{"id":1974978,"date":"2026-06-05T07:00:51","date_gmt":"2026-06-05T04:00:51","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1974978"},"modified":"2026-06-05T07:00:51","modified_gmt":"2026-06-05T04:00:51","slug":"how-drone-metal-forged-the-years-most-stressful-game-soundtrack","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1974978","title":{"rendered":"How drone metal forged the year\u2019s most stressful game soundtrack"},"content":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/www.nme.com\/wp-content\/uploads\/2026\/06\/Saros-image-2026.jpg&#8221;]<\/p>\n<article id=\"template-id-2947849\" class=\"post-2947849 tdb_templates type-tdb_templates status-publish post\">\n<div id=\"tdi_65\" class=\"tdc-zone\">\n<div class=\"tdc_zone tdi_66  wpb_row td-pb-row\">\n<div id=\"tdi_67\" class=\"tdc-row stretch_row\">\n<div class=\"vc_row tdi_68  wpb_row td-pb-row\">\n<div class=\"vc_column tdi_70  wpb_column vc_column_container tdc-column td-pb-span12\">\n<div class=\"wpb_wrapper\">\n<div class=\"td_block_wrap tdb_breadcrumbs tdi_71 td-pb-border-top td_block_template_2 tdb-breadcrumbs \" data-td-block-uid=\"tdi_71\">\n<div class=\"tdb-block-inner td-fix-index\"><span>Features<\/span><span>Gaming Features<\/span><\/div>\n<\/div>\n<div class=\"td_block_wrap tdb_title tdi_72 tdb-single-title td-pb-border-top td_block_template_2\" data-td-block-uid=\"tdi_72\">\n<div class=\"tdb-block-inner td-fix-index\">\n<h1 class=\"tdb-title-text\">How drone metal forged the year\u2019s most stressful game soundtrack<\/h1>\n<\/div>\n<\/div>\n<div class=\"td_block_wrap tdb_single_subtitle tdi_73 td-pb-border-top td_block_template_2\" data-td-block-uid=\"tdi_73\">\n<div class=\"tdb-block-inner td-fix-index\">\n<p>Inspired by the likes of Sunn O))), Earth, Boris and Khanate, Sam Slater\u2019s deliberately intense &#8216;Saros&#8217; score is the stuff of nightmares<\/p>\n<\/div>\n<\/div>\n<div class=\"td_block_wrap tdb_single_author tdi_75 td-pb-border-top td_block_template_2 tdb-post-meta\" data-td-block-uid=\"tdi_75\">\n<div class=\"tdb-block-inner td-fix-index\">\n<div class=\"tdb-author-name-wrap\"><span class=\"tdb-author-by\">By<\/span> Ali Shutler<\/div>\n<\/div>\n<\/div>\n<div class=\"td_block_wrap tdb_single_date tdi_76 td-pb-border-top td_block_template_2 tdb-post-meta\" data-td-block-uid=\"tdi_76\">\n<div class=\"tdb-block-inner td-fix-index\"><time class=\"entry-date updated td-module-date\" datetime=\"2026-06-05T08:00:51+01:00\">5th June 2026<\/time><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"tdi_77\" class=\"tdc-row stretch_row_1400 td-stretch-content\">\n<div class=\"vc_row tdi_78  wpb_row td-pb-row\">\n<div class=\"vc_column tdi_80  wpb_column vc_column_container tdc-column td-pb-span12\">\n<div class=\"wpb_wrapper\">\n<div class=\"td_block_wrap tdb_single_featured_image tdi_81 tdb-content-horiz-left td-pb-border-top td_block_template_2\" data-td-block-uid=\"tdi_81\">\n<div class=\"tdb-block-inner td-fix-index\">\n<figure><img decoding=\"async\" loading=\"lazy\" width=\"696\" height=\"442\" class=\"entry-thumb\" src=\"https:\/\/www.nme.com\/wp-content\/uploads\/2026\/06\/Saros-image-2026-696x442.jpg\" alt=\"Saros\" title=\"Saros image 2026\"><figcaption class=\"tdb-caption-text\">&#8216;Saros&#8217;. CREDIT: Housemarque<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"tdi_82\" class=\"tdc-row\">\n<div class=\"vc_row tdi_83  wpb_row td-pb-row\">\n<div class=\"vc_column tdi_85  wpb_column vc_column_container tdc-column td-pb-span12\">\n<div class=\"wpb_wrapper\">\n<div class=\"td_block_wrap tdb_single_content tdi_86 td-pb-border-top td_block_template_2 td-post-content tagdiv-type\" data-td-block-uid=\"tdi_86\">\n<div class=\"tdb-block-inner td-fix-index\">\n<p><strong class=\"dropcap big-read-dropcap\">I<\/strong>n <i>Saros<\/i>, the whole world is out to get you. Sent to a far-flung corner of space by the profit-hungry Soltari corporation, you play as enforcer Arjun \u2013 arriving on the haunted planet of Carcosa to investigate why three previous expeditions have gone quiet.