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Click to launch music player
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1.2.2007
"Games seem a bit more limited in music thus far than the film world in part because of the lack in different genres. To remedy this, perhaps we all need to be a bit more open-minded about what the 'appropriate' music is for a specific game genre, and then we might truly begin to hear some really unique soundtracks. One of my goals for this next year is to try and work with more developers who are willing to take some of these musical risks." |
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12.11.2006
"The real star billing has to be accredited to the composer of the Headhunter series – Richard Jacques. Suitable, being that he is of homegrown talent, Jacques was given much praise by Tallarico in his introduction of this contemporary British talent. The Headhunter score matched the likes of the Metal Gear Solid theme measure for measure. Its timely melody, inspired by its recording roots at the legendary Abbey Road Studios in London, and the thrust of a well-assembled orchestra carried the momentum of the whole evening." |
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12.5.2006
"I did have a bit more freedom in that the new themes and melodies would be more of my own creation rather than solely relying on the occasional familiar hooks from the rebels or empire which of course are already well established. It is clear that this faction has their own presence about them. The great folks at LucasArts graciously approved my scores upon the first submission." |
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12.4.2006
"There was a massive list that got molded from who we could secure and what really rocked in the game. We secured some great tracks from HUGE artists but had to pass because they just didn’t fit either the style or fundamental gameplay that everyone has now come to love." |
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11.16.2006
"[Naked Sky Entertainment] were very professional in communicating with me, and letting me know when I was close, or a little off track, and they would always keep me focused on what the whole team was trying to accomplish with the game. They have a very cool development team over there with tons of experience within the industry, and it’s just great to work with people like this." |
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11.14.2006
"I love writing heroic and epic music for orchestra, but in the beginning it was quite daunting. It felt like trying to rewrite Star Wars. I wrestled with staying true to the legacy of previous Superman music without writing a hollow knockoff. It was very important to bring something new to this score. Ultimately I found the answer by focusing on the diverse villains Superman faces in the game." |
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11.8.2006
The score for Epic Games' Gears of War was& written by Kevin Riepl, conducted and orchestrated by Corey Status, and features 60 minutes of orchestral music inspired by blockbuster movie soundtracks such as "Alien," "Predator" and "Starship Troopers." The recordings were performed by the Northwest Sinfonia (Halo, Medal of Honor, SOCOM II, GRAW) at the Bastyr University Chapel in Seattle. |
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10.30.2006
"The Tomb Raider: Legend score seems to surprise many people, since none of the music was ever recorded live. All the music was recorded on my 9 PC 20Ghz / 20GB / 10TB render farm, which is custom build for orchestral scores. The symphonic mockups are starting to sound so real that the majority of people cannot hear the difference any longer." |
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10.13.2006
"We’ve written spy music for Spyhunter, super hero music for Marvel, crazy ‘70s style horror meets drum n’ bass, Nu Metal rock tracks, an emotional theme for Splinter Cell 4, Japanese-inspired taiko ensembles, huge orchestral/electronica action cues, etc. We simply love games and don’t want to be pidgeon-holed into one style." |
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10.9.2006
Working as lead composer and musician Michael spent almost 10 months on the soundtrack to the game. From massive action sequences to subtle ambient tracks, the score for Splinter Cell: Double Agent includes over 3 hours of music. The dramatic story of the game will take players to locations all over the world - from Iceland to Shanghai, Africa to New York City and more. |
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