Tooth and Tail Soundtrack Review: This is a review of the video game score Tooth and Nail by Austin Wintory.
At a glance:
Geek Score: 72.7
Total Minutes Of Excellence: 0
Album Excellence: 0%
Tooth and Tail is a 2017 real-time strategy game released by Pocketwatch Games for Windows, MacOS, Linux and PlayStation 4 on 12 September 2017. Tooth and Tail (originally named Armada and later Lead to Fire) was envisioned by Pocketwatch Games as "popcorn" or "RTS distilled" that would be accessible to genre newcomers. In an interview with Polygon, the game’s design was described as "one button" RTS that would make playing with a controller manageable. Tom Marks of PC Gamer described the single player campaign as being "like a bite-sized StarCraft campaign." The game takes place in a society in which a nation of anthropomorphic animals (described by multiple sources as being akin to those in the Redwall series) faces a chronic food shortage. The system by which animals are selected for slaughter to feed the populace has broken down, and four factions fight to decide who will be eaten. The art style and weaponry of the game are described as being similar to that of the Enlightenment and Industrial Revolution. The score is composed by Austin Wintory.
Austin Wintory is such an interesting composer that I just can’t get a clear grip on. Sometimes he absolutely smashes it with scores like Journey and Abzu, and other times like with Assassin’s Creed Syndicate he comes up with something so different it’s not even funny. Whatever it is though, I just have to hear the latest Wintory score and hoping for more Journey, less Assassin’s Creed, but what about this one? What does it sound like? It sounds like… neither? The opening cue ‘The Food Of Beasts’ might give you a clue of what to expect, or maybe not. If anything it’s a quirky kind of cue with a choir that sounds like they had a bit too much to drink and that’s probably the whole point. I’m not even sure if I like it or if I can ever love it. I’m taken a bit back by this one.
Well I was clearly not joking about the drunken crowd as they appear in a number of cues. The music has a little bit of medieval sound to it, in fact quite a bit, but it’s not "proper" medieval music either, it’s a little bit odd. I kind of like it though, it’s intriguing to listen to, but do you have time to listen to a score you’ll probably not going to love? Maybe not, but Wintory’s unique approach to the score makes me curious, probably more than I should. It’s a puzzling one and something I probably won’t listen to again unless I happen to play the game.