sumthing else

Insider Blog

WildStar_Soundtrack_Cover_VOL2

Purchase WildStar Original Soundtrack – Volume 2

Sumthing Else Music Works, Carbine Studios and NCSOFT® present Volume Two of the original soundtrack for the free-to-play massively multiplayer online role-playing game, WildStar.  The game’s soundtrack composed by Jeff Kurtenacker (Pirates of the Burning Sea) is released in multiple volumes – Volume 2 features several never before heard compositions and will be available for digital download and streaming on August 23.

Highlight tracks from Volume 2 include “For the Greater Good” and “From the Ashes” featuring the vocal talents of the Los Angeles Opera singer Nicole Fernandes.  Preview the album now at  Sumthing.com.

“The new tracks are narrative depictions of the Chua, Cassians, and Aurin, and musically tell the story of each faction’s homeworld and background before arriving on Nexus,” explains Kurtenacker. “It’s an exciting addition to the in-game music selections for Volume 2 since these are longer tracks that dive deep into the lore of the WildStar universe.”

Using synthesizers, a wide array of guitars, and a 75-piece Los Angeles orchestra, Kurtenacker’s approach to the WildStar universe is highly thematic, creating memorable and exciting music that engages players throughout their MMO experience.  Equal parts epic space fantasy and western frontier swagger, the music of WildStar delivers a unique blend of musical elements that puts you right in the middle of the action and brings space adventure to life.

Join the galactic battle between the Exiles and Dominion as they race to uncover the secrets of the Eldan—a hyper-advanced race that mysteriously disappeared long ago. Trek across the beautiful and dangerous planet Nexus, and find adventure, fun, and a hell of a good time as your skills are put to the test through high-intensity combat. Download and start your adventure at www.wildstar-online.com.

Featuring the award-winning composers of ABZÛ, ASSASSIN’S CREED, THE BANNER SAGA, BORDERLANDS, CALL OF DUTY, DEUS EX, DRAGON AGE, FALLOUT, FANTASIA, JADE EMPIRE, JOURNEY, MASS EFFECT, PRINCE OF PERSIA, SYBERIA, THOMAS WAS ALONE, TRON, VOLUME, QUAKE and many more!

Sunday, September 4th, 10:00am-11:00am
PAX Sphinx Theatre, Sheraton Seattle Hotel (3rd Floor)

2016 PAX West Maestros of Video Games Poster

What does it take to write music for games? Hear from six of the industry’s leading composers as they share their experiences and discuss the craft of scoring music for video games.

The 2016 PAX West composer panel “Maestros of Video Games” will feature the following music star lineup:

Sarah Schachner
Call of Duty: Infinite Warfare, Assassin’s Creed Unity, Assassin’s Creed IV Black Flag (additional music).

Inon Zur
Fallout 3 & 4, Syberia 2 & 3, Dragon Age 1 & 2, Prince of Persia, Fantasia, Eagle Flight.

Jack Wall
Call of Duty: Black Ops 2 & 3, Mass Effect 1 & 2, Lost Planet 3, Into The Stars.

Sascha Dikiciyan (aka Sonic Mayhem)
Deus Ex: Mankind Divided, Mass Effect 3, Tron Evolution, Borderlands.

Austin Wintory
Abzû, Assassin’s Creed Syndicate, The Banner Saga 1 & 2, Journey.

David Housden
Thomas Was Alone, Volume, The Hit Squad (movie), Volume VR.

Moderated by Emily Reese, award-winning radio host and producer of “LEVEL with Emily Reese” podcast.

Following the panel join the composers for a meet & greet / autograph session at the Westin (2nd Floor) from 11:30am-1:30pm.

For information on PAX West visit: http://west.paxsite.com.

hi rez Jason Graves Headshot

Jason Graves, Composer of Breach and Clear: Deadline

 SEMW: Let’s talk a little bit about methodology on your work for Breach and Clear: Deadline. This record is quite vicious. Fans like myself would have it no other way, but the physicality, the sheer blunt force of this LP is incredible. It’s one of the best scores I’ve heard in the last 5 years, and artistic statements like these rarely come with such potency. What sort of initial goals did you have from the outset of composing this material, and did you feel particularly adamant about what exactly you wanted the record to communicate? What was your driving force during those recording sessions, if you could nail it down?

