Celeste OST: Difference between revisions

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 {{c|makes it out of the Old Site tower}}; the music fades away as {{c|she 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 {{c|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 name="int1">http://www.originalsoundversion.com/interview-composer-lena-raine-talks-celeste-soundtrack-working-in-game-audio/</ref>

'''Postcard from Celeste Mountain''' is the main menu theme of ''Celeste''. It consists primarily of a very bass-heavy ambient noise, topped up by a delicate piano melody. It does not directly reference the "Madeline" ''leitmotif'', but comes close to it several times. Ironically enough, ''Postcard from Celeste Mountain'' does not play when a [[postcard]] is shown on-screen.

'''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''' serves as Mr. Oshiro's theme. Consisting exclusively of synthesizers, it plays the same "Resort" ''leitmotif'', but using a different melody. This track plays during many cutscenes featuring Mr. Oshiro throughout {{Ch|3|lf=1}}.

'''Anxiety''' is the soundtrack that plays {{c|in the gondola cutscene}} at the end of {{ch|4|lf=1}}. It starts with a calm synth line of music, quoting ''Postcard from Celeste Mountain'', but quickly ramps up to feature an alarm-like, dissonant texture, depicting {{c|Madeline's panic attack whilst the gondola stalls}}. {{c|As she calms down}}, the music fades back out, only leaving the first (calm) synth audible.

'''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, coinciding with {{c|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 {{c|Madeline's fears}} are truly apparent; {{c|this happens also in ''Anxiety'' and ''Starjump''}}.<ref name="int1">http://www.originalsoundversion.com/interview-composer-lena-raine-talks-celeste-soundtrack-working-in-game-audio/</ref> Shortly afterwards (after Madeline makes it to a {{c|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 {{c|her own anxieties}}; when played back normally it merely sounds like glitch sounds in the audio.

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'''Reflection''' plays during the ''Lake'', ''Hollows'' and ''Reflection'' sub-chapters of {{Ch|6|lf=1}}. It starts with a soft, {{c|mildly depressing}} synthesizer melody, {{c|one that depicts Madeline's disappointment in herself as she realizes how far she has fallen}}. The melody eventually starts becoming more lush and filled {{c|as Madeline gets closer to Badeline}} throughout the chapter.

'''Confronting Myself''' plays during the {{c|[[Badeline Boss|Badeline boss fight]]}} in {{Ch|6|lf=1}}. It brings back the "Madeline" ''leitmotif'', in a minor key, and features several synthesizers working in parallel, alongside a "Heyya" voice sample being slipped in throughout. Later in the song and game, the music begins to glitch out and starts repeating short parts of itself, most prominently the "Heyya" voice segments.

'''Heart of the Mountain''' is the music playing in {{Ch|8|lf=8}}. It can be divided into "Hot" and "Cold" variants, which switch back and forth in the game as [[Core#Core Switches|Core Switches]] are toggled. It starts with a soft piano melody, a leitmotif exclusive to this track, before introducing the synthesizer. During the final sub-chapter, aptly named "Heart of the Mountain", the music intensifies significantly as {{C|the lava/spiky ice starts chasing you upwards (or downwards).}} A [[Celeste B-Sides|B-Side]] remix, {{soundtrack|num=08|track=Core (Say Goodbye Mix)}}, is based off ''Heart of the Mountain''.