As one of the industry's most sought-after composers, Jason Graves' music has won plaudits across the twin worlds of gaming and music production. A quick glance at his impressive body of work soon reveals just why that is. From the hailed score for 2013's Tomb Raider remake, to the sublime BAFTAwinning musical universe of the beloved (and utterly terrifying!) Dead Space trilogy, and the action-packed intensity of his recent Call of Duty franchise contributions, Graves is rightly one of game music's most respected figures. Beyond gaming, you might have heard Jason's music for Predator prequel Prey, while his idiosyncratic approach to composition has made his creative workflow an interesting point of conversation for many a music production magazine over the years.
On that front, and ahead of the release of the incredible-looking (and sounding) Still Wakes the Deep - a new narrative-driven horror experience from the Brighton-based developer, The Chinese Room - we caught up with Jason and started by asking why the North Carolina-based composer, who has scored some of the gaming world's biggest titles, decided to take on this most British of projects, set on an oil rig off the coast of Scotland? "The Chinese Room has been on my radar ever since their first horror title came out," Jason explains. "I love the narrative style of The Chinese Room's games. How unique and specifically 'Chinese Room' their games are. I've been doing interviews for 15 years, and there's always the inevitable 'if there's a developer you could work with?' question. The two I always mention are Naughty Dog and The Chinese Room. I love the narrative arc of their games. They're not just a 'shooter' or 'platformer' there's real characters and development."
Denne historien er fra August 2024-utgaven av Computer Music.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent ? Logg på
Denne historien er fra August 2024-utgaven av Computer Music.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
Solid State Logic UC1 with 360 Link
SSL's UC1 can now control everything thanks to its new 360 Link plugin. Andy Jones hits the big play button and watches worlds collide...
Tone2 Icarus 3
This under-the-radar synth has just received its biggest update ever, and if that doesn't make it 'over the radar, what will
Tracktion Waveform Pro 13
After a series of big updates, Waveform hits v13 and it might be lucky for some. This could be the DAW you're waiting for
Arturia Augmented Yangtze
Stuart Adams embarks on a sonic journey though the world of traditional Chinese instruments - set against a modern backdrop
EastWest Sounds Hollywood Strings 2
LA's finest is back for a long-awaited cinematic sequel. Roland Schmidt auditions EastWest's new string-based nod to tinseltown
Kit Grill
After a decade of making experimental, multihued records, Kit Grill's most recent release, Swimming in Honey concludes a journey of bold aural adventuring with the addition of his vocals to the mix. We spoke to Kit to hear more about the making of this atmospheric, nuanced listening experience
JESS CAMILLERI
From engineering the likes of MIA, Rudimental and GoldLink at Strongroom Studios to her current career as an MPG award-nominated engineer and producer, working with new artists to develop their sound, Jess Camilleri is one of the recording industry's most impressive new talents...
Reason Studios Reason 13
A quarter of a century after v1, Reason reaches the not so unlucky v13, but is this once influential DAW still relevant? Andy Jones investigates
MOONILENA
Standing at the intersection of music and art, where melody and memory blur into hazy half-formed shapes, stands Moonilena. We spoke to the Stockholmbased creative about her technical approach to her aural constructs, and the genesis of her captivating new album, Minnet
EASY SOUND DESIGN
In these days of 'ultimate sample banks' and 'preset-packed' synths and effects, it's easy to think that sound design is a dying art. But, if anything, we think it should be your go-to creative process. So, here's how to get into it, whatever your level of understanding