JASON GRAVES: Well, first off, wow and thanks for the compliments! The approach was fairly straightforward, as this is an indie release and I had complete control over the music. The guys at Mighty Rabbit are so much fun to work with – they give me as much latitude as I need and honestly think that the best score they can receive is the one I’m the happiest with.

So the biggest goal, between Mighty Rabbit and myself, was to capture the emotion of look-down, team-coordinated military planning and execution. I wanted the suspense and teamwork to interplay with each other – those are the two juxtaposing gameplay elements. The pacing needed to be exacting and plodding but not feel too bogged down.

If there was one word I had to pick to encapsulate the album it would probably be “control.” It may feel like the music is about to explode at any moment, like there are horrors all around you and you’re going to be attacked at any moment, but listeners can also hopefully feel the control and discipline of a professional military team working together, fighting to protect each other against all odds.

SEMW: It’s a very rare thing to be able to capture the sound of fear and then in the same breath create the distinct rhythm of an action cue. While they may share an odd disparate strand of DNA, the approach in creating either one, requires an understanding of the difference between the two, be it subtle or outright. Breach And Clear: Deadline, unequivocally paints you as a master of this craft. Some perfect examples of this for me were “Strangers In The Night” and “Against All Odds” where you layer action on top of fear, part them, give them distinct passages and do so without a single fault in the onslaught of cues. How do you know when to separate the two, or when to have them intersect? How do you define both fear and action respectively in terms of sound?

JASON GRAVES: Again, thank you very much! It’s funny you mention “fear and action” – those are pretty much the same as “suspense and teamwork” where the music is concerned. It comes down to finding a balance between the two that feels right. I’m oversimplifying a bit, but the “feels right” is really the important thing for me.

For this soundtrack, the fear element comes in the guise of ambient electric guitar…lots of slow bends and pitches shifting around to put the listener on guard. It makes people raise their eyebrows and think, “Ok, what’s going on?”

Then it’s a matter of adding some movement and drive, which gives the listener a feeling of action or moving forward. Making things sound a lot more simple than they are again, but that’s basically the idea!

Deadline Cover

 

 

SEMW: Apocalypse Now has this gorgeous lyrical quality to it. Beautiful! Can you tell me a little bit about the creation of this composition in particular and what sort of ideas you may have used as touchstones to reach that final cut? I feel like it’s the unofficial theme of this work.

JASON GRAVES: It was definitely my favorite cue on the album. Most of the score was already finished and Mighty Rabbit needed a few Boss tracks. Their main request was for something epic and memorable, which is really the opposite of most of the album! So I literally pulled out all the stops and made something that was a lot bigger, in terms of instruments, than anything else. That’s the nice thing about holding back on a large portion of a project – being able to contrast it with letting everything rip every once in a while.

I had my first musical experience doing something along those lines with the Tomb Raider reboot in 2013 – most of the score was quiet, tense passages until the last few acts when all the giant percussion and epic brass came out to play, beginning with Lara climbing a mountainside. And it made a huge difference, in both the musical presentation of Lara’s character arc and the player’s experience. I’ve had more people tell me that was their favorite bit of gameplay than any other game I’ve scored, and I think it’s the musical restraint that came before that made that scene really pop in players’ minds.

I wanted the track to have some memorable hooks and definitely a nice push-pull feel to it. The bulk of the work really came down to mixing everything together, since the tune and chord progression worked themselves out very quickly in the beginning. I remember spending a lot of time on the big drums that play on the choruses – sending the kick and snare to the Distressor compressors and then through the Manley Massive Passive tube EQ. I processed the drums parallel to the original sounds so everything I did to squash and fatten them up was mixed in with the original drums and just became ever bigger, but not too over the top or squashed.

