Video game soundtracks have officially reached a level of prestige that was once unimaginable. I recently watched acclaimed composer David Arnold take the stage at the BAFTA Games Awards, where he offered a thoughtful tribute to the medium before handing an award to Toma Otowa for the Ghost of Yōtei score. Thanks to a persistent advocacy campaign by a colleague in PR, even classical radio stations like the UK’s Classic FM now regularly feature game music in their rotations. It’s hardly surprising; symphonic concerts featuring game scores are selling out worldwide, providing a vital new revenue stream for orchestras and venues—even if, as Tár famously joked, the industry still has its skeptics.
However, that discussion usually centers on neoclassical compositions that draw from established maestros or the grand tradition of cinematic film scoring. There exists an entirely different class of video game audio—one that remains somewhat underground, yet feels inherently vital to the medium’s identity. These tracks don’t aim for the sweeping, orchestral vistas of modern AAA blockbusters; instead, they capture the gritty, neon-soaked adrenaline of a classic arcade cabinet. These scores are defined by their genre-fluidity, high-octane tempos, and aggressive, saturated production. While they are becoming a rarity in an industry leaning toward atmospheric soundscapes, they still thrive in titles like Tekken 8, Sonic Racing: Crossworlds, and the cult-classic Tokyo Xtreme Racer.
I recently discovered a standout example of this style in Super Woden: Rally Edge, a brilliant, compact indie racing title developed by a solo creator. While the game itself is a masterclass in distilled, arcade-rally fun with a massive roster of collectible classics, the music is equally compelling. For those who appreciate high-energy sound design, the soundtrack is available for purchase on Steam and can also be found on YouTube.
The music perfectly mirrors the game’s loop: fast-paced, toy-like cars powersliding through two-minute sprints. With its deliberate PS1-inspired cel-shaded aesthetic, the soundtrack embraces a retro-futuristic sound, blending EDM, metal, hip-hop, and jazz-funk through synthetic MIDI instrumentation that complements the vibrant, low-poly visuals.
The record is split between two distinct creative voices. DJ DeVito lays the foundation, providing a suite of techno, Eurodance, and happy hardcore that is relentlessly euphoric. Tracks like “Drive or Die” are infectiously upbeat, driven by punchy basslines and cheeky 80s-style synthesized brass stabs, while “Across the Universe” offers a masterclass in unrelenting, four-to-the-floor techno energy.
Building upon that kinetic spine, the work of the musician known as DonutDroid elevates the entire experience. Their ability to pivot between vastly different musical genres while maintaining a cohesive, high-energy vibe is nothing short of virtuosic.
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“Burn Rubber Lovers” delivers a punchy breakbeat that feels like a spiritual successor to the Jet Set Radio era. “Funk Boy Slim” provides immaculate big-beat energy, complete with Hammond organs and jazz flute flourishes. Elsewhere, “Disco Killer Music Lover” echoes early, abrasive Daft Punk, while “Gravel Fury” leans into pure, unadulterated hair metal. DonutDroid’s technical prowess is truly staggering; tracks like “Turbocharged Rage” and “Lost in Daytona” dive headlong into complex, stuttering jazz-rock, featuring intricate time signatures, slap-bass grooves, and wild instrumental solos.
It is unlikely that DJ DeVito or DonutDroid will be taking home a BAFTA for their work on Super Woden: Rally Edge. Yet, their work stands as its own triumphant reward. These creators are preserving the authentic, unpretentious soul of video game music: a sound that is loop-focused, harmonically complex, playfully subversive, and absolutely bursting with compositional wit. David Arnold may define the blockbuster score, but this is the heartbeat of gaming itself.
Source: Polygon
