Petri Alanko says the music for CONTROL Resonant draws on Dylan’s fragile state, his history with his sister Jesse and dangers beyond the player’s immediate view. The composer describes a sound world built from unusual rhythms, dissonant textures and recorded sounds, shaped by the game’s story rather than by a fixed musical formula.
How Dylan’s journey shaped the score
In a September 28, 2026 interview with MusicRadar, Alanko said his work began with Remedy’s early concept material. Presentations, PDFs and video clips gave him details to absorb; he then began considering sounds, feelings, harmonies and melodies that might fit the project.
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For CONTROL Resonant, Dylan’s character and Sean Durrie’s performance were central to that process. Alanko contrasted Dylan’s diminished confidence and sense of purpose at the start of the game with Jesse’s clearer mission in the first Control. Dylan’s concern for his missing sister also gives the music a personal anchor within the larger supernatural story.
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The sibling theme and its origins
Alanko linked the siblings’ musical material to their shared childhood, emotional trauma and history. “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, according to the interview.
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Music for threats the player cannot see
The score is not limited to what is visible in a given moment. Alanko described using small musical details to suggest that events or threats may be unfolding elsewhere in the warped world around the player. That approach gives the music a role beyond underscoring on-screen action: it can imply an unstable reality extending beyond the current scene.
Alanko has described evil as a force that affects reality across Remedy’s connected fictional universe. “There are common elements, although the games have different DNAs,” he told MusicRadar. He also said, “if something is evil, it affects reality,” connecting that idea to rhythmic and tonal choices. This is a shared creative thread, not a claim that every Remedy game uses the same score or musical identity.
Found sounds, odd meters and dissonance
Alanko’s account of the process includes recordings and unconventional sound sources alongside composition. He said he struck plastic buckets with silicone water pipe for percussion, built a library from recorded sounds and reused cassette and tape equipment. For “Tabula Rasa,” a recording of a broken seashell made with a Zoom H4n field recorder became one of the granular pad sounds.
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Repair common Windows errors and clear accumulated junk for a smoother, more stable PC - no reinstall needed.Free scan · no reinstallIn separate interview coverage published October 6, 2026, TechRadar reported Alanko saying he records sounds regularly with a phone or small recorder, then turns them into rhythmic, harmonic or melodic material. The examples show how everyday or damaged objects can contribute to a score without functioning as conventional instruments.
Alanko described musical tendencies shared across Remedy projects that include odd meters, polyrhythms, non-harmonic intervals, acoustic found sounds, distortion, ambience and reverb. He said the games have different “DNAs,” even as they emerge from the same fictional universe. The result, as he put it, is a musical connection that can be felt without making each game sound interchangeable.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.What Alanko’s comments do—and do not—establish
The interview supports a clear account of how character, sibling history, found sound and unseen danger informed Alanko’s approach to CONTROL Resonant. It does not verify the supplied headline’s exact phrases “absolute evil lurking” or “intelligence and the ability to think” as his words. Those formulations should not be presented as direct quotations from him.
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Alanko also said Remedy has no formal “audio bible” governing brand sound, as reported by TechRadar. His remarks instead point to recurring tendencies and individual creative decisions: a shared universe can shape musical ideas while leaving room for each game’s own character.
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