Once the drums felt good it was just a matter of balancing the live guitar parts with the synths. They actually do a lot of overlapping in this piece, so synth sounds are complementing the big guitar riffs and making the power chords even fatter.

 

SEMW: Breach and Clear: Deadline plays masterfully with space. Your construction of this pitch-perfect murky ebb and flow feels wholly unmanufactured and utterly terrifying. These stretches of silence, dissonance, and dotted melody: are they more difficult to properly cultivate since they seem to require so much more restraint, than say a more prominently placed composition used for a commercial or trailer? Between the two, do you have a scoring preference?

JASON GRAVES: I really love doing both. In fact, it’s the yin-yang aspect of it that keeps me interested and on my toes. But composing more simple, restrained music isn’t any easier than working on more dense, complicated mixes – it just takes less time. If not for any other reason, there are simply less notes to work with and things just go faster. So for me the idea of “restraint” is actually the same as “keep it simple, stupid,” or K.I.S.S. – a mantra that is chanted a lot around here!

 

bandc

SEMW: Sessions for Breach and Clear: Deadline, must have been a very rigorous and demanding process and something I imagine demanded a certain mindset, complete with daily rituals et cetera. Was it something you scored visually with pictures and concept art? Did you lock yourself away in a studio for days, sleep deprivation? It’s such an intense work. Are there any stories you’d like to share with us about the making of this record?

JASON GRAVES: Haha, well it’s definitely funny…and a lot more entertaining…to imagine a composer locked away in his bunker, lights dimmed, candles lit at 3 AM, murky shadows on the walls and atmosphere dripping everywhere as dramatic lights flicker across the computer monitors and the game plays on a huge TV monitor.

Reality, of course, is slightly different! I did have a little bit of gameplay as a visual reference, but the bulk of the music was written based on conversations and ideas. And that’s totally fine for me, especially when I’m working with a developer like Might Rabbit. We’ve worked together on many projects now and have a great relationship so many times the music direction is “do what you think will work and be fun to compose.”

So it simply came down to me spending a day on each cue and focusing in on the six tracks of instruments. The guitars were mostly very ambient and usually the first things I played. The synths were mostly used for low, pulsing sounds and the kick drums were run through all kinds of guitar pedals to give them movement and energy.

Of course, there’s plenty of artist choice and sculpting that happens as the day, and track, progresses. But it pretty much comes down to playing some things on the guitars, layering in some synth sounds and adding the kick drums here and there for a bit of energy.

SEMW: This album feels like the culmination of years of your own work in this particular genre. Having scored countless horror titles from the likes of the entire Dead Space trilogy, Until Dawn, Murdered: Soul Suspect, and The Order 1886, (all of which I loved, by the way), you know instinctively how to formulate palpable dread. What is it about this genre, for you, that makes it something worth returning to? Does it still present challenges and yield enough personally satisfying rewards for you as a composer?

JASON GRAVES: As long as I can keep trying new things and experimenting with different sounds I’ll be a happy composer. Horror and suspense are definitely tricky things to pull off properly, but the same thing could be said for comedy or drama. It’s always easy to overdo it – add way more music than is really needed, almost like a musical crutch or band-aid. The art lies in the subtle shades of emotion and hints of different textures and colors. In that respect, suspense and horror music needs to be especially nuanced because the music is providing a lot more of the atmosphere than it would be in other genres.

SEMW: I’m fascinated with your sound on this LP. Breach and Clear: Deadline presents a world saturated in noxious toxins where the only (yet still incredibly strenuous) physical action is that of a highly debilitating low crawl. I’m curious as to what sort of set-up you used. Do you have a particular array of instruments or gear that you prefer: a specific brand of amplifier, classic guitars, moog synthesizers, B3 organs? What physically lies behind the sound of this world?

