There has been a bigger movement to return to the "basics" though - sound design stagnated for a while imho and/or was seen as a separate thing from the music, now we're returning to music, sound, ambience being made together and being more coherent. Expedition33 is that way, BG3 was as well, and it's done so well in both that it catches people off guard (
Raphael's song being very notable imho, Expedition33 is overall great for it so far). A good friend of me and my wife's a classically trained opera singer and sang on Baldur's Gate 3** (the sound/music designer is Bulgarian, a lot of the singers are too) and said it was probably the most professional thing she's ever done, they just let Borislav Slavov absolutely COOK for the whole game and all the things came off great. Old games used to be made that way too, System Shock might've been some weird revenge techno mix but during the game it fits surprisingly well and you can see why it's that way, Homeworld overall has some weird droning/organ music (and Adagio for Strings, used incredibly well) but it fits the game and sounds good on its own too. Comparing it to Greedfall (cuz I played it recently) - the music is good but honestly something's missing - for most of VGM you're probably tying it to a moment/feeling/reveal/etc., but Greedfall has mostly "generic" sounding music you forget as soon as you close the game, which is sad considering the environment the game is set in.
What's more impressive regarding Expedition33 is that the composer is like 25 and this is her first time ever doing anything like that and they found her on soundcloud or something. The whole story about making the game is insane and fantastic to see, a true passion project on all sides.
Anyway ramble mode off I guess
** She was a colleague of my wife's for years at the time and just dropped it mid-lunch break like "oh hey you guys like games/DnD right? I sang for this game that's doing well, Baldur's Gate 3"

BG3 was already out and winning awards for months at that time too hahah