Jessica Curry fell hard for Mass Effect 3’s soundtrack early on
As a gamer with a deep appreciation for the artistry behind video game soundtracks, I find Jessica Curry to be a true maestro. Her ability to weave melancholic epics and haunting melodies into the fabric of games like Everybody’s Gone to the Rapture and Amnesia: A Machine for Pigs is nothing short of extraordinary.
Jessica Curry is well-known as one of the top composers in video game history. She earned a BAFTA award for her composition of the soundtrack for Everybody’s Gone to the Rapture, and she began her career in video games with the epic, dramatic score for Dear Esther. Additionally, she created the eerie music for Amnesia: A Machine for Pigs.
For TopMob FM – a deep seven-day exploration of the most captivating tunes in video games – Curry shared insights about her initial gaming experiences, her creative approach and inspirations, as well as how fans appreciate her music currently.
Did a particular game soundtrack or tune spark your interest in composing video game music? Could you describe the atmosphere it created for you, and explain why it had such an impact?
In my experience, I hadn’t played a single game when developer Dan Pinchbeck approached me for composing the music of Dear Esther – games were simply outside my realm until then. It was an unusual yet exhilarating experience to create a soundtrack for a game without having heard one before! This lack of familiarity offered me a unique freedom from constraints. The first piece of games music that I truly appreciated was “Leaving Earth” by Clint Mansell, found on the Mass Effect 3 soundtrack. It’s an emotive epic that stirs images of endless, expansive landscapes – it’s hard not to be captivated!
Could you share some insights about the composition process of one of your songs, and perhaps explain what inspired it? Did it stem from game soundtracks, other musical pieces, or maybe something entirely different?
Among the compositions I’ve created, one that holds a special place in my heart is “Great Friends” from the game “So Let Us Melt“. It’s a piece that resonates deeply with me.
In crafting my unique music composition, I found myself subtly influenced by two distinctive melodies lurking at the back of my creative process. One of these tracks is “Baba O’ Riley” by The Who, and it was the pulsating electronic arpeggio in this song that really energized me as I wrote this piece.
Another composition that captivates me is “De Staat” by Louis Andriessen, similar to “Baba”. It possesses a mesmerizing rhythm, much like its pulse, and I’m enthralled by its minimalist repetitions and intricate textures. The clarity of the vocal style in this piece was incredibly inspiring when it came to shaping the choir’s sound for “Great Friends”.
As a gamer delving into the immersive world of Everybody’s Gone to the Rapture, I was curious about the soundtrack that sets the atmospheric tone. So, here’s how I might rephrase your question in my own words:
To create the ambiance for “Rapture”, I aimed to evoke a quintessentially English, pastoral feel, similar to the realms depicted by composers like Elgar and Vaughan Williams. The soundtrack predominantly relies on strings, woodwind, and choir elements. After hearing Elin Manahan Thomas perform in a concert, I was certain that her voice would serve as the core of this sonic universe. To this day, her voice on the score still sends shivers down my spine.
Is there anything else we should know about your approach to composing video game music?
I pour my passion and devotion into every single project I undertake. It seems that my enthusiasm and thoughtfulness come across, and the most rewarding aspect of my work is receiving heartwarming messages about how my music touches people’s lives. My compositions have been there for important moments like weddings, escapes from war zones, and the farewells of loved ones. It’s a true honor and privilege to be part of such meaningful experiences.
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2024-08-09 20:18