Gorogoa soundtrack4/19/2023 ![]() ![]() We went shopping and bought a cartful of hardware to the studio and used it along with a piano that we modified extensively to create a custom, exclusive sample library that was used all over the score. The initial sound creation I did for Ludvig led to a 3-day sampling session at Sony. What were some of the ideas you brought to the table that made it into the final game? You assisted lead composer Ludvig Forssell in creating the score. The additional music I contributed came later. It was a unique opportunity to compartmentalize that part of my creative process and export it to a score I wasn’t composing - at least not yet. Sony initially brought me in not as a composer, but as a musical sound designer to support Ludvig by creating custom sounds for him to use on the score. There’s nothing wrong with that and it works for a lot of composers, but it isn’t my process. I start every cue from scratch and design sounds as I go. Sound design and original sound creation is a very significant part of what I do in my own compositional work - and a big reason why Sony’s music department has brought me in to work on diverse scores like The Unfinished Swan, The Tomorrow Children and Hohokum. How did the opportunity to work on Death Stranding's soundtrack come about? It’s a real challenge and intricate craft to create music that feels like it’s operating at 100% all the time and I needed to do that for the action / battle music I worked on. Studying extreme forms of music, like grindcore - was really helpful in this respect. So even though this was my first time working on a project that demanded such a visceral, aggressive approach, I was able to find something in it that felt true to my own creative sensibilities - I just had to turn them way up. My favorite thing about being a composer isn’t about specializing in a style so much as having a sensibility that can work across genres. But that intensity is very much rooted in rhythm and texture vs melody and chords which is the way I process music. Unfinished Swan and Gorogoa are delicate and meditative, and much of the music for Death Stranding needed to be aggressive, and unrelenting. Joel Corelitz: It didn’t change so much as scale-up. From an audio perspective, did your compositional approach change due to the project's uniqueness? Push Square: The likes of Gorogoa and The Unfinished Swan are certainly different experiences, but Death Stranding feels like a whole different beast completely within the video game industry. Prior to release, we were lucky enough to catch up with score designer Joel Corelitz to discuss how you approach an otherworldly title such as this. It's an outstanding game, which we highlighted in the 10/10 Push Square review, with one of its greatest aspects being a soundtrack that sticks with you long past its conclusion. ![]() You've got your pre-load ready to boot at midnight, with 2019's most unique experience ahead of you. At the time of writing, Death Stranding is just hours away from launching. ![]()
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