![]() ![]() Game jams are usually contests in which you make a game using a specific theme in a certain period of time. ![]() Can you talk a little about what a game jam is, for people who don’t know, and describe what the experience of making music at a game jam feels like? It seems like game jams have been an important piece of your development in making game music. The game isn’t playable, but there are some videos on YouTube. The first game I made music for, and had some visibility with, was Schrödinghost, a short adventure game made for the Ludum Dare game jam in 2014. I started to compose a few MIDI pieces using Guitar Pro software when I wasn’t able to find specific music I wanted in RPG Maker. When I found out about a program in which you could easily make your own Japanese-style role-playing game, I couldn’t pass it up. I used to spend a lot of time using RPG Maker 2000, so basically, that was when I made my first games-before entering high school. What was the first game music project you worked on, and how did it come about? I also already liked more experimental artists, like Rosa Crvx, who was an inspiration for Dead Cells’ music. I used to listen to a lot of metal as well: classic things like Metallica and Megadeth, and also more melodic music from Finland, like Eternal Tears of Sorrow and Kalmah. I was, and still am, a big fan of trip-hop (bands like Portishead and Earthling were ones I listened to the most). ![]() What kind of music did you get into as a teen? My interest in music came later, mainly in high school. I’ve played them since a very young age, but got really into them when I got a Sega Mega Drive (which I still own, and it still works!). What came first for you, a love of video games or a love of music? We recently caught up with him over email. The game’s first expansion, “Rise of the Giant,” released late last month, added a handful of new songs to the already-sprawling score (which currently clocks in at over an hour and 45 minutes)-and according to Laulan, there’s more to come. “Then I start to jam.”Īnd the Dead Cells sessions keep rolling on. “Everything starts with a nice cup of tea,” he says. The musician, who spent his formative years in the small French city of Marmande (a town most famous for its delicious tomatoes-or so he says), works more from instinct than schooling. In order to properly appreciate Laulan’s Dead Cells soundtrack, as well as his prowess in general, you have to consider them on the artist’s own terms. Unifying these disparate sounds is the score’s relatively austere palette-built from a handful of synthesizers and Ableton Live plug-ins-which, after a million or so deaths, begins to sound a lot like home. Some passages nod to percussive Flamenco percussion (“Promenade of the Condemned”), some to spaghetti western soundtracks (“The Village”), and others to the tension-building drones of a Hollywood action flick (“Prison’s Rooftop”). That “choose your own adventure” quality carries over to French composer Yoann Laulan’s celebrated soundtrack for the game, a collection of songs as dynamically potent as they are stylistically diverse. This is a work in progress OST for Dead Cells, that's to say there are currently 39 tracks totaling a little over two hours worth of music.Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to track Now you can be the cool kid in the neighborhood, and go slash slash roll all the way into the sunset, while jogging. This full length soundtrack will enhance your ears with subtle epic music to lead you to a never-ending world of fantastic fantasy. There’s sounds from a cat purring too, hidden somewhere. Like voices, from the past, but now in the future, which is the present. There’s like songs with guitar, and songs without.
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