We discuss the impressive amount of effort that went into composing GiantSquidology's ThePathless soundtrack with awintory.
Action-adventure game The Pathless has been critically praised for many things since its release in 2020, one of the largest of which is its sprawling soundtrack. The game was composed by Grammy-nominated artist Austin Wintory, who in the past has also created the music for games like Journey, Abzu, and Aliens: Fireteam Elite.
The thing is, those are all very much associated with specific cultural traditions and histories, and since this was entirely fictional, I thought, "Well, you're in this interesting conundrum of how do you create a folk sound for a society that doesn't exist?" Because those tend to be very specific sounds and musical idioms.
You've said in an interview that at the start of the project, you often ask yourself the absolute minimum you can use in a piece. How do you feel like that strategy helps this composition? So the idea was, "Okay, I'll sneak the strings in there as a color to indicate that she's understanding her role and she's understanding her potential." It starts off where they're essentially not there at all, and then as we cleanse the various plateaus of the island, it sneaks in a little bit more. The only other thing that's even remotely orchestral is using this huge group of French horns in association with the boss battles and the giant cursed monsters.
Austin Wintory: It really was how to balance these instruments that don't ever typically play together, and to make sure that they sound like they inevitably would in some alternate universe where this is the folk tradition of this fictional, mythical culture.
Austin Wintory: For me, far and away working with these Tuvan musicians. While they would play and sing, not only is it just an otherworldly, magical sound, there's so much variety; it's not just, "Oh, here's that thing, I know what that is." There's all these different specifics. It's like learning a language - you don't just learn to count to 10 and say, "Okay, and here's the word for food and that's that.
When people ask about favorite parts of a project, I often get asked, "What's your favorite piece of music from a thing?" And if I can even come up with an answer, it's always because of what you actually asked, which is this memory of this day in the studio and the way that musician just blew my mind.
In fact, it often is quite antithetical to the job to try to go introspectively into these probing inner places of vulnerability.
Vinyl pressure tests that even further, and then per the point of bringing up the TV show, you also want to tell this story musically in these give or take 20 minute intervals. That adds a whole other consideration that I think is interesting and actually adds to the unique joy I have listening to vinyl.
Going off that, from your perspective why do you think a continuing tradition of physical media in a world that's being increasingly digitized is important?
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