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by Austin Wintory
Soul Fjord began with a bizarre challenge from Soul Fjord (and Portal!) creator Kim Swift: “What does Viking Funk sound like? Write that!” Especially given that I was concurrently working on The Banner Saga, this was especially intriguing!
Well needless to say I had a blast. This music appears to be equal parts laid-back funk and off-kilter Viking wackiness. I have no explanation …
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
I entered the world of MONACO when I caught wind that creator Andy Schatz was on the hunt for licensable solo piano music in the vein of old ragtime-infused silent films. We struck up a conversation and I realized that I simply needed to write this score. When would I EVER be exploring that genre of music in a videogame again???
As with most of my videogame soundtracks, what’s presented here is in some cases quite different from the in-game score. But nonetheless I hope it proves sufficiently naughty, jaunty and/or outright whacky enough to make you smile.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
Charles Burmeister’s introspective MERCURY PLAINS was a wonderful canvas to play on. It’s almost like an art house action film, so I found myself alternating between desolate, gentle guitar solos and vicious walls of static. As someone who finds himself writing orchestral music more often than not, projects like this are a real gift!
As ever, the performers bring the score to life and at the front and center of that is guitarist Tom Strahle. I’ll let his playing doing the walking but needless to say, I can’t imagine writing a score like this without a musician like him in my arsenal.
The film can be seen by going to www.MercuryPlains.com.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
THE RIVER WHY is in many ways a composer’s dream film. It’s a very inward-looking narrative, captured with absolutely stunning cinematography and the combination of the two leave a lot of room for music to be a major storyteller and breathe very independently. From the beginning, Matthew Leutwyler (the director) and Kristi Denton Cohen (executive producer) were leaning towards a guitar-driven score, and not only did that feel right to me too, but we were fortunate to be joined by one of the true greats: Dominic Miller (a composer and songwriter in his own right, and esteemed for his long-running collaboration with Sting). The result is intimate but emotionally rich. The somewhat odd palette of guitars (including both steel and classical, mandolin, banjo, and 12-string) with solo viola and cello (plus a few other little surprises) is definitely one of my favorites I’ve ever worked with. My music is always written as an ode to the musicians, but rarely as much as on this score; they simply ARE why I love composing.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
100% of the proceeds of this album will go to support my non-profit, Education Through Music - Los Angeles (www.etmla.org)!
It was a wonderful experience writing music for Nassim Abassi’s film MAJID. The story concerns two young boys on a quest across Morocco, and so my goal was to be the voice of charm and innocence in their otherwise gritty and difficult journey.
The score features some of my favorite Hollywood musicians: Clarinet: Andrew Leonard Flute: Heather Clark Violas: David Walther, Darin McCann, Andrew Duckles and Victoria Miskolczy Percussion / programming: Austin Wintory Recorded at Catasonic Studios; Engineer Mark Wheaton ProTools Recordist: Kevin Globerman.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
HORN was an exceptionally fun (and remarkably tricky) game to score and off the top I must thank Matthew Grimm, Justin Corcoran, Chip Sineni and Jarod Pranno from Phosphor Games for inviting me into the world of Reynes.
Coming straight out of JOURNEY (where our music engine capabilities were seemingly limitless) made for a bit of a technical culture shock in adapting to the relative constraints in an iOS environment. But, that said, the game was far from lacking in inspiration. It’s a really beautiful game, and the narrative was instantly intriguing.
My deepest thanks and congratulations to all the brilliant soloists and orchestral musicians who played on this score. You all are at the core of what drives me as a composer, and it was an honor to share this adventure with you.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
I can honestly say I have never worked on a soundtrack quite like SUNSET. Michael and Auriea, the fantastic collaborators who make up Tale of Tales, gave me a particularly intriguing challenge: construct a score to fit this introspective tale of an American activist / house cleaner in early 1970’s South America, within a nation coming apart at its seams.
Where I ended up in addressing that challenge was to make the music part of the world itself: an entirely diagetic “score” found within the various vinyl records, reel-to-reel tapes and record broadcasts Angela can discover in the game.
I’ll say no more. While I greatly appreciate anyone interested in experiencing the music here, as an album, I really do recommend playing the game and experiencing it that way. It has a few surprises. :)
Special mention must be made of the fantastic musical collaborators I met via the game’s Kickstarter campaign, who contributed such wonderful musical ideas and without whom this album simply wouldn’t be what it is.
Thank you for listening!