JASON GRAVES: I love that description, thanks! I had already done my fair share of scary/horror games and was interested in trying something different, from an instrumentation standpoint. So I thought the idea of really limiting myself to a small amount of instruments sounded interesting. I basically built the entire score around three pairs of instruments – two synthesizers, two guitars and two kick drums. There are a few boss tracks that employ a slightly bigger setup, but 90% of the score is literally just six instruments.

I love limited instrumentation because it automatically creates its own sound. So in the case of Deadline I used two guitars – a Les Paul going through a Mesa Boogie Dual Rectifier and a Fender Strat going through an Orange Rockerverb 100. Both setups also ran through a fairly intense pedal chain of choruses, delays and reverbs and have their own 4×12 stack of amps. Any sort of pad or ambient lead sounds you hear are actually the live electric guitars.

The two synths are a Moog Sub Phatty and the u-he Diva synth, which I used sounds programmed by Matt Bowdler, aka The Unfinished. The synth sounds are fairly dry and untreated. I wanted the synths to sound like analog synths!

And the kick drums are electronic kicks from a VST called Metrum, which lets you build kick drums from scratch and easily play them in any key. There was a lot performance-oriented modulation with the delays of the kick drums so what you hear on the tracks may sound like different drums and rhythms, but it’s actually just the two kick drum sounds.

 

BreachAndClearDEADlineReview01

SEMW: Your body of work is so vast, and your catalog continually expanding, has there ever been a moment where you’ve been tempted to take your albums on the road into a live setting? What sort of material would you be most anxious to play out?

JASON GRAVES:I really enjoy the chance to perform/conduct live and I’ve been privileged enough to be invited to conduct all over the world. So far everything that has been performed is live orchestra. I think that’s just the natural extension of the usual “classical music concert” idea, and it’s a lot of fun to do. Albums like Deadline or Far Cry: Primal would definitely be more challenging, given their unique instrumentation – they are really more like a band setup than orchestra. But that doesn’t mean it couldn’t be done! I’m definitely up for anything.

SEMW: Thanks so much for sitting down with me today; it is a true honor for me as a long-time fan of yours. Before you head back to the studio, can you tell me a little bit about any upcoming projects, or ideas you have for your next album? Is there anything else you’d like to tell us about Breach and Clear: Deadline? It’s certainly on my short-list for record of the year.

JASON GRAVES:Thanks so much for all the amazing compliments and great questions! There are currently plenty of projects in the works, but of course I am forbidden to speak of any of them under pain of death. Let’s just say they are all very different! Hopefully we will be talking about one of them sometime in the future.

 

——————–

Having fallen in love only 4 times in his life Geno counts Double Dragon as his second and truest love. He has worked in record retail since 2000 and believes David Hayter to be the one true Solid Snake. Currently, he is putting together a band which only perform songs from Street Fighter 3rd Strike.

_

Hey everyone!  Sumthing.com is launching its first affiliate program, and it’s crazy easy to take advantage of – no hoops to jump through or anything. Basically, if you’re interested in slinging some digital soundtracks, write to us at customerservice@sumthing.com with the subject line “Affiliate Program” and include your Paypal account info in the body of the email. We will send you a unique promo code to be used at checkout on Sumthing.com, which is good for 10% off any purchase. Give that code to your friends, and whenever they make a purchase at Sumthing.com using your promo code, we’ll send you 10% of the sale via PayPal. Win/win: they get savings, you get cash.

sumthingaffiliatebadge

Cntrl+P for this sweet badge.

money tree
HOW TO WIN MONEY IN OUR FACEBOOK SHARES CONTEST
We will publish 5 posts on Facebook this week.  To enter you must publicly ‘like’ and ‘share’ at least one of our 5 posts.  You will be awarded points for the ‘likes’ and ‘comments’ you receive on your ‘share’.  The people who get the most likes and comments on their shares of our posts will win. First prize is $100 (USD), and the two runners up will receive $25 (USD). The contest for this week ends at 12PM EST on Monday, October 3rd and the winner will be announced the following day in our newsletter. If you are our winner or the runner up, you will be contacted via Facebook, so we may arrange delivery of your prize.
_
HOW YOU EARN POINTS
1 point = for each like on your share
2 points = for each comment on your share
Disclaimer: Repeat commenters, likes on comments, and your own likes and comments will not be counted toward your score.  You must be 18 years or older to participate.
_

NOTE: You must have your Share listed as “public” so we can view your post. Otherwise, we will not be able to see that you are participating in the contest. 