<\/p>\n<p><strong>READ MORE: \u2018Saros\u2019 review: ballsy successor to modern cult classic \u2018Returnal\u2019<\/strong><\/p>\n<div class=\"td-a-ad id_inline_ad0 id_ad_content-horiz-center\"><span class=\"td-adspot-title\">Advertisement<\/span><\/div>\n<p>Standing in your way are a steady stream of horrific space monsters looking to eradicate any outsiders and former colleagues who have been corrupted by something lurking in the shadows. Then, there are the solar eclipses that make the already grumpy locals even more vicious. In fact, the only thing driving you forward is the chance to reunite with your beloved wife Nitya Chandran, a scientist who was part of the first expedition \u2013 but even that relationship has a dark side.<\/p>\n<p>Your road back to Nitya is blocked by enemies flinging waves of brightly coloured energy balls at you. Your best chance of survival is to study and memorise their patterns of attack. \u201cIt\u2019s all about finding a sense of flow,\u201d agrees two-time Grammy winning composer Sam Slater (<i>Chernobyl<\/i><i>, <\/i><i>Joker<\/i>) who\u2019s behind the deliberately intense soundtrack for the bullet-ballet third-person shooter.<\/p>\n<iframe loading=\"lazy\" title=\"Saros - Launch Trailer | PS5 Games\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/rj_1CzKUR4w?feature=oembed&amp;enablejsapi=1\" frameborder allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>Slater first got involved with the game after being invited to Sony to look at their work-in-progress projects. As soon as he saw the early concept art for the menacing universe of <i>Saros<\/i>, he knew he wanted to be involved. \u201cI normally wouldn\u2019t be so blunt, but I told them I thought I could do a good job with that game,\u201d he tells <i>NME<\/i>. During a meeting with game developers Housemarque, he bonded with creative director Gregory Louden over their shared love of \u201cterrifying metal\u201d.<\/p>\n<p>The vision was to take dark electronic music, which has been a staple for video game scores since 1993\u2019s <i>Doom<\/i>, and combine it with ferocious drone metal, a slow-burning experimental genre that\u2019s more focused on crushing weight and duration than catchy melodies. The end result is something that creeps under your skin and makes your hairs stand on end, all while desperately leaping clear of yet another alien assault.<\/p>\n<div class=\"td-a-ad id_inline_ad1 id_ad_content-horiz-center\">\n<h5 class=\"taboola-mid-article-title\">Recommended<\/h5>\n<\/div>\n<p>\u201cThe thing about game developers is that they\u2019re all filthy metalheads. You can\u2019t fake heavy to them,\u201d explains Slater, who adores the influential greats of drone \u2013 Sunn O))), Earth, Boris and Khanate. At first, he played it safe \u2013 but when those early attempts were met with a polite shrug from the Housemarque team, Slater decided to try something more extreme: \u201cI wrote \u2018go too hard\u2019 on a huge piece of paper and hung it in my studio.\u201d The next track he submitted received a two-word response from Louden: \u201cHoly moly!\u201d He\u2019d cracked it.<\/p>\n<p>To make the music sound as authentic as possible, Slater reached out to go-to metal producers Randall Dunn and Ben Greenberg. Between them, they\u2019ve worked with Danish black metal outfit Myrkur, previously mentioned genre icons Sunn O))), gothic Swede Anna Von Hausswolff and Toronto punks Metz, all while running New York\u2019s Circular Ruin Studios together. They helped to record a lot of the guitar on the soundtrack, which underpins everything with a menacing groan.