Have you had any experience adapting unconventional music genres for game scores before? If so, what do you think made this experience different from others? As a creative person I am always after unconventional creations. Many of my scores are unconventional such as Remember Me that is electronically post- processing a live orchestra, Assassin’s Creed IV: Black Flag – Freedom Cry with its blend of Haitian ancestral chants and percussion combined with a 40-piece string orchestra. Even for Streets Of Rage 4 I went off the charts and composed some really challenging pieces of music. South Of Midnight is not much different in my philosophical approach but completely new in the genre and style with Jazz, Country, Musical, Bluegrass, and Spiritual as influences. One musician told me that it is “Swampy music”, I loved it but in the end I really went spontaneous.
song at the very end of each level, when you discover the Creature. As for the level in itself we deconstructed each song into sections based on the verse/chorus structure. Performed by a children’s choir from Nashville, each section would play after you unveil a dark secret from the Creature. It gives a real sense of narration and immersion.
What was it like bringing Nashville musicians to score a game? Had any of them worked with video games before? It was a first for all of the musicians in Nashville and I couldn’t be more grateful to each of them. The main idea behind the music of South Of Midnight was not to be accurate but authentic. By going to Nashville I was expecting some surprises but I was literally blown away. Each musician and singer took my music and made it their own. They all added their cultural background, personalities and charisma that really created this authenticity we were after.
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What would you say was the most difficult piece together and why? I think that it’s not one piece in particular but rather the whole concept. To start off with songs and make that work in a way never experienced before in a game and keeping the consistency between all the different genres, in-game situations and emotions was really challenging. This is when you cherish the team effort because I couldn’t have been delivering any of it without the support from Compulsion’s great vision. In the end, it’s not about the music, it’s about the people working with you and I am grateful to be surrounded by such amazing collaborators and supporters.
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