Click HERE to “Like” and “Share” your first post.

We at Sumthing want to thank you for your long time support.  We’ve done our best to deliver you the music you love for over the past 15 years.  The game soundtrack industry is becoming very competitive, so we really need your continued support to ensure we can keep bringing you the music you love!

In what may be my favorite video game promotion of all time, Io and Square Enix have introduced Gary Busey as Hitman’s next ‘Elusive Target‘. The voting public has chosen to #KILLBUSEY over actor Gary Cole (of Office Space fame) and as of today, players can find Mr. Busey wandering aimlessly, scaring and confusing the citizenry of Sapienza. You’ll have seven days and one chance to find the legendary actor/crazy person and take him out as only Agent 47 (or any of the various characters/unfortunate accidents/monsters of the following films: The Magnificent Seven Ride, Lolly-Madonna, XXX, Hex, The Buddy Holly Story, Straight Time, Lethal Weapon, Hider in the House, Predator 2, Point Break, Wild Texas Wind, The Firm, Under Siege, Drop Zone, Surviving the Game, Man with a Gun, Lethal Tender, The Rage Soldier, The Gingerdead Man) can.

To celebrate this creative and hilarious promotion, we’re providing a promotion of our own: 25% off our Hitman soundtracks. Just use the code ‘baneofbusey‘ at checkout with either Blood Money, Contracts or both in your cart. The discount will end only when Gary Busey no longer walks the Sapienzan(?) streets. If anyone is playing the new Hitman and successfully offs Busey, please, please let me know how it went in the comments. Stay weird, video games.

 ———————-

TJ Pederson plays video games and listens to music.

Hey all,

I’ve been playing Overwatch on Xbone since its release. Since they nerfed McCree, I’ve found myself mainly playing support heroes. I find myself to be a pretty talented gamer so I like to be the backbone of a team, and any Overwatch player knows that a great support can mean easy victory for their team. I’ve been using Zenyatta due to his high skill cap, huge damage output potential, and ability to essentially cancel a lot of other heroes ultimates using his own, such as Reaper or Pharah. Nothing feels better than shutting down a potential team wipe!

That being said, I find myself contemplating whether the new hero, Ana will take my main man Zenyatta’s place as my favorite support hero when the new patch comes to Xbone. They both have high skill caps, the potential to shut down enemy ultimates, and high damage output. Below you can find a breakdown of Ana’s abilities as well as the HUGE buffs coming to Zenyatta in the same patch.

Ana-Amari-Overwatch-png-700x350

ANA – A support sniper, mother to Pharah, and former wife or lover of Soldier 76

BIOTIC RIFLE
Ana’s rifle shoots darts that can restore health to her allies or deal ongoing damage to her enemies. She can use the rifle’s scope to zoom in on targets and make highly accurate shots.

SLEEP DART
Ana fires a dart from her sidearm, rendering an enemy unconscious (though any damage will rouse them).

BIOTIC GRENADE
Ana tosses a biotic bomb that deals damage to enemies and heals allies in a small area of effect. Affected allies briefly receive increased healing from all sources, while enemies caught in the blast cannot be healed for a few moments.

NANO BOOST
After Ana hits one of her allies with a combat boost, they temporarily move faster, deal more damage, and take less damage from enemies’ attacks.

zenyatta

BUFFS COMING TO ZENYATTA

– Base shields increased by 50 (now 50 Health/150 Shield)
– Primary fire weapon damage decreased from 45 to 40
– Alternate fire weapon damage increased from 35 to 40
– Orb of Discord and Orb of Harmony Projectile speed has been increased from 30 to 120
– Transcendence movement speed is now doubled upon activation, healing amount increased from 200 to 300 health per second

Now that you are educated, what do you think? Will Ana win the hearts of the Zenyatta faithful? Or will his huge health buff and general overall improvements be enough to keep us throwing orbs?