<\/p>\n<iframe loading=\"lazy\" title=\"Sun Is Forever\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/Tn6prJPc-YI?list=PLFMgo0rFKl-Hr9RR8Z8lzxmoftK5kA_Cw&amp;enablejsapi=1\" frameborder allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>He wanted to do more than just recreate great drone metal though. It\u2019s also why he avoided listening to the score for Housemarque\u2019s previous game <i>Returnal <\/i>\u2013 a spiritual prequel to <i>Saros <\/i>that features a lot of the same game mechanics. Though don\u2019t mention that to Slater\u2026<\/p>\n<div class=\"td-a-ad id_inline_ad2 id_ad_content-horiz-center\"><span class=\"td-adspot-title\">Advertisement<\/span><\/div>\n<p>\u201c<i>Saros<\/i> is not <i>Returnal 2<\/i>. Everyone involved was trying really hard to make this world its own unique thing, without ignoring that special Housemarque style,\u201d he says firmly. \u201cI\u2019m a huge fan of [<i>Returnal <\/i>composer] Bobby Krilc\u2019s work but I have one rule when I\u2019m working on projects like this \u2013 don\u2019t listen to other soundtracks.\u201d<\/p>\n<p>Instead, he focused on the landscape of <i>Saros<\/i> and your gruelling battle across Carcosa. Slater even commissioned a jeweller to create an exact bronze replica of Arjun\u2019s chunky medallion which he used whenever there was any percussion in the soundtrack. \u201cHe uses it as a reminder of the thing that he\u2019s chasing, and I thought we should be reminded of that as well.\u201d<\/p>\n<p>Elsewhere, the music for the <em>Blighted Marsh<\/em> level (\u2018Red Water, Dead Leaves\u2019) was made with wooden instruments to reflect all the dead wood you have to wrestle through and when you\u2019re exploring the Cathedral, you can hear tuned ceramic instruments (on the track \u2018Fenestra Rosacea\u2019) because that\u2019s what the walls of the holy place would have been made from. <em>Shattered\u2019s Descent<\/em>\u2019s warped, nightmarish acoustics are built around two small rocks being hit together.<\/p>\n<p>\u201cDon\u2019t get me wrong, I love synthesisers and guitars but I wanted every single sound to be tactile and somehow relevant to the world that was being built. It was so important that music was part of the storytelling,\u201d says Slater. \u201cIt created this strange synthesis of organic and synthetic sounds that are tearing against each other.\u201d Perfect for a game that has you constantly fighting for your life.<\/p>\n<figure id=\"attachment_3946875\" aria-describedby=\"caption-attachment-3946875\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-3946875\" src=\"https:\/\/www.nme.com\/wp-content\/uploads\/2026\/05\/Saros-Cover-Art1.jpg\" alt=\"Saros soundtrack\" width=\"2000\" height=\"1270\"><figcaption id=\"caption-attachment-3946875\" class=\"wp-caption-text\">\u2018Saros\u2019 cover art. CREDIT: Housemarque<\/figcaption><\/figure>\n<p>Still, Slater was wary of creating something so horrible to listen to that it turned people away from the brutal game completely. \u201cThat was the glorious contradiction of it all,\u201d he grins. \u201cHow do you make a world that is hostile and kicking you away at every turn, but you still want to run through it? That question was key to every single person working on <em>Saros<\/em>.\u201d The answer, he says, was to thread moments of \u201csweetness\u201d throughout the score whenever possible. It\u2019s why there are tracks such as \u2018Sun Is Forever\u2019, which acts as Nitya\u2019s theme, and \u2018Love Ruins\u2019 which both feature a close-cut vocal ensemble. While all the other human voices on the soundtrack are digitally twisted beyond recognition to represent the corruption that happens after spending too much time under the planet\u2019s yellow sun, those songs represent brief glimpses of purity. \u201cThe actual world of Carcosa is fucked but you\u2019re chasing something you really love. In that tension, we created something really strange and wild,\u201d he says. In keeping with his \u201cgo too hard\u201d mantra, Slater flew to a church in Helsinki that was built into a mountainside to play the original vocal recordings over giant speakers, and then captured the majestic results.<\/p>\n<p>Creating the soundtrack was a long process but \u201cart is not about efficiency, it\u2019s about the story and the world building,\u201d explains Slater. With AI use within the industry becoming more common, he believes we need to \u201cfight really hard\u201d to preserve those ideals and, luckily, Housemarque were fully on board. \u201cYou can always default to the simple boring thing but most of the time it\u2019s not the best option. To make something special, you have to go too far.