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How Jesper Kyd composed Assassin’s Creed Valhalla’s soundtrack

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How Jesper Kyd composed Assassin’s Creed Valhalla’s soundtrack

As a passionate music composer, I’ve had the privilege of crafting soundtracks for some iconic video games, most notably the Assassin’s Creed series. Each score was a unique journey, reflecting the game’s narrative and the emotions it elicited. The heart-wrenching moment when Ezio witnesses his family’s public execution in Assassin’s Creed 2 inspired me to create “Ezio’s Family,” a piece that encapsulated the tragedy and set the tone for the rest of the score.

Known for his long-standing career as a game composer, Jesper Kyd has been creating hit tunes for more than three decades. He’s lent his talents to various series like Assassin’s Creed, Borderlands, the timeless Genesis shooter Sub-Terrania, Gears of War, Splinter Cell: Chaos Theory, and numerous others.

Discussing with TopMob during our seven-day exploration of the blend between gaming and music, TopMob FM, Kyd reminisced about the early era of game tunes on Commodore 64, shared his inspirations and methods while developing Assassin’s Creed titles, and emphasized the significance of ambiance in creating game audio.

As a budding game composer, I recall the moment when a game’s soundtrack resonated deeply within me, igniting my passion for crafting melodies that could enrich gaming experiences. It was the hauntingly beautiful melody of the main theme from “The Legend of Zelda: Ocarina of Time”.

Jesper Kyd: I developed a deep affection for game music in 1985, when I was captivated by the Commodore 64. The music in video games underwent a significant transformation with the introduction of the Commodore 64. The analog sound chip within the C64 enabled composers to create atmospheres and evoke emotions, giving birth to a new genre of music that we now refer to as chiptune or chip music. Some of my favorite game soundtracks from that era included titles like The Last V8, Parallax, Wizball, Mutants, Light Force, and Warhawk, and many others.

In this game titled Parallax, Martin Galway crafted an enchanting 12-minute main title masterpiece. The moment I first heard it, I found myself captivated by its charm, which ignited my passion for video game music. What could have been a simple one-minute loop was transformed into something so rich and soulful that it resonated deeply with me. It struck me then that the composer was pouring their heart and creativity into the music. This realization became my guiding principle; I’ve since approached my own compositions with the same philosophy: striving to encapsulate the essence of the game while infusing it with a touch of my own spirit.

When embarking on a fresh composition for a project, I’m unsure how my musical style will mesh with different genres like the Italian Renaissance in “Assassin’s Creed 2,” until I dive into the creative process and integrate my unique approach with the new project. Essentially, the music begins as a blank canvas, and I determine which components to introduce and combine with my personal writing style. This discovery process is thrilling for me because it reveals what this new musical style will ultimately sound like. I appreciate this method of starting anew (will there be dance elements, or perhaps a symphonic score, or even a folk music approach?) as it adds an element of surprise and excitement to each fresh composition. This raw emotion of anticipation fuels my limitless creativity for every new score. However, this approach works most effectively when I’m consistently working on new projects. I have adopted this technique throughout my work on “Hitman,” “Assassin’s Creed,” “Borderlands,” “State of Decay,” “Darksiders 2,” “Warhammer: [End Times -] Vermintide,” “Dune: Spice Wars,” “Tumbbad,” “[Raid: Call of the Arbiter],” “Warhammer 40,000: Darktide,” “State of Decay 3,” and numerous others.

Could you elaborate on one of your compositions and its sources of inspiration? Did any video game scores, other music, or other factors play a role in its creation?

In Assassin’s Creed 2, the game “Ezio’s Family” is deeply influenced by the heart-wrenching event where Ezio’s father and two brothers were publicly hanged due to their connection with the Assassins Brotherhood, a tragedy that profoundly shapes Ezio’s life. This pivotal moment serves as a crucial foundation for his character development, and we witness it unfold firsthand. To truly grasp Ezio’s state of mind and effectively portray him, I crafted the musical piece “Ezio’s Family,” which encapsulates these tragic circumstances and stands as the central theme for the entire score. This composition served as a gateway into Ezio’s world, and the rest of the score was developed from that starting point.

Which are the primary tools employed to produce the soundtracks for the Assassin’s Creed games, and why were those specific instruments selected?