——————–

Todd (Badger) Christensen is a lifelong gamer with a passion for putting noobs in their place, be it at Watchpoint Gibraltar, in the rocket league arena, or winning a lane in DOTA. You can find him Twitch streaming on Xbox with the gamertag badger989. Feel free to follow him to see all of his sweet clips!

geno 1

The full scope of Metal Gear Solid V: The Phantom Pain’s score lies somewhere in the hundreds: hundreds and hundreds of songs. We, as the public, generously received no less than 3 officially sanctioned releases for MGSV; the tally of compositions when added together amounts to almost 200 tracks. It is likely, however, that this number does not even come close to encapsulating the entire spectrum of work done by lead composer Ludvig Forssell. Forssell and his collaborators’ (Daniel James, Justin Burnett, Harry-Gregson Williams, Akihiro Honda, and Donna Burke) outstanding collection of music caught the attention of the entire gaming community, including Sumthing.com.

The album impressed us so much that we awarded it our number one record of 2015. It was with this in mind that I went out to meet with Ludvig Forssell one very late April afternoon. In our conversation, Forssell detailed the extraordinary genesis of sound  found within the world of MGSV: the gritty, spectacular vision, the joys of collaboration, and the countless times he spent performing as an 80’s new wave superstar, as seen in Metal Gear Solid V: The Lost Tapes. Today, Sumthing is honored and pleased to bring you composer Ludvig Forssell.

geno 2

Listen: Metal Gear Solid V:Ground Zeroes: Camp Omega

 

SEMW: I’d like to begin by talking a little bit about Metal Gear Solid V: Ground Zeroes. My approximation of the sound of Ground Zeroes is that of a very pregnant dusk. Where does the music of the world of Ground Zeroes exist in your head? How did you separate that universe from the one that exists in The Phantom Pain? Are there key elements you wanted to emphasize? Were there particular tones you thought best described trudging through Camp Omega?

Ludvig Forssell: Well, while we already had a very clear idea of what we wanted the music in The Phantom Pain to be and stand for, the approach to Ground Zeroes was more of a checking the waters with a more wide array of ideas kind of an approach; did we want it to sound reminiscent of the music of Peace Walker or did we want something more foreboding as to what were to come at the end of that story line, leading into The Phantom Pain? In the end we went for something in between, with a hard focus on synthetic sounds to emphasize on the aesthetic look of a military prison camp in the dark rain. I would say that Ground Zeroes definitely focuses on a version of Snake that is close to the original in that he is still the hero from the old games, a guy whose actions will always resonate well with the player. So we let the central tone be way more heroic than that of The Phantom Pain. That being said, there is a sadness and a darkness lurking somewhere beneath; as if to hint at that undertaking the main mission of Ground Zeroes will ultimately lead to Snake and his team’s demise. This is something that seeps out bit by bit as you progress and find out what’s really been going on in Camp Omega.

geno 3

Metal Gear Solid V: The Phantom Pain’s lead composer Ludvig Forssell

 

SEMW: Withered Peace, and Bloodstained Anthem walk very delicate lines. Do they represent the coming duality present in the Phantom Pain? Can you talk a little bit about their creation in general? Both are amazing.