\u201d<\/p>\n<p><em>\u2018Saros\u2019 is available for PlayStation 5 and the soundtrack is available to stream now<\/em><\/p>\n<\/div>\n<\/div>\n<div class=\"td_block_wrap tdb_single_tags tdi_87 td-pb-border-top td_block_template_2\" data-td-block-uid=\"tdi_87\">\n<div class=\"tdb-block-inner td-fix-index\">\n<ul class=\"tdb-tags\">\n<li><span>Related Topics<\/span><\/li>\n<li>Boris<\/li>\n<li>Earth<\/li>\n<li>Returnal<\/li>\n<li>Saros<\/li>\n<li>Sunn O)))<\/li>\n<li>Video Game Culture<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"tdi_88\" class=\"tdc-row stretch_row_content td-stretch-content\">\n<div class=\"vc_row tdi_89  wpb_row td-pb-row tdc-element-style\">\n<div class=\"vc_column tdi_91  wpb_column vc_column_container tdc-column td-pb-span12\">\n<div class=\"wpb_wrapper\">\n<div class=\"td-block td-a-rec td-a-rec-id-custom-spot tdi_92 td_block_template_2\"><span class=\"td-adspot-title\">Advertisement<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"tdi_93\" class=\"tdc-row\">\n<div class=\"vc_row tdi_94  wpb_row td-pb-row\">\n<div class=\"vc_column tdi_96  wpb_column vc_column_container tdc-column td-pb-span12\">\n<div class=\"wpb_wrapper\">\n<div class=\"vc_row_inner tdi_98  vc_row vc_inner wpb_row td-pb-row\">\n<div class=\"vc_column_inner tdi_100  wpb_column vc_column_container tdc-inner-column td-pb-span12\">\n<div class=\"vc_column-inner\">\n<div class=\"wpb_wrapper\">\n<div class=\"wpb_wrapper td_block_wrap vc_raw_html tdi_102 \">\n<div class=\"td-fix-index\">\n<h3>More Stories<\/h3>\n<\/div>\n<\/div>\n<div class=\"td_block_wrap td_flex_block_1 tdi_103 td-pb-border-top td_module_flex_1--card td_module_flex_1--card--highlight td_block_template_2 tdc-no-posts td_flex_block\" data-td-block-uid=\"tdi_103\">\n<div id=\"tdi_103\" class=\"td_block_inner td-mc1-wrap\">\n<div class=\"td_module_flex td_module_flex_1 td_module_wrap 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class=\"tdb-block-inner td-fix-index\">\n<p><strong class=\"dropcap big-read-dropcap\">I<\/strong>n <i>Saros<\/i>, the whole world is out to get you. Sent to a far-flung corner of space by the profit-hungry Soltari corporation, you play as enforcer Arjun \u2013 arriving on the haunted planet of Carcosa to investigate why three previous expeditions have gone quiet.<\/p>\n<p><strong>READ MORE: \u2018Saros\u2019 review: ballsy successor to modern cult classic \u2018Returnal\u2019<\/strong><\/p>\n<div class=\"td-a-ad id_inline_ad0 id_ad_content-horiz-center\"><span class=\"td-adspot-title\">Advertisement<\/span><\/div>\n<p>Standing in your way are a steady stream of horrific space monsters looking to eradicate any outsiders and former colleagues who have been corrupted by something lurking in the shadows. Then, there are the solar eclipses that make the already grumpy locals even more vicious. In fact, the only thing driving you forward is the chance to reunite with your beloved wife Nitya Chandran, a scientist who was part of the first expedition \u2013 but even that relationship has a dark side.<\/p>\n<p>Your road back to Nitya is blocked by enemies flinging waves of brightly coloured energy balls at you. Your best chance of survival is to study and memorise their patterns of attack. \u201cIt\u2019s all about finding a sense of flow,\u201d agrees two-time Grammy winning composer Sam Slater (<i>Chernobyl<\/i><i>, <\/i><i>Joker<\/i>) who\u2019s behind the deliberately intense soundtrack for the bullet-ballet third-person shooter.<\/p>\n<iframe loading=\"lazy\" title=\"Saros - Launch Trailer | PS5 Games\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/rj_1CzKUR4w?feature=oembed&amp;enablejsapi=1\" frameborder allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>Slater first got involved with the game after being invited to Sony to look at their work-in-progress projects. As soon as he saw the early concept art for the menacing universe of <i>Saros<\/i>, he knew he wanted to be involved. \u201cI normally wouldn\u2019t be so blunt, but I told them I thought I could do a good job with that game,\u201d he tells <i>NME<\/i>. During a meeting with game developers Housemarque, he bonded with creative director Gregory Louden over their shared love of \u201cterrifying metal\u201d.