 | Album Title: Watch_Dogs Original Soundtrack |
| Record Label: Ubisoft (Collector’s / Digital Editions); Invada Records (Physical Edition) | |
| Catalog No.: N/A | |
| Release Date: May 27, 2014 (Collector’s / Digital Editions); August 1, 2014 (Physical Edition) | |
| Purchase: Buy at Invada Records |
Overview
One company known for having a solid portfolio of impressive game soundtracks is Ubisoft, which has worked with many talented composers over the years, from Tom Salta to Brian Tyler. Coupled with the fact that Watch_Dogs created a huge boom when it was first unveiled, I simply couldn’t wait to know who the composer for it was or how the music would sound. But when Brian Reitzell was first announced, I was a bit skeptical, as even though he is immensely talented (Hannibal), his scoring style is subtly minimalist and I wanted something heroic and thematic for our vigilante. However, I was still intrigued to find out exactly what the soundtrack would sound like, and I am glad that I was not disappointed.
Body
It turns out that what I wanted (epic orchestral/electronic hybrid) wasn’t what the game needed after all. The game is actually more of a tense thriller than an action-packed shooter. Under the direction of sound director Peter Connelly, Reitzell more than perfectly captures that aspect with his mysterious-sounding score that could be mistaken for something out of an espionage thriller. So, with tracks like the menu theme “Creepy Caller”, you’ll hear mysterious jazzy melodies and a suspenseful electronic mix.
As always, Brian’s samples are all cutting-edge and clear-sounding. One of the best things I usually like about his samples is how well they work with percussion instruments. Take “Donovan” or “Ghost of the Past”, for example, where the percussion work flows very comfortably through his lead and other pad lines, providing a very rhythmic and comfortable listen that most people are accustomed to. While “Donovan” is another tense thriller track, “Ghost of the Past” is more exciting and forward. Both, however, are enjoyable and boast their own unique qualities.
Another thing you’ll notice is how classic some of his samples in this soundtrack sound, reminiscent of the VHS era. There are some sounds and effects in tracks like “Vigilante” and “Computer Underground” that are a great throwback to the classic era, and even “Donovan” is paced to give that quality. In fact, if you liked the soundtrack from Far Cry: Blood Dragon, be sure to give these tracks a listen.
Unfortunately one thing it does lack is the main themes. Even though it didn’t need an over-the-top hybrid of electronics and orchestral, it still deserves strong themes for the game’s characters, who are each distinct from each other. The only thing I can associate with a theme is the latter half of “Revelation Number 3”. Although light, this track is absolutely gripping with a very heartbreaking three-note melody. It is well used in the game during scenes whenever Aiden recalls the tragic night his niece died, so I assume this was created as a theme for her. I just wish it developed a bit more into a stand-alone track and that there were more pieces like this.
Still, one thing I have to tip my hat to is how masterfully Brian Reitzell has layered each track. I am pretty sure that a lot of casual listeners will miss this, but enthusiasts will respect how every sound comes in and fills each track. Most composers (even big ones like Brian Tyler) often take a lazy approach to production by simply adding heavy noises or relying too much on deep bass lines to make a track sound full. Even though that does work, it usually comes off as monotonous and derivative. However, what you have here are the effects and layers comfortably coming and going. The best example has to be “Elevated Trains,” where you can barely hear any unnecessary or repetitive noises. That is definitely one of Brian’s talents, one that was apparent in the hit TV show Hannibal as well, where each of his layers was clearly thought out to give an edge to each scene and character interaction. You’ll definitely see the same during the cutscenes of this game as well.
Unfortunately, there are still some exciting tracks you get to hear during various parts of the game that aren’t present in the soundtrack. In both its digital and physical forms, this soundtrack contains the essential picks, totaling 13 tracks. While this amounts to a well-rounded 45-minute listen, I would have definitely loved to see a bigger album.
Summary
Yes, the soundtrack isn’t exactly memorable or exciting. However, it definitely wouldn’t be fair to the composer’s hard work to shaft this off as just another boring soundtrack. After all, its minimalist but hard-hitting tracks are mixed to perfection, work wonderfully in the game, and are often intriguing on a stand-alone basis. I wouldn’t necessarily recommend this to the average listener, but more to those who are enthusiasts of Reitzell’s work or, indeed, minimalist music in general. Aspiring composers could also learn and appreciate much from the way the tracks are mixed and layered. Overall, a fine addition to Brian Reitzell’s portfolio and a refreshing approach to scoring.
