Game info: website
Listening: Bandcamp, iTunes/Apple Music, Amazon
Info
Eli Rainsberry had two games last year! This one’s another chill and colorful game, this time starring everyone’s favorite square with a :v) face on it, Wilmot, as he puts together a bunch of jigsaw puzzles to decorate the walls of his house. This is a follow-up to 2019’s Wilmot’s Warehouse, also composed by Rainsberry, which has similar interaction mechanics but is about organizing objects in a warehouse for later retrieval.
Wilmot’s Warehouse came out about a year after Sure Footing and it’s the closest Rainsberry has gotten since then to that soundtrack; it’s a bit more ambient, but it still has a bunch of more energetic tracks and a similar electronic sound design with choppy percussion. While it doesn’t really get into odd time wackiness, it does play around a bit with stacking syncopation, weird phrasing, and randomly switching in and out of triplets, keeping rhythms playful in ways you might recognize here and there in Flock.
The sequel’s soundtrack is similar, instantly identifiable as more Wilmot music, though it’s more ambient as a whole, which seems fitting since this game is about what Wilmot does to relax at home after work. It adds in some acoustic instruments, chiefly piano in a number of tracks, while retaining a lot of the bright and poppy synth and keyboard sound design from the first game. Rhythmwise it’s got way more odd time and mixed meter than the original, done in the same kind of subtle way it was done in Flock where it’s often masked by the gentle vibe and repetitious and syncopated elements of the track. It definitely feels like a Flock-ier version of the Wilmot’s Warehouse soundtrack, which is pretty nice too! We’re approaching full stylistic convergence.
The Bandcamp version of this soundtrack includes six bonus tracks not available elsewhere: twenty-seven-minute ambient soundscape tracks for each of the game’s six rooms.
Recommended tracks:
-
“Home at Last!” starts out briefly recapping the theme from the first game before switching to a chiller, polymetric section
-
“Rabbit Race” has some nice crunch at 2:44
-
“Meier’s Sacrifice” is one of the spiciest tracks to me, in terms of the chord changes and tonal shifts in the melody
-
“Lighthouse” is one of the emptier, more piano-centric tracks that populate the back half of the album, getting a bit jazzy with a bunch of those piano chords
Leave a Reply