<\/p>\n<p>The vision was to take dark electronic music, which has been a staple for video game scores since 1993\u2019s <i>Doom<\/i>, and combine it with ferocious drone metal, a slow-burning experimental genre that\u2019s more focused on crushing weight and duration than catchy melodies. The end result is something that creeps under your skin and makes your hairs stand on end, all while desperately leaping clear of yet another alien assault.<\/p>\n<div class=\"td-a-ad id_inline_ad1 id_ad_content-horiz-center\">\n<h5 class=\"taboola-mid-article-title\">Recommended<\/h5>\n<\/div>\n<p>\u201cThe thing about game developers is that they\u2019re all filthy metalheads. You can\u2019t fake heavy to them,\u201d explains Slater, who adores the influential greats of drone \u2013 Sunn O))), Earth, Boris and Khanate. At first, he played it safe \u2013 but when those early attempts were met with a polite shrug from the Housemarque team, Slater decided to try something more extreme: \u201cI wrote \u2018go too hard\u2019 on a huge piece of paper and hung it in my studio.\u201d The next track he submitted received a two-word response from Louden: \u201cHoly moly!\u201d He\u2019d cracked it.<\/p>\n<p>To make the music sound as authentic as possible, Slater reached out to go-to metal producers Randall Dunn and Ben Greenberg. Between them, they\u2019ve worked with Danish black metal outfit Myrkur, previously mentioned genre icons Sunn O))), gothic Swede Anna Von Hausswolff and Toronto punks Metz, all while running New York\u2019s Circular Ruin Studios together. They helped to record a lot of the guitar on the soundtrack, which underpins everything with a menacing groan.<\/p>\n<iframe loading=\"lazy\" title=\"Sun Is Forever\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/Tn6prJPc-YI?list=PLFMgo0rFKl-Hr9RR8Z8lzxmoftK5kA_Cw&amp;enablejsapi=1\" frameborder allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>He wanted to do more than just recreate great drone metal though. It\u2019s also why he avoided listening to the score for Housemarque\u2019s previous game <i>Returnal <\/i>\u2013 a spiritual prequel to <i>Saros <\/i>that features a lot of the same game mechanics. Though don\u2019t mention that to Slater\u2026<\/p>\n<div class=\"td-a-ad id_inline_ad2 id_ad_content-horiz-center\"><span class=\"td-adspot-title\">Advertisement<\/span><\/div>\n<p>\u201c<i>Saros<\/i> is not <i>Returnal 2<\/i>. Everyone involved was trying really hard to make this world its own unique thing, without ignoring that special Housemarque style,\u201d he says firmly. \u201cI\u2019m a huge fan of [<i>Returnal <\/i>composer] Bobby Krilc\u2019s work but I have one rule when I\u2019m working on projects like this \u2013 don\u2019t listen to other soundtracks.\u201d<\/p>\n<p>Instead, he focused on the landscape of <i>Saros<\/i> and your gruelling battle across Carcosa. Slater even commissioned a jeweller to create an exact bronze replica of Arjun\u2019s chunky medallion which he used whenever there was any percussion in the soundtrack. \u201cHe uses it as a reminder of the thing that he\u2019s chasing, and I thought we should be reminded of that as well.\u201d<\/p>\n<p>Elsewhere, the music for the <em>Blighted Marsh<\/em> level (\u2018Red Water, Dead Leaves\u2019) was made with wooden instruments to reflect all the dead wood you have to wrestle through and when you\u2019re exploring the Cathedral, you can hear tuned ceramic instruments (on the track \u2018Fenestra Rosacea\u2019) because that\u2019s what the walls of the holy place would have been made from. <em>Shattered\u2019s Descent<\/em>\u2019s warped, nightmarish acoustics are built around two small rocks being hit together.