These offered guidance, and during enforced breaks due to Covid (“we just moved our rigs home and carried on from there,” remembers Alexis) a chance to connect with peers. As did the rest stationed as they are in different countries around the world, group calls and a shared cloud drive were the quickest ways to check in. That said, he kept checking the other composers’ work periodically to make sure there was cohesion. Lozowchuk, an industry veteran who worked at Capcom Vancouver for over seven years, joined the composing roster after impressing the team with his audition pieces. Oleksa Lozowchuk’s remit was more extensive, covering “all types.” “That really helped me develop a stronger sense of how the different types of music dovetailed with each other, weaving in and out through the game arc.” By all accounts, he had an ear for this world from the start. There were exceptions: character arcs, including key cinematics and quests were wholly owned by a single composer, ensuring thematic continuity. The Flight’s Alexis Smith notes that Van Tol gained valuable insight as to each composer’s sounds and strengths: “He usually has a pretty good view on which parts he wants us to compose.” So Joris de Man worked on emotional cues “that weren’t specifically linked to an area”, while as with the original, Niels van der Leest handled percussive music for specific events like hunting and music for every tribal region in the game. That previous collaboration helped the studio decide the best way forward. “This time around we wanted to follow the story a lot more closely and create a more fluent and emotional experience, also outside of the cutscenes.” ![]() ”In Horizon Zero Dawn our initial focus was on locations,” he explains. He also wanted a different approach to the game’s score. Van Tol played both ringmaster and conductor, briefing and guiding the group throughout production. Creating the sequel’s open world soundscape – covering but not limited to tribes, characters, enemies, locations, cues – as well as evolving it from what came before was understandably a herculean undertaking. Guerrilla’s Music Supervisor is credited not only with defining which aspects of Horizon Forbidden West’s music each of the four composers would work on but keeping track of everything. But first, introductions:Ĭonsideration for the sequel’s music began “since the moment we knew there would be ,” jokes Van Tol. That wide-ranging chat tackles amongst other things, the challenges of building upon what went before, deciding who worked on what (“we have a lot more music than in Horizon Zero Dawn,” Van Tol explains of the necessity) and individual approaches to composing (fun fact: one composer builds their own instruments). To mark the EP’s release, and share the first details of what players should expect from them for Horizon Forbidden West, we brought the composers and Guerrilla Music Supervisor Lucas Van Tol together for a roundtable discussion. Joris de Man, Niels van de Leest and composing duo The Flight all return from Horizon Zero Dawn, and are joined on the sequel by Oleksa Lozowchuk. Secondly, we’re excited to reveal the composers behind the music of Horizon Forbidden West. Today, we get to linger on that score.įirstly, the chance to absorb four tracks from that State of Play demo in isolation, forming The Isle of Spires EP that’s just released onto streaming services – listen to it here. ![]() ![]() And accompanying that visual showcase was the alluring yet all-too short debut of some of the game’s soundtrack. Guerrilla tantalised us with new gameplay mechanics to master, new Machines to overcome and new locations to explore. ![]() Last week, we finally got our first proper look at what awaits us – and Aloy – in Horizon Forbidden West.
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