As I stood watching and listening to the assembled group of phenomenally talented musicians and singers I had to pinch myself to make sure I wasn’t dreaming.
To record at the world-famous AIR Studios was a career defining moment for me. So I decided to create what I hope is timeless music music for an England that only ever existed in the imagination.īeing afforded the opportunity to write beautiful music for this incomparably beautiful game has been a true honour. The world that the team has created is so timeless and it just felt wrong to impose a heavy-handed pastiche onto the environment.
I tried that and when we put it in the game it simply didn’t work. The music for Everybody’s Gone to the Rapture was a real challenge – being set in the ’80s there was perhaps an expectation that I’d write a synth-driven retrotastic score. Every main character has their own distinct musical theme (think Peter and the Wolf but for the apocalypse) and the music helps to gently guide you round the world as well as providing the emotional core of the experience.Īll we want as artists I think is to keep getting better we strive for the thing that is always out of reach. This level of immersion in the game world has enabled me to write a score that is a love letter to the game and the characters within it. Of course there have also been times when I would have chewed my own arm off to leave the development, but that’s how it goes on long projects! I know this game so well – I know every rock, every VO, every blade of grass. As well as being The Chinese Room composer I’m also joint studio head, and working on this game has been a blast.
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