In recent years, game music has emerged as a preferred choice for relaxation among young people, overshadowing traditional New Age and meditation music. On YouTube and Spotify, game soundtrack have billions of streams each month. This shift is also exemplified by the success of Nintendo’s new music app, which offers a vast library of game soundtracks designed to soothe and engage listeners.
I believe it is safe to say that young people today feel a strong connection to game music from the 1980s and 90s, while lacking the same nostalgia for New Age music. This is largely because many Millennials and Gen-Zers grew up playing video games that featured iconic soundtracks. These soundtracks, often influenced by the electronic music styles of the time, such as house and techno, were integral to the gaming experience and continue to evoke powerful feelings of nostalgia. In contrast, New Age music did not have the same widespread cultural presence or emotional impact on these generations.
New Age music artists face challenges in staying relevant as game music gains popularity. There are, of course, some artists in “our part of the forest” that has had game music success. David Arkenstone has successfully bridged the worlds of New Age music and video game composition, demonstrating how artists can thrive in both realms. As a chart-topping New Age musician, Arkenstone has released over 60 critically acclaimed studio albums and multiple Grammy nominations. Simultaneously, Arkenstone has made significant contributions to the gaming industry as a composer. He has worked on soundtracks for popular video game franchises such as World of Warcraft and Emperor: Battle for Dune.
This crossover success demonstrates how New Age artists can leverage their musical talents to create immersive and relaxing game soundtracks that appeal to younger audiences. Arkenstone’s work in both fields showcases the potential for New Age musicians to expand their reach and find new avenues for creative expression in the gaming world.
While Arkenstone stands out as a prime example of this crossover success, he is not alone in bridging the gap between New Age music and game composition. Mike Oldfield‘s Tres Lunas project is a unique blend of music and virtual reality, marking his first foray into the MusicVR realm. Released in 2002, Tres Lunas is both a studio album and a computer game that allows players to explore a virtual world while interacting with music. The project received mixed reviews, reflecting its unique blend of music and virtual reality. While the album itself achieved commercial success, the game component struggled to gain traction with mainstream gaming companies. Here is a glimpse of the beautiful and non-violent MusicVR game:
Returning to the new Nintendo’s music app, the service provides access to decades of iconic game soundtracks, allowing users to explore music by mood. This app highlights the growing trend of using game music for relaxation, offering recordings that cater to fans’ nostalgia and need for a calming auditory experience. This app highlights the growing trend of using game music for relaxation.
Why do young people increasingly prefer game music over traditional New Age music for relaxation? I believe the key factor is that game soundtracks are designed to create immersive environments, often featuring soothing melodies and ambient sounds that help players focus or unwind. There is also, as mentioned above, a nostalgia factor. Familiar tunes from beloved games provide comfort. Accessibility is also a factor. With platforms like Youtube, or the mentioned Nintendo Music app, accessing game music has become easier than ever, contributing to its popularity. Sample it here:
For ambient and New Age music artists, this transformation presents both challenges and opportunities. While the genre has traditionally been associated with tranquility and meditation, its relevance is being tested by the innovative approaches found in game music.
I’m not saying that artists in these genres should make game music. Mike Oldfield’s Tres Lunas shows that this perhaps is not a good idea. My point is that artists can draw inspiration from the storytelling elements inherent in game music. By creating thematic albums or tracks that evoke specific moods or narratives, they can offer listeners an experience that goes beyond mere background music. This approach not only enhances the listening experience but also aligns more closely with the immersive qualities that make game music so appealing.
Also, to compete, New Age music artists must adapt their strategies and embrace modern marketing techniques. Artists music engage with audiences on platforms like TikTok to increase visibility and attract younger listeners. If you have an album with “game music feel,” you can market it on game music channels. You can make game music, even if there is not a game. Here is a fantastic example:
In conclusion: The landscape of relaxation music is evolving, with game music increasingly capturing the attention of younger audiences. The Nintendo Music app exemplifies this trend by offering a curated collection of soundtracks that resonate with fans both nostalgically and emotionally. This shift highlights how game music’s immersive qualities and cultural significance have positioned it as a powerful tool for relaxation.
To maintain their foothold in the relaxation music market, I believe New Age artists must explore new avenues for engagement. By embracing the game music way of storytelling – as illustrated by Arkenstone in the above video – artists can reach broader audiences and make their music more accessible. Collaborating with gaming influencers can further amplify their reach and introduce their music to younger demographics. By doing so, New Age artists can ensure their genre remains relevant in an ever-changing musical world.
Above picture generated with AI – Microsoft Bing Image Creator