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
The Official Soundtrack to the game Leisure Suit Larry: Reloaded composed by Austin Wintory.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
Films don’t get any more personal to me than STRANGELY IN LOVE. The director, Amin Matalqa, is like my brother and a composer couldn’t dream of a better collaborator. Amin builds his films to feature music as an overt narrator, in the spirit of directors like Steven Spielberg or Wes Anderson. I feel so lucky to call him a collaborator and even more to be his friend.
For STRANGELY IN LOVE, the quality we wanted from the score was this old fashioned, romantic Chaplin-era vibe blended with modern tangos and oddness. The superb soloists who helped me achieve that (Hermine Deurloo on harmonica and Scott Tennant on guitar) were indispensable. As is so often the case, they are the soul of this music.
A more fleshed-out Behind The Scenes look can be seen at the link below, but I’ll just finish with this last comment: part of what made this film so special to make was how it brought together a group of friends. This was not a big budget project, and it only happened because we all just said “let’s make a movie together!” And a lot of things in our lives changed after that, some for the better and others for the worse. So this film will forever be a monument to the end of a really significant chapter for us, and the start of a fundamentally different one. I don’t know if that comes through in the music or on screen, but it will forever render the film important to me either way.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
I have been fortunate to work on a handful of titles the last decade that have some striking and iconic characters. My amazing collaborator Angela Bermudez has spun them together into a sort of hurricane just for this Groupees bundle. We’re happy to offer this digital print to all buyers of this bundle. I adore what she made and am thrilled to be sharing it with you all!
Preview: https://i.imgur.com/iwhd6Bv.jpg
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
Tracks and sketches put together for a special Groupees release.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
This was a very special project to be a part of. THE BANNER SAGA was my first real experience with Kickstarter, and there is something very different about being “hired” by 20,042 backers instead of a single team. The sense of responsibility with this score felt hugely magnified by that. So I hope I have delivered something worthy because not one day passed in the year and a half of work that I didn’t think about that trust.
With that said, I LOVE this game and the wonderful Stoic team. So unlike anything I’ve ever worked on, and probably the most challenging score I’ve ever written. One couldn’t have dreamt up something better to follow the surreal experience of JOURNEY.
Certain people need singling out for praise. Kim Campbell and Jerry Junkin are at the top of that list. To collaborate with the illustrious Dallas Winds on this game was a dream come true. Jerry completely changed my life via his commission of John Corigliano’s 3rd Symphony, “Circus Maximus,” (GO LISTEN TO IT if you haven’t!) and so to work directly with him, and with these musicians, was beyond blissful. As Executive Director of the Dallas Winds, Kim worked long and hard to make this project happen and it simply wouldn’t have without him.
Also, if you remotely enjoy this album, credit rests overwhelmingly with the musicians performing it. The Dallas Winds played with both force and nuance. It was breathtaking to record. Thanks as always to my wonderful team (all credited below) for their invaluable contributions.
Thereafter the bizarre and beautiful prepared electric guitar work of Mike Niemietz, and didgeridoo playing of Randin Graves brought something beyond what I’d hoped for.
Next were the singers. What more can be said of Peter Hollens and Malukah? They’re among the best I’ve ever known; glorious talents and the finest human begins. It’s a humbling privilege to have worked with them, and to call them dear friends. Add to that Johann Sigurdarson, whose voice I can’t imagine the score without.
Finally, Taylor Davis, who sits at the heart of it all. Her violin solos are already known everywhere for the covers she’s done, but to write for her and so closely collaborate was an honor. No amount of thanks will cover it.
One final word about lyrics. For the tracks containing vocals, I have added the lyrics on those specific pages. In most cases I adapted the lyrics from Norse proverbs and poetry; in others I used Alex Thomas’ writing from within the game itself. Both the Icelandic and English are provided.
Ok, enough of my rambling!
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
THE BANNER SAGA is one of my favorite things to have ever been part of, but despite that approaching the sequel was a huge challenge. It was the first sequel I’ve ever scored, and so reconciling old ideas with new ones proved tricky. Add to that that the game is actually pretty different based on how the first one ended (who fired the arrow???), and that has implications for the score and the need to capture multiple perspectives (or in some cases, compose entirely alternate cues).
As ever though, in the end, it was a joy and privilege to work on. The wonderful Stoic Studio prove to be the perfect collaborators yet again; they simultaneously push me and yet remain quite hands-off. While conducting the recording sessions I kept frequently thinking “I can’t believe they okay’d this!”
