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CONTROL Resonant composer Petri Alanko says the score reflects both Dylan’s emotional state and dangers the player cannot yet see. In a September 28, 2026 interview with MusicRadar, he described drawing on Dylan’s history, unusual recorded sounds, and musical patterns that suggest the wider supernatural threat. The interview does not verify the supplied headline’s phrases “absolute evil lurking” or “intelligence and the ability to think”; those should not be presented as Alanko quotations.
How Dylan’s story shaped the score
Alanko says he began forming musical ideas from Remedy’s early presentations of the game concept, as well as visual material such as PDFs and video clips. He thinks in terms of sounds, feelings, harmonies and melodies while absorbing the project. For CONTROL Resonant, Dylan’s character and Sean Durrie’s performance were central to that process.
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The contrast with the first Control helped define the emotional starting point. Jesse entered that story with a clear mission; Dylan begins Resonant with less confidence and a weakened sense of purpose. His concern for his missing sister gives the score a personal center: the supernatural setting is filtered through a sibling relationship and Dylan’s own fragile state.
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The music associated with the siblings draws on their childhood feelings, shared history and trauma. Alanko says “The One I Once Knew,” sung by Amelia Jones, began as a complete track and appears in the end credits; the Sibling Theme is a subset of that material. This lets a larger song carry emotional details that can recur in more focused form elsewhere in the score.
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Why the score hints at events beyond the screen
Alanko describes music that can imply more than the player currently sees. Small musical additions may suggest that something is happening elsewhere in the warped city, extending the sense of danger beyond the immediate scene. As he put it in the MusicRadar interview, “The evil is everywhere all the time; there are no 100% safe sectors at all.” That is his description of the game’s atmosphere, not evidence for the different phrase “absolute evil lurking” in the supplied headline.
He also connects this approach to Remedy’s shared fictional universe. The games, he says, have different “DNAs,” even though they come from the same universe. His explanation is that “if something is evil, it affects reality,” a premise that can be expressed musically without making every Remedy score sound alike. He says the Remedyverse is woven into the soundtracks subliminally.
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How found sounds become musical material
Alanko describes building a library of recordings and turning nontraditional sounds into parts of the score. For percussion, he used plastic buckets struck with silicone water pipe. He also reused cassette and tape equipment. One specific example was a broken seashell recorded with a Zoom H4n field recorder: its sound became one of the granular pad sounds in “Tabula Rasa.” These are examples of his process, not a prescribed method for other composers.
TechRadar’s October 6, 2026 coverage also reports Alanko saying that he records sounds daily with a phone or small recorder, then later reshapes them into rhythm, harmony or melody. It reports that Remedy has no formal “audio bible” for brand usage.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.What musical traits connect Remedy’s games
Alanko identifies recurring tendencies rather than a single house style: odd meters, polyrhythms, non-harmonic intervals, acoustic found sounds, distortion, ambience and reverb. These elements can support unease and unpredictability while leaving each game with its own musical identity. As he summarized it, “There are common elements, although the games have different DNAs.”
The interview’s central point is that the score works on more than one level: it follows Dylan’s personal story, uses unconventional sound sources, and can imply a threat extending beyond the visible action. Alanko’s comments support that interpretation, but not the supplied headline’s unverified wording about the player’s intelligence or a quoted “psychological aspect.”
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