Game Music Festival | Gamemusic

Articles

Composing during Covid — Cuphead: The Delicious Last Course

Kristofer Maddigan 03.08.2022

Interviews

Kevin Schulz – Indie games can be very diverse and unique and don’t have to appeal to the masses like an AAA game

Mariusz Borkowski 25.07.2022

Articles

The Composer As Empath

Russell Brower 18.07.2022

Articles

Game Music Festival – We still are a group of friends and dreamers from years ago

Mateusz Pawlak 26.07.2022

Articles

A difficult decade for game music

Paweł Dembowski 20.06.2022

News

Details of Game Music Festival’s educational  stream of events

Mariusz Borkowski 28.02.2022

News

Game Music Festival in London  5-6th of March 2022

Mariusz Borkowski 11.11.2021

Articles

From the integrated circuit virtuosos to the real orchestra – music in games from 1970 to 2000. Part I

Maciej Baska 04.05.2021

Hades – land of the dead listens to hard rock, lute and rattles

Ori and the Will of the Wisps – a complete, breathtaking and matured work of art

Disco Elysium – dirty wastelands of rock and blinding panoramas of tuneful lights

Divinity: Original Sin 2 – overflowing with magic

Streets of Rage 4 – every track a treasure

Final Fantasy VII Remake – musically exploited

Dead Cells – good from start to finish, to start, to finish…

Stonefly – where electronic music meets organic environment

Dying Light 2: Stay Human – musical parkour

The Dark Pictures Anthology: House of Ashes – yet another complaint-free horror OST