An opinion piece from Jay Kirby

Spoiler warning for Hollow Knight: Silksong

I can still remember seeing the announcement trailer for Hollow Knight: Silksong for the first time— never was I to know just how gruelling the wait for the game would end up being. Hollow Knight is one of my favourite games of all time, and a full seven years after my first playthrough, it’s extremely gratifying to be able to say that the sequel may be even better. There was always a lot to be excited about in regards to Silksong: the game’s combat, exploration, art design and story were all bound to be phenomenal, though none of those elements are the topic of today's discussion. The world of Pharloom is truly brought to life by its soundtrack, composed by none other than one Christopher Larkin.

Scoring a game of this scale is a task not unlike trying to reach the summit of Mount Fay— the world of Silksong is sprawling and diverse, and its music needs to reflect that. The game balances levity and sorrow on a knife edge, peppering charming characters and notes of humour in amongst its desolate setting: somehow, Larkin threads the needle time and time again, finding the perfect tone to suit each set piece. The town of Bone Bottom is a barren yet homely place, acting as the player’s central hub of operations in the early game— its theme is one of the simplest of the lot (comprised of simple four-note sequences, topped by a wandering melody) yet manages to perfectly capture glimmers of hope, even as it foreshadows the village’s eventual demise. Larkin’s music is not overly complex, and his work benefits immensely from the extreme level of restraint he tends to show in his arrangements.

Though the game’s soundtrack rarely demands the player’s attention, you’d be surprised by just how many tunes will stick in your head: the score moves with a subtle intention, building to its most characterful moments. Silksong has a particular emphasis on strings, though the brooding swells of Greymoor and cheerful plucks of Shellwood couldn’t sound further apart if they tried— Larkin’s work is less like music and more like a language, conveying just as much information to the player as Ari Gibson’s wonderful art. Every area in the game (and there are a lot of them) is completely recontextualised by its theme: if the frustrating enemy design in Bilewater is getting to you, its cautiously optimistic music might be just the push you need to keep on going. Even when the game launches into its second act, Larkin continues to find new ways to pleasantly surprise you with the disarming chimes that ring out across the Cogwork Core and the particularly cinematic notes that score the Whispering Vaults.

Every so often though, Silksong fully indulges in the sheer breadth of music it’s able to pull from. Larkin couldn’t be pulling more inspiration from Andrew Lloyd Webber if he tried during the fight with Phantom, scored as it is with blaring organs and theatrical strings— it’s a cute nod, and one that fits this optional boss extremely well. Similarly, the soundtrack really gets to stretch its legs during the Act III boss Tormented Trobbio: the choir that chants the dazzling performer’s name is an inspired touch that surrounds the biggest diva in the game with ridiculous levels of showmanship and melodrama. Several recurring characters, including the adorable pilgrim Sherma and map-making huntress Shakra, are given their own sweet little melodic themes— given the extreme response these have garnered online, it feels safe to say that they’re about as catchy as they come, and go the extra mile to paint these friendly faces in a positive light.

You may have noticed that much of this ‘love letter’ is simply a list of accomplishments: really, what else can be said that can’t be intuitively grasped just by playing the game? The Choral Chambers theme may just be the most effortlessly brilliant one on offer here, perfectly capturing both the opulence and tragic fate of the shining citadel— every choice, from the distant sound of the piano to the track’s exploratory chord changes, works in tandem to draw personality from each corridor in the area. In much the same way, all the boss fights in Hollow Knight: Silksong feel more exciting, more vibrant and expressive when paired with their themes: Larkin goes the extra mile to incorporate elements of each event in his score, whether that’s the music box sound of the Cogwork Dancers or the use of vocals in Skarrsinger Karmelita’s amphitheatre. Often, the greatest incentive to explore Pharloom is simply the promise of more wonderful music to enjoy.

Hollow Knight: Silksong takes the magic that made its predecessor so special and just runs with it: in much the same way, Larkin has used this opportunity to push himself further than ever before. There’s a vast array of atmospheres captured across the game’s soundtrack, from jovial antics to mournful laments— despite it all, its a collection of tunes that settle in together remarkably. Silksong is an amazing experience for a number of reasons, and it would be hyperbole to suggest that Christopher Larkin’s score is the sole reason to give the game a try: it is a real standout for me personally though.