One last note about the performers: I was very lucky to have two new major additions to our Banner this time out. The orchestra itself came in the form of the Colorado Symphony, my hometown orchestra, recorded in their native Boettcher Concert Hall in downtown Denver. How giddy I felt standing there recording this in a place I visited many times as a kid.
Also, adding to the splendid vocal work of Malukah and Peter Hollens, comes a phenomenal Icelandic band called Árstíðir. These four musicians are world class. I discovered them on YouTube and became an instant fan. I bought all their albums and then proceeded to stalk them until they agreed to sing on the score. The various icelandic war chants and anthems, and of course the final song “Our Steps, To the Night” are simply unfathomable without them.
Of course, capping it all off I am once more honored to have Taylor Davis grounding the winds and brass with her lone violin.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
Working on this game was a great joy and rewarding challenge. The directive was to always try and approach the Martial Arts genre with some kind of twist, and free experimentation was always encouraged. As usual, I am very grateful to my core of musicians who facilitated this mad science, in this case Tom Strahle for the many guitar and guitar-like plucky things he endlessly shredded, and Kristin Naigus for her seemingly bottomless pit of flutes, reeds and other windy noisemakers.
It’s also worth mentioning the wonderful, surprise collaboration with RZA. A true hip hop legend, most probably don’t know about his many forays into other media and genres, including both film and video game music! He’s also a huge fan and expert on Martial Arts films and so he was drawn to this game like a moth to a flame. Co-creating the finale, “Risryn, Rogue Absolver” was a wild 11th hour twist and I can’t thank him enough for his great ideas and collaborative spirit.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
On the heels of JOURNEY’s release in 2012, thatgamecompany’s Art Director Matt Nava showed me some concept art he’d been making for a new game he was dreaming up: Gorgeous underwater landscapes that straddled the line between realism and fantasy. Not long after, the studio Giant Squid was founded and he invited me to join him in the creation of ABZÛ.
The overall progression was not unlike our prior collaboration on JOURNEY. I started with a theme (“To Know, Water”) very early in the process and then spent the next 3 years developing that material in tandem with the game. Both game and music went through many iterations and conceptual shapes before arriving in what you hear and see now. As always, that process of discovery was challenging and often filled with self-doubt.
The resulting score is one I can definitely say pushed me into territory I’d never been. The odd combination of large harp ensemble, semi-traditional orchestra and chamber choir, led by a slew of delicate oboe solos by Kristin Naigus, gave me ingredients for experimentation that were simultaneously great fun and deeply intimidating. All the performers brought incredible magic and I’m eternally grateful for their artistry.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
THUNDER AT YOUR BACK
Tempests engulf even the air, As bark or skin.
First the battlements are laid of stone. Rigid, cold, thin.
From the inevitable dust, silence. Sequestration, but unsheltered.
From the cold, fires burn. Furors, aimlessly measured
From the embers, oaths. A thousand roads, converging.
And finally as the night’s shadows grow, Thunder finally above.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
I can honestly say I’ve never attempted a score anything like this. The Creative Director and a true kindred spirit, Andrea Pessino, had said early on that he imagined something “epic but whimsical.” Embrace the silly but make it huge.
Even despite the openness of that direction, I remain astonished by just how much free reign Andrea and the devs at Ready at Dawn gave me. I came back with “what about an Italian western on steroids, mixed with psychotic circus music and flamenco?” No one seemed to bat an eye, and so here we are!
As is often the case with my writing, this really is all about the soloists and this score I think packs more talent into it than any other I’ve attempted. At the front of group is Ksenija Sidorova, undoubtedly the world’s greatest accordionist. I could never overstate the joy in discovering her playing, and then collaborating to create this minor accordion showpiece. Alongside her are guitarist Scott Tennant and violinist Sandy Cameron, similarly peerless musicians. It goes on from there, including many other soloists plus the superb orchestral musicians of both London and Macedonia.
Having the chance to write music which is fun for fun’s sake, with such a wild palette, and in collaboration with such tremendous human beings is something I don’t take for granted. I could never say thank you enough.
Oh, and don’t ask about Troy Baker’s narration. I have no explanation.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
A dialogue, as recounted by TOOTH AND TAIL creator Andy Schatz:
“Austin: “We want to make a game about war, but we want to make it fun. What were some fun wars?”
Andy: “World War One was fun. So was the Russian Revolution. Super fun.”
Austin: “True, true. And so is starvation. And cannibalism. Really goofy stuff.”
Andy: “So our game is all about building tension before short explosive bursts of action… maybe we should use tangos and latin dance music as the basis for things? Real Time Strategy is essentially ballroom dancing.”
