I wasn’t familiar with Flint: Treasure of Oblivion upon release in late 2024. In early 2025, however, the soundtrack (by Wizardry remake composer and Grammy award winner Winifred Phillips) dropped, and I had to check it out. Phillips’ past works, going well beyond Wizardry all the way back to early LittleBigPlanet and God of War titles, hold a special place in my heart.
The Flint soundtrack is a matter of quality over quantity. Seriously. This is an EP-sized release, being 25 minutes in length, across a total of ten tracks. But these are 25 minutes packed full of exciting, engaging music. What kind of music? Largely orchestral, with featured instruments appropriate to the golden age of piracy. So, “pirate orchestra” music? I think people understand this kind of label. If Hans Zimmer’s score to the original Pirates of the Caribbean film is the paragon, Phillips’ score to Flint honors such a pedigree. She does so tastefully, without copying any aspect wholesale.
In fact, Phillips’ excellent use of auxiliary percussion (castanets anyone?) is one standout feature that elevates Flint: Treasure of Oblivion among its peers in games and other media. The decoration and flourish from one track to the next is part of the soundtrack’s charm, but it’s not so excessive as to overstay its welcome.
I love how each song has its own clear identity. It is hard for me to pick favorites among them. One that has grown on me quickly is track 6, “Thar Be Devil to Pay.” Though running at a speedy 12/8 tempo, the melody and rhythm section stay subdued for the first minute. Then, after a short break, things start to get interesting. The bowed string instruments bend and warp in a way that is somehow more engaging than a pure, dulcet pitch. And then those castanets! I feel like paraphrasing the classic SNL “cowbell” sketch; just replace cowbell with castanet. “I got a fever! And the only prescription is more castanet!”
A truly wild track on this OST, however, is “The Pirate’s Curse.” That’s because the music has an actual curse mixed into it. I don’t know who is doing the chanting here (maybe Winifred herself?). But there are these nasty, angry statements sound perfect alongside the music. In the past, Phillips has not been afraid to work the human voice into her compositions in surprising ways, and this was another delightful surprise to hear.
As a final note about the quality of this soundtrack, I would be remiss if I didn’t note the consistency and high quality in the production. I am referring to recording quality, mixing, and mastering. Nothing sounds out of place. I was never once frustrated by any given instrument being mixed too loud or too soft. Everything feels in its proper place, almost as though it were natural. For anyone who has worked commercial music composition and production, you know that this does not come naturally. It takes talent, time, and effort. And maybe a bit of luck.
My decision to play Flint: Treasure of Oblivion as a result of enjoying the music first is no surprise, given my personal affinity for enjoying game music. I encourage my fellow RPG fans to check out this swashbuckling turn-based RPG and to dig deep into this exquisite little gem of a soundtrack. And, as I continue to enjoy this one, I am already hopeful about whatever comes next from Winifred Phillips. I didn’t know if she could provide a solid follow-up to the Wizardry: Proving Grounds of the Mad Overlord Original Game Soundtrack so quickly. Flint proves she can navigate this field with the same rapidity and agility as Motoi Sakuraba and Hitoshi Sakimoto.
