It’s not every day that I get to sample an award-winning game soundtrack before it’s even released to the public.
That’s exactly what I’ve been doing this week, as Spanish studio Iberante gave us an exclusive early listen to the OST for Project: Catalepsy. The soundtrack recently picked up a Silver Medal at the European International Music Awards (EIMA) in the Best Game Music EP category for Requiem (Original Videogame Soundtrack).
This early listen also ties into a broader focus on game music here at Rogueliker, following our recent countdown of the greatest video game OSTs.
What is Project: Catalepsy?
Before diving into the soundtrack itself, it’s probably worth giving a little context on what Project: Catalepsy actually is. For full disclosure, I haven’t played the game; it has yet to be publicly revealed, but the developer has shared an overview with us of what players can expect.
Project: Catalepsy is a third-person roguelike set in Christian Hell. You play as The Dweller, a being trapped in the Abyss with no memory of what he did to end up there, and no apparent interest in finding out. It’s said to feature procedural generation, a dynamic combat system, and permanent progression between runs.
You begin each run with a single weapon, which can then be modified using Blood Shards. Death sends you back to the beginning, but your knowledge of the Abyss and how to survive it remains, always reinforced by your gradual strengthening of character.
An exclusive first listen
We were given an exclusive listen to two tracks — Via Mortis and Praeco Umbrae (The Dweller’s theme), composed by Spanish musician José Conejero (pictured above), in what is actually his debut video game soundtrack.
An interesting little tidbit we heard was that, instead of using gameplay for inspiration, Conejero constructed the central melody using a mathematical derivation based on the game’s title. This central theme recurs throughout the score in various forms, from combat to exploration to boss encounters, returning each time with echoes of what came before.
This is an unusual approach for game music, which is typically shaped around gameplay or narrative beats. Here, however, Conejero builds the score from a fixed mathematical system, meaning the structure dictates sound rather than emotion or action. The result is a more rigid, almost procedural form of composition that feels closely connected to the roguelike genre and distinct from traditional cinematic scoring.
Inside the score
It sounds distinctive enough, but the real question is how well these tracks hold up as a standalone listening experience.
The first track I heard, Praeco Umbrae, carries a distinctly militaristic edge, driven by pounding snare drums and the use of bells as percussion. Clocking in at just under 2:30, it makes effective use of dynamic shifts, moving from soaring choral passages into a final crescendo of strings. It feels like the kind of piece that would underscore its intense battles against hordes of infernal enemies.
The final track, Via Mortis, is even more brief, lasting just 36 seconds. Despite its length, it’s steeped in a sense of pure dread, reinforced by pounding percussion and a swelling, wordless choir reminiscent of Skyrim. I haven’t been given any context as to where these tracks are used, but I can see this one supporting an epic boss battle.
So there you have it, my listening experience with the Project Catalepsy soundtrack was short and sweet, but I’m definitely intrigued to see/ hear more. With a prototype launching at the end of the year and the project yet to receive funding, I might be waiting a little while.
There is an interview at the foot of this page, where composer Jose Conejero talks about his journey with music, and in the background, you can hear the game’s atmospheric audio. While we can’t share any of it here, you can check out a Cubase file of the project below.
Project: Catalepsy is still in active development, and a prototype is expected to be released in Q4 2026. You can find more updates on the game’s official website here.