Austin: “Yeah, and we can play it all using early 20th century Russian instruments. That makes sense.”
Andy: “Except our game is wild and raucous, so let’s play the instruments drunkenly.”
Austin: “Will do.”
That is how this album came to be. Enjoy.” - - - - - - That actually pretty accurately captures how it al began. As ever thank you to Andy and Pocketwatch Games for such a magnificent experience scoring a truly remarkable game.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
“Welcome to Music from The Maze of Games, an album for the interactive puzzle novel of the same name by me and artist Pete Venters. I asked Austin to compose music that you could listen to as you read each of the six chapters of the novel. It grew into something more than that. As you partake in the auditory wonders, I encourage you to pay close attention to the compositions herein. Like with The Maze of Games, once you get in, it can be tricky to get out.” —Mike Selinker
As Mike so beautifully alludes to above, my involvement in The Maze of Games vastly surpassed any of my initial expectations. This project began as a simple conversation of “what ifs” regarding the intersection of an elaborately thought-out novel of puzzles with music of a similar flavor. What resulted was a series of arias that bent my mind further than anything else I could name. And what pure joy it was! Mike is without question one of the most brilliant and clever minds I’ve had the pleasure of working with.
I must also offer the highest praise to my cast of musicians here. The two core instrumentalists, Serena McKinney and Charissa Barger, delivered outstanding performances despite a grueling recording session of unrelentingly difficult music. Likewise, the additional musicians all credited below, stepping in briefly for each individual aria, played their parts beautifully. It’s hard to describe the magic of seeing something pour out of a group like this, made seemingly so easy, and yet knowing how nightmarishly difficult it actually is.
And no amount of praise could sufficiently do justice to the achievement here of Holly Sedillos. I have had the privilege of working with her for several years now, but never has she impressed like this. These are sort of insanely difficult arias to sing, and as you’ll hear, she navigated as only few could: with both precision and elegance, and an abundance of personality.
Times like this that I realize I’m a damn lucky guy.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
A rather in-depth collection of thoughts from THE RENDEZVOUS’s director, Amin Matalqa:
Being a filmmaker second, and a film music nerd first, every time I finally get the green light to direct a new film, I get excited about the musical opportunity it will present to accompany the visual journey. For me, the score is as important as the image. It’s our strongest guide for the viewer’s emotional experience. The Rendezvous is my fourth collaboration with composer Austin Wintory. We first worked together ten years ago on my thesis film, Morning Latte, when I was at AFI and Austin was at USC. Less than a year later, the scoring session for our first feature together, Captain Abu Raed, became one of the most special memories of my life. We recorded at Warner Brothers with the Hollywood Studio Symphony Orchestra for that little Jordanian film that took us to Sundance and travelled the world. Austin’s beautiful lush score was a testament to his musical ambition and fuel to get me to hurry up and make my next film so we could do it all over again. For our third collaboration, Strangely In Love, a micro-budget LA-set romantic comedy with the old fashioned whimsy of Charlie Chaplin, we had a smaller assemble, but a very rich melodic score featuring chromatic harmonica and a collection of soloists backed by a string section. The music alone felt like reason enough to have made that little personal film.
The Rendezvous, a desert chase romantic adventure starring Stana Katic (Castle) and Raza Jaffrey about a Jewish doctor and an Arab American bureaucrat chasing an ancient scroll across the Middle East was done on a modest $3.5 million indie budget, but Austin went all out by hiring The Colorado Symphony Orchestra to perform his powerhouse action score that elevated our production value to match the exotic settings of Wadi Rum (the desert where they filmed Lawrence of Arabia) and Petra (where Indiana Jones found the Holy Grail). Austin’s score heightened the stakes and the danger, jazzed up the playfulness between the two leads, and infused the journey with romantic undertones and a sense of fun adventure. For example, a simple SUV chase in the desert was scored like a horse race where you can hear the orchestra trotting. You can imagine how giddy I felt as I sat on the scoring stage, an audience of one, watching Austin conduct 72 players blasting their lungs into the brass and wearing their arms out on the strings. This is why I make movies! To have Austin get them scored.
There are three central themes to the score: 1) The desert adventure theme, which is a long exotic melody that sets up the Hitchcockian tone of the film (my pitch to the producers was to make it feel like North By Northwest in the Middle East). This theme plays out in the main title suite, then is presented in sprinkles of jazzy piano throughout the playful cat and mouse investigation, but then takes an unapologetic old fashioned romantic form as Rachel and Jake ride their camels across the desert. The score for that montage was so beautiful and sweeping that I made the sound mixer turn off volume on everything but the music.
