End time atmosphere

For someone like me, who was only five years old in 1997, the first Fallout game probably didn't have much impact. Consequently, I can't say much about this classic role-playing game. What did it do differently or better than comparable titles? Why did the setting of a nuclear post-apocalyptic world work so well? These are all questions I can only answer starting with Fallout 3.

The score

Now, I could compensate for this lack of information with a more detailed review of the soundtrack by Mark Morgan, alas I can not for two reasons: the length and the style. While the first point is somewhat still manageable, it looks gloomy when it comes to the second. Because the 16 tracks primarily focus on conveying desolation, emptiness, and despair, which are characteristics of a nuclear-contaminated landscape... and rather less entertaining.

Other entries in the Fallout -series

Soundtrack

Fallout (1997)

Soundtrack

Fallout 2 (1998)

However, the OST succeeds in illustrating the titular Fallout theme in a multifaceted way through its interesting selection of sounds. What is limited to one or two tracks in many albums, each underscoring a specific level (industrial area, contaminated landscape, etc.), here is diversifies by Morgan across the various tracks, offering different focal points within the same setting – yes, every score does that to some extent, but I wanted to highlight it.

For example, tracks like Metallic MonksMark Morgan2, The Vault of the FutureMark Morgan2, Vats of GooMark Morgan2 or Follower’s CredoMark Morgan2 are dominated by atmospheric synths paired with industrial tones, painting a picture of destruction and urban ruins. Morgan utilizes everyday objects such as a grandfather clock (Flame of the Ancient WorldMark Morgan2), sonar- and stenograph-like beeps and clicks, or metallic clattering overlaying unintelligible radio transmissions. Additionally, individual instruments like flutes, rattles, and other 'simple' means coexist strictly separately and in disharmony – a symbol of the torn society of survivors.

The tone of the composition remains balanced, rarely sinking into a threatening mood but rather appearing curious, sometimes even positive (Radiation StormMark Morgan1). In tracks like A Trader’s LifeMark Morgan3, Moribund WorldMark Morgan3 and Khans of New CaliforniaMark Morgan3 we get a glimpse into the primitive 'civilization' that has emerged from the remnants of the old world: tribal-like melodies, simple music-making.

My personal highlight of the score remains City of the DeadMark Morgan4, which generates Blader Runner-esque tension with its eerie atmosphere. These distorted synths, ominously rising and falling, are unique within the composition, which is probably why they stay so memorable to me. Overall, the Fallout OST is more for fans who, when listening to the sounds, are transported back to the time of 1997 – or 2077.