![]() ![]() There are actually loads of little BSP related things in the game - the name of some streets and buildings have BSP references that only a hardcore BSP fan would appreciate.” Robert found that some of it would be perfect for the game. “We originally sent Robert a load of unused demo tracks that we had lying around. ![]() “I think there is crossover between the BSP world and Robert's,” says Noble. Not knowing who you are while stumbling around a strange world looking for clues is a familiar lifestyle to British Sea Power’s everyday dream. Kurvitz, being a big fan of the band, had littered the game with reference points to British Sea Power’s work, too. So I wanted to fit in with that as well as suit the characters.” The visuals also play such a big important role in the game. Getting in the right mood, “wasn’t such a stretch,” says Yan. There’s a natural synergy between the band’s style and the game’s eccentricity. You can be quite meditative and repetitive while shifting around with subtle variety.”įor the band, inspiration came naturally. ![]() “You don’t really need to create infectious melodies, or mega hooks, or work on intros, verses and choruses, etcetera. I like working with different atmospheres and just dwelling in them.” There is also a strong definite direction which I enjoy for a change. Lyrics and vocals, which are quite challenging, aren’t necessary. “In some ways it is easier as there is less thinking and more intuition involved. It's more about setting the right mood than supporting or narrating the action. Just creating a kind of ambience and sonic expanse,” says Yan, or “living in another person’s mind instead of your own for a while,” adds Hamilton.Īlthough working on film has obvious transferable knowledge and skills, writing music for a game is hardly anything like putting an album together. “It's more about setting the right mood than supporting or narrating the action. As games are more freeform, so we can be too,” he says. “If a film gets re-edited then you have to re-edit the song. “With films you have to work more on timing,” says violinist and vocalist Abi Fry, “whereas with the game it's more about creating specific moods that can go on indefinitely and don't drive you completely mad.” Noble agrees. Though British Sea Power had soundtracked a film before, the process was quite different for Disco Elysium and the gaming medium the band found themselves working with. (Image credit: ZA/UM) ‘A joy in less freedom’ It was a match made in heaven – British Sea Power’s instrumentals weaving from the melancholic to the menacing, a perfect partner for the painterly palette of Disco Elysium’s art, and the slow creep of a fictional mind on the fringes of sanity. Six months after the game’s release, British Sea Power and ZA/UM celebrated success at the 2020 BAFTA Games Award ceremony in which Disco Elysium earned three gongs – including one for its soundtrack. He bought me a coffee and I thought 'that's nice.'”ĭisplaying “a more comprehensive knowledge of our albums than we had ourselves”, says singer-guitarist Yan Wilkinson (“he also did some very entertaining English accents”), British Sea Power jumped onboard with a development team more interested in Dadaism and Fluxus than killstreaks and microtransactions. “Something about Frodo, and a bag of gold. “He flew all the way from Estonia and spilled his head on us,” adds bass guitar and vocalist Hamilton Wilkinson. If your edited order contains now sold-out items please checkout your new order timely after editing as it will be restocked and not reserved for you.British Sea Power (L-R, Jan 'Yan' Scott Wilkinson, Hamilton Wilkinson, Matthew Wood, Abi Fry, Phil Sumner, Martin Noble) (Image credit: Mayumi Hirata) ![]()
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