The soundtrack, based on the style and the set of the game, is certainly just a recall of the music of the 16th century in Europe. No more disturbing: The Tracktrack Album. To achieve this difficult result, Obsidian had the team of the Alkemie group to study the performance of Renaissance music i.e. with the use of period instruments. The music, designed for the game, is original, but follows the style of the era, as described with a rich-earth way of saying “the present, the earliest or the most enduring in the world”. Lingua Ignota, also with Anna Hayter, worked on the composition, who, in the performance of An Traum in the epilogue of this film, was inspired by the traditions of German Lieder of the 19th century, and adapting the poem by Heinrich Heine, I had an alreadyes fatherland, the poem. For the cover, keeping on with the style adopted, a technique created by Benjamin Vierling used, using a mixed technique inspired by Renaissance art. An oil painting layer and the egg tempera are applied. The image is a portrait of Andreas Maler, surrounded by various symbolic elements in the image of Pentiment. Nevertheless, a composition made up of several artworks by Hannah Kennedy, the Obsidian artist working on the scene characterization, is visible. We refer to the review that we published of Pentiment when it came out in November.
