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Assassin’s Creed Valhalla – The Siege of Paris DLC and Soundtrack Launch August 12

[Assassin’s__Creed Valhalla’s] second major expansion, The Siege of Paris, launches on August 12, and takes Eivor to France to conquer new lands, battle new enemies, and build new alliances. While we have to wait a few weeks to experience The Siege of Paris first-hand, we get our first tease of the all-new soundtrack – composed by violinist and composer Stephanie Economou (“Mulan,” “Jupiter’s Legacy,” “The Martian”) – today. The while the full soundtrack will release alongside The Siege of Paris expansion on interview with Economou below.

What was your familiarity with Assassin’s Creed Valhalla before you started working on The Siege of Paris soundtrack? Stephanie Economou: I wasn’t super familiar with the Valhalla narrative, but I had listened to [Sarah Schachner], Kyd], and Einar Selvik’s music for the game, which I’m a huge fan of. They crafted a really special space creatively, and I was excited to have a small part in telling the story of The Siege of Paris.

What was the first thing you did to prepare when you started composing the soundtrack? What sort of research goes into composing a historical soundtrack? SE: I did a lot of research prior to starting the score. This historical what the music of France sounded like during that time. very little surviving record of musical repertory, other than sacred or liturgical music, so I borrowed from ancient instrument palettes of slightly later eras, like the Medieval and Renaissance periods. This is how instruments like the viola da gamba, vielle, hurdy gurdy, lyre, kantele, dulcimer, frame drums, and didgeridoo became part of the fabric of the score. incorporated more modern instrumentation, such as viola, cello, and bass, but

incomparable singer Ari Mason, who also recorded viola da gamba. Did you go back and listen to the game’s original soundtrack? What things did you learn or take away from it? SE: I familiarized myself even more with the original Valhalla soundtrack when starting on The Siege of Paris. It helped me get into a unique creative headspace where I could explore less-traditional methods of scoring and Having an inspiring reference like the original soundtrack encouraged me to challenge my normal composing methods, which was a

Did you have to use or learn any new instruments for the first time?

vielle – the earliest version of the modern violin – I was really excited at the There was a bit of a learning curve in playing it, as the body of the instrument is quite boxy, and the bridge is less curved than a modern violin, but there was something really thrilling about learning to play an instrument whose origins trace back to the Medieval era. also procured a kantele, lyre, cello, and bass, all of which I recorded in my instruments; rather, I harnessed a certain sound on each of them by playing them The result ended up sounding raw, of me clumsily fumbling around while discovering these amazing instruments.

Though I didn’t perform it, Ari Mason happened upon a unique sound when she recorded, intertwining layers of rhythmic plucking on her viola da gamba. about it, which felt to me like what Paris could have sounded like in 885. Having the opportunity to capture an ancient sound from a modern perspective, with modern technology and production, felt simultaneously bold and

this track specifically? What would you like them to take from it? SE: “Hásæti” was a really special track to compose, as it accompanies an important emotional moment in our story. I wanted to evoke a sense of spirituality and depth in the music, and vocals felt like the right avenue to explore. The lyrics are in Old Norse, with “Hásæti” translating to “Seat of Honor.” The vocals, again performed by Ari Mason, are accompanied by string chords with a low frame drum beating along underneath, which was meant to give

The main track, “The Siege of Paris” will be released when the full soundtrack is out. What sort of feeling and emotion did you want to illicit in the main theme? SE: This track was actually one of the last pieces I wrote for the game, but it uses the main theme I composed early on in the process, which is heard on the first track, “Francia,” on woodwinds and viola da gamba. I usually like to start out every score by finding a melody that I think is fitting for the story and Composing the final track, “The Siege of Paris,” was especially enjoyable because I got to employ the theme in the context of a more action-oriented cue, with layers of wanted to hone in on what it might have felt like to storm the gates of Paris; These were the motivating factors I had in mind when composing this piece and the entire score itself.

get your hands on Assassin’s Creed Valhalla’s The Siege of Paris DLC and For more on Assassin’s Creed Valhalla, be sure to check

Original article

Jul 26, 2021 at 23:21


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