2) The mysterious scroll/Armageddonites theme is first heard in the film’s opening prologue, then returns anytime someone references the ancient Dead Sea Scroll that drives our story as it calls for the Armageddon. Playing the combo of cello (Tina Guo) and Saxophone (Ian Roller) doubled on top of each other gives an instant creepiness to the sound, like wisps of wind carrying the devils whispers across the desert sands. Anytime you hear that theme, you can feel evil crawling up your spine.
3) David’s theme. This innocent childhood theme only plays a couple of times in the film, but it hits Rachel’s emotional center, the loss of her brother, who gave his life to save the scroll and protect it from the evil cult.
Last but not least, I must share one very personal story to convey how much this score means to me. I lost my wife, Claire Naber, to cancer on the last day of this film’s production. Six years prior, I had written a melody for Claire in the lead up to our wedding, and Austin had arranged and recorded it with a quartet, to which Claire walked up the aisle. I called it Claire de Claire, and it was something from the heart that I felt captured Claire’s innocence and whimsical joyous outlook on the world. As I finished editing and post on The Rendezvous, I dedicated the film to Claire. At the end of the recording session in Colorado, there was one piece of music left that I hadn’t heard in Austin’s mock-ups. He wanted to save the best for last. The end credits suite begins as a recap to the film, but then the orchestra comes to a silent pause, and then the Claire de Claire begins playing on solo cello then oboe, then the full orchestra takes over, celebrating the joyful spirit of Claire. Tears flooded from my eyes the moment I was struck by the wall of emotion. It was, once again, Austin doing his magic to lift me up with his music. For us, these indie films somehow became very personal stamps on where we were in our lives. Hopefully, this is only just the beginning of a long journey ahead.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
PODE is a beautiful, adorable game from a terrific Norwegian studio (Henchman & Goon) led by the wonderful Yngvill Hopen. Quite some time ago, I had the pleasure of meeting Yngvill and very casually agreed to help out with her game. When the time came years after to take a look in more detail, I was genuinely dumbfounded. It had surpassed all of my expectations in its charm, aesthetic and its wonderfully approachable mechanics.
As such, scoring this game was a true privilege and delight. Working with someone you hold in such esteem is good enough, but when the game is clearly something special it just magnifies everything. Add to that the superb musicians I got to play with and it’s just heavenly.
If the bombast of THE BANNER SAGA or devilishness of ASSASSIN’S CREED SYNDICATE is up your alley …. you should check your expectations at the door! This is a very introspective and meditative score.
Inspired by the Norwegian folk art of the game, I decided to lean into that with the use of dual Hardanger fiddles (played by Rachel Nesvig and Paul Cartwright). Because the game deals with this interdisciplinary collaboration, it seemed fitting to explore that in the score. I would write sections in skeletal forms, and then workshop improvised duets between Rachel and Paul, and see where things go. As the two characters become “one,” the fiddles give way to Tina Guo’s cello, and she too was asked to improvise certain sections.
The entire thing pushed me into new territory, as improvisation is basically NEVER a component of my work. It was thrilling and enlightening, and left me in awe of the talent of the performers. I hope you enjoy the results!
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
It’s difficult to know what to say about this game or franchise after spending the last 6 years basking in it. To call it one of the best experiences of my life is certainly accurate, but it’s more than that. Few projects have ever catapulted my personal growth as an artist more than these have, and the 3rd title probably the most of all.
I feel intensely grateful to Stoic for so openly inviting all my musical instincts on these games, and letting me wander off into the forest with some truly harebrained ideas. Rarely could I imagine more trusting collaborators.
Similarly, these scores would never be what they are without the army of amazing musicians. From the orchestra in London to the various soloists around the world, I can’t possibly overstate my gratitude. In particular, my trio of Youtube stars who’ve ridden the wave from day 1: Taylor Davis, Malukah and Peter Hollens.
I hope you enjoy this final installment, and find delicious the dread and darkness I had the privilege of conjuring up.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
Before I say anything about JOURNEY, I want to use these pages to call special attention to what, for me, is most noteworthy about the music: the brilliant musicians responsible for bringing it all to life. Amy Tatum (flute/bass flute); Charissa Barger (harp); Rodney Wirtz (viola); Noah Gladstone (serpent); Sara Andon (flute); Lisbeth Scott (vocals); Oleg Kontradenko and the Macedonia Radio Symphonic Orchestra; and at the heart of it all, cellist Tina Guo. I often say that my music isn’t music until a musician has gotten their hands on it but never was that more true than with this score.
