As such, I think of Lost Lake music as one of the most memorable videogame themes in recent memory, being the first since Beyond Two Souls that I actually adore. These two themes are the highlights of the score, presenting hope for humanity, what it represents and what it can be despite awful circumstances.
We’ve All Done Things (and Light One Candle later)are one theme of the Lost Lake subplot, adding some guitars and percussion that play alongside another lyrical, catchy and positive melody for strings, which is not as grand and overblown as the main theme’s orchestration, handling things slowly and with restraint. It certainly is a main theme and I found myself repeating it in my head a lot of times. Even though I consider it a bit too overdone for my taste, especially on the ‘epic’ feel in the middle part, it’s a nice track, especially in the second half where the theme shines played gently by strings only. Focusing on the strings with a cello on front, it repeats the main phrase, adding more boom to it. In the end, it works and I think Days Gone is indeed music about „tenacity of the human spirit and the value of relationship”, even though I have some personal gripes with it.ĭays Gone opens the soundtrack as the main theme of the game, hinting at a journey motivated by hope and love in quite elevated tones, considering the genre.
It is not somber, bleak or nihilistic at all, which is why I was afraid for the game itself, not really seeing how it would work. I’d seen some footage of Days Gone and seeing how it was advertised previously, I was expecting music that is neither lyrical and orchestral nor so positive (because of the composer and the genre). When I first heard the score and found out I was the one to review it, I was…surprised. The composer for Days Gone is Nathan Whitehead, previously known for the Purge movies and additional music in Gears of War and Bioshock series.
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