Super Meat Boy, the addictive yet infuriating platformer responsible for countless broken keyboards, is headed to PS4 and PS Vita from October 6th. However, it’s going to sound a little different to the original version, as Danny Baranowsky, the composer behind the music for the game, has decided not to allow Team Meat to use his original music in the new version.

Speaking in a post on his blog, Baranowsky revealed that he didn’t feel the license fee and exposure Team Meat were offering provided enough incentive for him to accept their terms. Baranowsky ended his working relationship with the studio a couple of years ago; he didn’t compose the music for Edmund McMillen and Florian Himsl’s, The Binding of Isaac: Rebirth either. He has stressed that the fallout between the two parties was nothing to do with creative differences, as had been rumoured. However, he also didn’t offer an alternate explanation, so at this point, we have no indication of what exactly happened between the two parties.

The studio has announced in their own blog post on that the PlayStation version will feature a new soundtrack, created by their “dream team,” consisting of Matthias Bossi and Jon Evans, who composed the soundtrack to The Binding of Isaac: Rebirth under the name, Ridiculon. It will also feature contributions from David “Scattle” Scatliffe, composer of the soundtrack to Hotline Miami, and Laura Shigihara, of Plants vs. Zombies fame.

Super Meat Boy will be free to download this month as part of October’s PS Plus lineup. The game was originally released in October 2010, and it’s about to celebrate it’s fifth birthday. If you can’t wait to hear the new music for the game, you can check out a teaser of the new soundtrack right here. If you like what you hear, the new soundtrack is available to pre-order, and will become available on October sixth, as will the new version of the game.

About The Author


As a composer and video game enthusiast, Philip has spent years searching for a way to combine his passions for both music and gaming. Then, one day, he figured he could just write about them. He loves to over-analyse the way music helps to shape the player's emotional response in a game. He also loves to criticise bad control schemes, because... Well, they just get on his nerves.

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