Dread as a sound design philosophy. The Moscow metro never sounded this oppressive, all low drones and distant reverb that makes you feel the weight of concrete above your head. "The Dead City" is devastating, this fragile melody floating over surface radiation and silence, and the three guitar songs scattered throughout are these tiny campfire moments of humanity in a world that's mostly forgotten what that means.
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"Ghost Tunnel" does pure atmospheric horror better than most actual horror games. Even "Hope" feels cautious, like it knows things could go wrong again any second. The two different ending credit tracks (bad and good) are a perfect final touch.
If you played this game in the dark with headphones, you already know this score left marks.