Ep|lf=l}} following {{Ch|7|lf=1}}, and during the credits following the Summit. It is played on the piano (primarily), with a synthesizer joining along at a few moments in order to serve as a harmony.
 === Heart of the Mountain ===
@@ Line 163: / Line 165: @@
 {{Ocsp|febfef913f0b03369ad97fa7c12624c8e282059e441d946b0653fc96232d5bdd|My Dearest Friends}}
-'''My Dearest Friends''' is the final track in the Celeste OST, and plays during the credits. It is primarily on the piano, but is also accompanied by a synthesizer. It is a very calm track, serving as a "goodbye" of sorts.
+'''My Dearest Friends''' is the final track in the Celeste OST, and plays during the credits (when opened from the main menu). It is primarily on the piano, but is also accompanied by a synthesizer. It is a very calm track. Lena Raine stated that this track didn't fit in well with the rest of the game, but was a fitting goodbye nonetheless.<ref>http://www.originalsoundversion.com/interview-composer-lena-raine-talks-celeste-soundtrack-working-in-game-audio/</ref>
 [[Category:Lena Raine]] [[Category:Music]]

Celeste OST: Difference between revisions

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