<\/p>\n<p>\u201cDon\u2019t get me wrong, I love synthesisers and guitars but I wanted every single sound to be tactile and somehow relevant to the world that was being built. It was so important that music was part of the storytelling,\u201d says Slater. \u201cIt created this strange synthesis of organic and synthetic sounds that are tearing against each other.\u201d Perfect for a game that has you constantly fighting for your life.<\/p>\n<figure id=\"attachment_3946875\" aria-describedby=\"caption-attachment-3946875\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-3946875\" src=\"https:\/\/www.nme.com\/wp-content\/uploads\/2026\/05\/Saros-Cover-Art1.jpg\" alt=\"Saros soundtrack\" width=\"2000\" height=\"1270\"><figcaption id=\"caption-attachment-3946875\" class=\"wp-caption-text\">\u2018Saros\u2019 cover art. CREDIT: Housemarque<\/figcaption><\/figure>\n<p>Still, Slater was wary of creating something so horrible to listen to that it turned people away from the brutal game completely. \u201cThat was the glorious contradiction of it all,\u201d he grins. \u201cHow do you make a world that is hostile and kicking you away at every turn, but you still want to run through it? That question was key to every single person working on <em>Saros<\/em>.\u201d The answer, he says, was to thread moments of \u201csweetness\u201d throughout the score whenever possible. It\u2019s why there are tracks such as \u2018Sun Is Forever\u2019, which acts as Nitya\u2019s theme, and \u2018Love Ruins\u2019 which both feature a close-cut vocal ensemble. While all the other human voices on the soundtrack are digitally twisted beyond recognition to represent the corruption that happens after spending too much time under the planet\u2019s yellow sun, those songs represent brief glimpses of purity. \u201cThe actual world of Carcosa is fucked but you\u2019re chasing something you really love. In that tension, we created something really strange and wild,\u201d he says. In keeping with his \u201cgo too hard\u201d mantra, Slater flew to a church in Helsinki that was built into a mountainside to play the original vocal recordings over giant speakers, and then captured the majestic results.<\/p>\n<p>Creating the soundtrack was a long process but \u201cart is not about efficiency, it\u2019s about the story and the world building,\u201d explains Slater. With AI use within the industry becoming more common, he believes we need to \u201cfight really hard\u201d to preserve those ideals and, luckily, Housemarque were fully on board. \u201cYou can always default to the simple boring thing but most of the time it\u2019s not the best option. To make something special, you have to go too far.\u201d<\/p>\n<p><em>\u2018Saros\u2019 is available for PlayStation 5 and the soundtrack is available to stream now<\/em><\/p>\n<\/div>\n<\/div>\n<p>[analyse_source url=&#8221;https:\/\/www.nme.com\/features\/gaming-features\/saros-soundtrack-interview-sam-slater-drone-metal-boris-sunn-3949188&#8243;]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/www.nme.com\/wp-content\/uploads\/2026\/06\/Saros-image-2026.jpg&#8221;] FeaturesGaming Features How drone metal forged the year\u2019s most stressful game soundtrack Inspired by the likes of Sunn O))), Earth, Boris and Khanate, Sam Slater\u2019s deliberately intense &#8216;Saros&#8217; score is the stuff of nightmares By Ali Shutler 5th June 2026 &#8216;Saros&#8217;. CREDIT: Housemarque In Saros, the whole world is out to get [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[226,78],"class_list":["post-1974978","post","type-post","status-publish","format-standard","hentry","category-politics","tag-crawlmanager","tag-nme-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1974978","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1974978"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1974978\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1974978"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1974978"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1974978"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}