In each of the five scores I’ve composed for the Assassin’s Creed series, the primary musical instruments have varied. For Assassin’s Creed 1 (AC1), the cities of Acre, Damascus, and Jerusalem had distinct instrument sets. Acre featured a live choir with religious chants, guitar, violin-like strings, piano, harp, flutes, fiddle, and some orchestral instruments. Jerusalem was a fusion of both sets. Damascus explored the unique ethnic instruments of the Middle East such as the ney flute, buzuq, oud, duduk, tabla, doumbek, frame drums, and others. The musical themes reflected the three keywords given to me by the team: mysticism, war, and tragedy (pertaining to the Third Crusade). These elements were intricately woven into the score. Also, the Animus and its influence on the music was an essential aspect; I viewed it as a filter that alters and distorts the sounds and performances of the instruments and soloists. The scenes where Altair is pursued across rooftops with the screen tearing signify the Animus reaching its limit, at which point the music style shifts to a blend of sci-fi, electronic beats, synths, and orchestra.

In creating the music for ‘Assassin’s Creed 2’, I utilized instruments inspired by the Renaissance era, along with opera singers and vocal artists. A live orchestra, choir, and synthesizers were also incorporated. The main emphasis was on a lively and energetic sound to reflect Ezio’s youthful exploits during his prime.

The sound of AC Brotherhood was more robust and combative, focusing on Ezio’s character as a skilled assassin, while maintaining similar musical influences as Assassin’s Creed 2. This game strongly echoed the spirit of its predecessor. The Borgia family played a significant role in the narrative, and their presence was accentuated by an immense bass choir recorded within a church. Additionally, we added a variety of percussion sounds, with one of my favorites being the synchronized swinging of renaissance flags to generate a rhythmic, windy beat reminiscent of a grand church atmosphere. This music is played during climbing large castles and stealthily navigating inside, producing an impressive result.

In composing music for “Assassin’s Creed Revelations”, I was greatly influenced by the musical styles prevalent in Constantinople during that era, which were primarily Greek. This led me on an exciting expedition where I collaborated with bouzouki, hammer instruments like zithers, dulcimers, and the large cimbalom; traditional Greek percussion, slide bass, GuitarViol, as well as vocal performances that evoked the ethereal and ancient.

In the initial four Assassin’s Creed games, there was a consistent formula applied to the Animus and its effect on the game’s music. The live performances were modified and adjusted, with the overall soundtrack featuring a blend of light electronic instruments and futuristic elements to give it a more sci-fi feel.

In Assassin’s Creed Valhalla, I collected various antique musical artifacts, some dating back more than a century. These include Viking-style instruments like the tagelharpa, tagelharpa cello, rebec, lyre, multiple types of horns, and even violin, cello, and clarinet, all used in unique fashion. Additionally, there were male and female vocals, both robust and powerful.

As a music enthusiast and fan of the Assassin’s Creed series, I wanted to take a different approach with Valhalla’s score compared to my previous city-centric compositions. Inspired by the mythology of the Nordic gods and the Viking way of life, I aimed to create an immersive musical experience that would envelop players as they explore the vast, natural landscapes of this game world.

Is there anything else we should know about your approach to composing video game music?

In my compositions, I focus on emotions and ambiance, along with harmony and rhythm. To me, they are equally crucial elements. For instance, when creating the theme for Warhammer 40,000: Darktide’s Imperium, it was vital to capture the grandeur of the theme, but also to immerse listeners in the chaotic, proud, hive city atmosphere, the untouchable religious Imperium, and the far-reaching influence of the Emperor of Mankind. By incorporating these elements effectively, a traditional choir performance transforms into an intense, sci-fi soundscape characteristic of this futuristic world governed by the Imperium.

As a gamer immersed in this virtual world, every melodious note that echoes through this track hails from a distant future where endless war reigns supreme. At first glance, these musical cues might elude your awareness, but they’re strategically crafted to cultivate an enigmatic atmosphere that allows the theme to flourish. It may take several playthroughs before you grasp the reasoning behind the selection of instruments and other nuances – a testament to the artistry of composing music without oversimplifying it, ensuring its appeal endures through multiple listens.

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2024-08-10 19:19

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