![]() ![]() How that music is used will often depend on the game. There are now dedicated teams within the industry comprising audio directors, music supervisors and A&R experts, all of which are responsible for selecting the music that appears in video games. Wipeout will forever be associated with that breakthrough era of mid-'90s British dance music, and while it wasn't the first game to feature licensed tracks, it set a new gold standard for showcasing what can be achieved when the right music is chosen for the right game.įast forward 25 years and perfecting this formula has now become a business in its own right. ![]() The game's success led to separate CD and vinyl soundtrack releases, with subsequent entries in the series featuring music from The Prodigy, Paul Van Dyk and Sasha. Wipeout's music was celebrated in reviews at the time and became a defining characteristic of its style. Psygnosis and PlayStation had created its very own Mario-Kart-on-drugs for a generation of nightclub goers, and hard-hitting music from Leftfield, Orbital and The Chemical Brothers couldn't have been a better fit for players as they piloted space crafts around neon-clad racetracks at thousands of miles per hour. Back in 1995, PlayStation had the clever idea of licensing music from some of the UK's biggest electronica acts for the PAL version of its futuristic racing sim, Wipeout. ![]()
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