Meet the Composers Behind the Immortals of Aveum Score
Immortals of Aveum is an action game that blends a fantasy world and magic with first-person shooting. We had the opportunity to play a portion of the game and were impressed with what we experienced. Now, we’re pleased to exclusively reveal a track from the game’s score. It’s grand and heroic, which aligns perfectly with the hands-on preview we had. We also had the chance to interview the game’s audio director, Aubrey Hodges, composer Jamie K, and media composer Tom Hawk about the score, including how they combined hip-hop and orchestral arrangements. Here’s what they had to share.
Q&A With the Composers of Immortals of Aveum
How would you describe the score and/or soundtrack of Immortals of Aveum?
Aubrey Hodges: The score for Immortals of Aveum is a fusion of several genres that create a diverse and captivating soundscape. We combined elements of hip-hop, orchestral, electronic, chill, ambient, industrial, and more to immerse players in a unique and unexpected world. Our goal was to provide an audio experience that fuels the imagination and excites the ears.
Jamie K: I aimed to create a fresh musical and sonic experience for listeners. I wanted to avoid using the same old score techniques and sounds. Immortals of Aveum incorporates modern sounds, experimental textures, and classical elements in unique ways. You’ll hear woodwind textures, especially in ambient exploration pieces, as well as the warm low tones of a bass ocarina, which helps ground players in the world of Aveum.
Tom Hawk: The score’s vision was described to me as fantasy orchestral music meeting aggressive modern electronic/industrial music. While that was the core focus, the score also incorporates other interesting elements. It’s a combination of various styles and genres, featuring a wide range of instruments.
Where did you find inspiration for the game’s music?
Hodges: The game itself was the main source of inspiration for the score. Aveum is a visually stunning world with unique locations and breathtaking vistas. Each level has its own distinct vibe that sparks imagination and creativity. Once we determined the style and atmosphere of an area, we let our creativity flow in the studio, creating both ambient and melodic tracks.
Jamie K: Aveum’s beautifully crafted world drew out new ideas from me as a composer. The spacious and detailed landscapes inspired captivating compositions. I also found inspiration in the game’s epic women warriors, Zendara and Grand Magnus Kirkan, who are strong and formidable characters. They needed intense combat music, and I enjoyed the challenge of creating that experience.
Tom Hawk: When I joined the project, the overall vision for the score had already been established, but there was still room for experimentation and exploration. Sometimes we needed soaring orchestral music accompanied by thunderous percussion and analog synthesizers, while other times the focus was on modern aggressive sounds. We worked hard to seamlessly blend these styles together, creating a fusion of musical genres.
How did you blend the fantastical sound associated with fantasy and magic with the modern and industrial sound associated with shooters?
Hodges: The decision to take a hybrid approach to the score allowed us to combine the “Hollywood orchestra” with other genres, blurring the lines between different game genres. We used various musical elements and sounds across multiple genres to create the desired impact. This approach allowed us to have bombastic orchestral music for combat sequences while incorporating unique flavors. We didn’t want to be limited by rigid rules, so we had fun experimenting and letting the styles and genres blend organically.
Jamie K: Bret, the game’s creator, gave me the freedom to experiment with sound and wasn’t afraid of trying new things. The fantasy element of Aveum allowed us to break free from genre constraints, making the score fresh and exciting. I appreciated the freedom to introduce new elements and receive positive feedback from the team.
Tom Hawk: When I joined the project, the overall vision for the score had already been established, but there was still room for experimentation and exploration. Sometimes we needed soaring orchestral music accompanied by thunderous percussion and analog synthesizers, while other times the focus was on modern aggressive sounds. We worked hard to seamlessly blend these styles together, creating a fusion of musical genres. Even in the most aggressive combat tracks, we made sure there was always some level of orchestral presence to unite the shooter and magic styles.
Has any of your previous work influenced the music in Immortals of Aveum?
Hodges: My ambient score techniques for the Doom and Quake series may have had some influence on certain aspects of Immortals of Aveum. While the tone of those games was much darker, my experience working on them helped shape the overall ambiance of Aveum.
Jamie K: My background in studying classical piano, particularly composers like Beethoven and Chopin, has always influenced my composing style. Classical techniques always find their way into my compositions. Additionally, my interest and experience in various genres of music offer a fresh perspective to the game industry.
Do you find composing specifically for video games to be different than composing for other media?
Hodges: Composing for games is different due to the amount of exposure to the tracks. In gameplay sessions, the music is often heard repeatedly over a long period of time. Movies and other linear media typically feature tracks that are heard only once.