We dont buzz off shiny massive expensive sounding things, Smith elaborates.
Thats not what excited us about music.
We wanted to keep that slightly older fashioned spirit going a bit in to this new era.
Its like having a band, isnt it?
But without having to do the evenings.
Were not like The Police, fighting over a fader, Henson jokes.
Its just luck that we came across each other.
Neither of us ever do anything and go I love that or I hate it.
Its just blind luck.
The first game we did, a long time ago, they wanted a band, Henson recalls.
It didnt work out so they came to us because we do so-called real music.
Thats how we got in and then talking to people in the industry.
It always frustrates a bit because its not the only music that makes a good soundtrack, Smith states.
it’s possible for you to do anything.
In the case ofAlien Isolation, this provided the perfect opportunity to experiment.
There was a big marker laid by the original film score and their production concept, Smith admits.
Theyre some pretty specific barriers, but they trusted us to use those barriers and create something within that.
For the team at Creative Assembly, music had been a creative consideration from the outset.
So you have to have more than just that.
We didnt have to spend ten hours pastiching and almost doingAlien.
Although Goldsmiths score was an obvious starting point, this didnt constrain them from pushing their creative boundaries.
When were at certain points in the game we know creatively where we want to be.
The beginning of the game is Jerry Goldsmith, then theres a section with all the androids.
I dont know if anyone noticed, but its all analogue synths there.
We were really in that world, Smith recalls.
You could have them coming out of one of Jerrys cues and it wouldnt sound out of place.
Then theres also a music system for when youre in an actual fight with creatures, which is different.
Especially inAlienit depends absolutely on what is happening on screen.
Yeah, thats a challenge that youve got to be prepared for with games, Smith states.
Youre not doing it to picture, but youre getting an overall sense of whether it works.
You do get a truer representation of what it was for by playing the game, Smith concedes.
People arent going to play the game for the music.
If you want to hear the music, play the game.
Thats what its for.
Theres obviously two sides to the story, Henson muses.
In games he has no idea.
Hype, of course, has come to play an important factor in the industrys sustained push for secrecy.
I guess we didnt really realise quite how big its got now.
You completely lose any sense after working on something for two years, Smith laughs.
You cant step back.
Id love to get that game out in a couple of years and play it.
Then Ill be able to actually have some sort of opinion on it.
Its impossible to tell.
Sometimes it starts off and it sounds great in your head and then we can tag team.
And its not good to do it like that… Get it down, do it and move on.
And weve done that and now were on to the next.
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