If its being filtered as trash and not beeing remembered i question your assumption. What is good music? The one our brain enjoys and memorises or the one we forget cause its filtered by the brain as noise?
As someone who can pick music apart, I hope soundtracks only get busier. Honestly, I find the older 8-&-16-bit stuff a bit boring sometimes. Very, very simple, musically speaking.
Sure, they're memorable, but so is Dr. Seuss. Green Eggs & Ham isn't better than Tom Sawyer just because you can memorize it more easily.
I didnt say anything about 8 bit. I said 16-32. 32 beeing the highlight to me. Nothing that came after was in general as good as what we had in the Playstation one era. Rare exceptions of course.
I'd actually take 8 over 16. 8-bit is at least interesting when considering the limitations imposed by the hardware at the time. I get a kick out of listening to the faster-paced tracks that manage to make it sound busier than it actually is.
16-bit is okay, but it's the beginning of video game music trying to emulate the sounds of real instruments. Because it sounds so... sort of muffled, it's not really a big issue. But, for instance, the Link to the Past overworld theme has always rubbed me the wrong way because of the fake trumpet sounds. I just don't get it. For games like F-Zero or Sonic the Hedgehog though, where the electronic sound really fits, I like it.
32-bit is pretty much my least-favorite era of music. It's the problem I had with the 16-bit era taken to the next level. Sure, when I was 10 or whatever I didn't even know the difference, but I'm quite a bit older than that now and most video game music from N64/PS1 makes me grind my teeth. The compositions seem generally better than previous generations, though, in part because they had more tools to work with.
I haven't noticed any significant decline in the quality of video game music compositions since then. And now composers have even more tools to work with than they did before -- including, finally, real musicians. Game music can be way more dynamic now. Hopefully composers start to really take advantage of all of the new tools available to them.
In response to the OP, no, I don't want Koji Kondo back in Zelda. Not in a big role; he can write a couple of songs. His style is great for the Mario series, as the "big band" sound really seems to click with him. But his Zelda compositions are too simple. He was great at writing tracks being "played" by 10 or fewer virtual instruments with no dynamics. Zelda needs a modern composer who can bring the range of a full live orchestra to the music.