Ludvig Forssell: Withered Peace, The Girl’s Gone and Bloodstained Anthem were all born from one longer cue that I first wrote  to test out with the gameplay to see what would fit. On a side note, this cue was later reworked and released on the Extended Soundtrack with the name “Paz is Dead“. I wanted something that started out really, really, small and could build up as the player progressed further and further while carrying and caring for Paz, hopefully feeling more and more stress from the pressure of trying not to be found while at the same time feeling like they’re getting closer and closer to the light at the end of the tunnel. I wanted Withered Peace to give the player some insight as to how damaged Paz had become, how she was beyond saving, but still making you feel like you just can’t give up on her. I tried to convey this uncertainty with the unsteady pitches in the main synth leads and the track constantly changing form, making it hard to tell where it’ll go next. Bloodstained Anthem is where the player gets to just throw all caution out the window and do what they must, give their all just to save Paz from the forces of all of Camp Omega firing upon you. It’s as heroic as anything we wrote for all of MGSV gets, yet there is still a feeling of loss, a feeling of giving up on a “cleaner” version of yourself in order to complete whatever task at hand.

geno 4

Listen: Metal Gear Solid V: Ground Zeroes: Bloodstained Anthem

Read More

WildStar_Soundtrack_Cover_VOL1
Purchase WildStar Original Soundtrack

Sumthing Else Music Works, the premier record label dedicated to releasing video game soundtracks, Carbine Studios and NCSOFT® present the highly anticipated original soundtrack album for the free-to-play massively multiplayer online role-playing game, WildStar. The game’s soundtrack will be released in multiple volumes – Volume One will available for digital download and streaming on May 31.

Composer Jeff Kurtenacker (Pirates of the Burning Sea) fuses musical elements together that bring space adventure to life. Using synthesizers, a wide array of guitars, and a 75-piece Los Angeles orchestra, Kurtenacker’s approach to the WildStar universe is highly thematic, creating memorable and exciting music that engages players throughout their MMO experience. Equal parts epic space fantasy and western frontier swagger, the music of WildStar delivers a unique blend that puts you right in the middle of the action.

Join the galactic battle between the Exiles and Dominion as they race to uncover the secrets of the Eldan—a hyper-advanced race that mysteriously disappeared long ago. Trek across the beautiful and dangerous planet Nexus, and find adventure, fun, and a hell of a good time as your skills are put to the test through high-intensity combat. Download and start your adventure at www.wildstar-online.com.

FCP_Cover
Purchase Far Cry Primal Original Soundtrack

Sumthing Else Music Works, the premier record label dedicated to releasing video game soundtracks, today announced the CD release of the original soundtrack from Far Cry® Primal as well other popular titles in the award-winning series including Far Cry® 3 and Far Cry® 3: Blood Dragon. The soundtracks are now available for digital download from www.sumthing.com and will be available in stores on March 22.

Far Cry® Primal Original Game Soundtrack – Music by Jason Graves

Two-time BAFTA winning composer Jason Graves has composed the original game soundtrack for the next exciting chapter in the award-winning Far Cry® franchise, Far Cry® Primal. Graves is renowned for his textural concept scores and cinematic orchestration on AAA titles such as Until Dawn, The Order: 1886, Evolve, Tomb Raider and Dead Space.

As a classically-trained composer and world percussionist, Graves created an entirely live organic score for Far Cry® Primal, blending a diverse array of sounds from the natural environment and incorporating many animal effects into the score. The evocative soundtrack features a unique set of textures representing each of the tribes that players will encounter, including a ram’s horn and solo flute (Wenja); Aztec death whistles, female vocals, ritualistic percussion (Izilia); raw sounds from Far Cry‘s Stone Age natural environment including bushes, bones, antlers, clay pots, wooden artifacts and male vocals (Udam). Crafted together the sounds bring the rich and primal gameplay alive to players challenged to survive in a hostile environment and rise to become the apex predator.

The award-winning franchise that stormed the tropics and climbed the Himalayas now brings its innovative open world sandbox gameplay to a time when humans were not at the top of the food chain, but were fighting to climb it, bringing together massive beasts, breathtaking environments, and unpredictable savage encounters, in Far Cry® Primal.

Preview the album here: https://www.youtube.com/watch?v=w9RTEef2Byo

Sumthing Else Music Works will also release the following Far Cry® soundtracks on CD:

Far Cry® 3 Original Game Soundtrack – Music by Brian Tyler

Far Cry® 3: Blood Dragon Original Game Soundtrack – Music by Power Glove

Composer - Song Name
00:00 0:30
close