Beyond my inexhaustible praise for the musicians, I am not sure that I’ll ever be able to properly articulate the impact JOURNEY has had on my life. The ambitions thatgamecompany had for this game were immense and extremely exciting. This was the sort of game I’d dreamt to be a part of my entire life, especially as an adult. And yet as ready as I felt, as it turned out, their dream to create a game which fostered a genuine connection between two disparate people required a tremendous amount of soul searching on my part, and all of my convictions about music and composing were called into question. For the longest time (out of a total three years spent working on it!), I was terrified that I wouldn’t be able to rise to the occasion and deliver on a level remotely on par with what thatgamecompany was creating. And truthfully, I remain unsure, despite the deeply humbling and exhilarating response from players.
But therein lies the lesson I feel I’ve learned from this experience. We all love to throw around clichés like “life is about the journey, not the destination,” but I don’t think I had ever truly internalized that until working on this game. I am most proud and excited about the process I underwent in contributing to JOURNEY, rather than the final product itself. It was the perfect culmination of everything in my life up until that point, and I believe the perfect prelude to whatever new mountain lies over the next hill.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
A few words of gratitude: Deep, unending thanks to the amazing talent of Laura Intravia for both arranging all of this, but also lending her beautiful voice to “I Was Born For this;” to Tommy Tallarico for his unwavering support of Journey in Video Games Live, and especially for including this album as part of his ambitious Level 3 Kickstarter campaign; and finally to Robert Thies for his detailed study of these surprisingly difficult pieces and fierce artistry in performing them.
Additional thanks: Peter Rotter, Christina Lexutt and Gary Wasserman, Vicki Giordano, Milton Gutierrez, Carol Cuellar, Bill Galliford, Ed Lyon and Alfred Publishing, Emma Scott, Meg, Maw, Paw and Sis.
As ever, I am forever indebted to thatgamecompany and Sony for their incredible partnership with Journey. There is no real way to summon the words for how it has changed my life.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
This game ended up being a very personal project, which you wouldn’t necessarily expect from a gigantic AAA franchise. But it’s true, and rather than write a huge essay, I refer you to the PDF that comes with the download. In it you’ll find liner notes that say everything I would’ve said here, plus full credits. And pretty artwork.
Nonetheless, I’ll say again my deepest thanks to Ubisoft (particularly Audio Director Lydia Andrew and Music Supervisor Christian Pacaud, and Publishing Director Jeremy Blechet) for entrusting their baby to me. It was a true privilege.
One last thing: lyrics for those tracks with singing can be found by clicking on that track itself below.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
flOw, original soundtrack album
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
by Austin Wintory
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
Hurry up!
Shipping will be paid by buyer in a separate post-purchase transaction. At the bundle’s completion, an invoice will be sent from Austin Wintory for shipping costs.
Estimated shipping costs: $5 US, $10 Rest of World. Please fill out the attached form when purchased
“I have been fortunate to work on a handful of titles the last decade that have some striking and iconic characters. My amazing collaborator Angela Bermudez has spun them together into a sort of hurricane just for this Groupees bundle. We’re happy to offer 25 signed (by both of us) 11x17 prints on high grade glossy paper! I adore what she made and am thrilled to be sharing it with you all!”
- Austin
Preview: https://i.imgur.com/iwhd6Bv.jpg
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
As promotion goals are achieved, bonuses are unlocked for everyone.
by Austin Wintory
Tracks and sketches put together for a special Groupees release.
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” along with six G.A.N.G. nominations and host of others.
I am ecstatic to be partnering with Groupees once again, this time for a bundle bringing together the last decade+ of my career. It’s a humbling experience, to reflect on all these musical adventures, and a genuine privilege and honor to share it with you all. I dug into my archive of unreleased material and threw in a bunch that I hope will make this extra interesting. I’ve been very lucky in my career, and feel grateful to have a chance to share this bundled uh… journey … with you all! -Austin
Shipping will be paid by buyer in a separate post-purchase transaction. At the bundle’s completion, an invoice will be sent from Austin Wintory for shipping costs. Estimated shipping costs: $5 US, $10 Rest of World.
1
$62.00
Autographed vinyl of 1 album (winner’s choice between “Journey”, “Banner Saga 1”, “Banner Saga 2” or “Absolver”) + “The Rendezvous” CD signed by Austin and the artist (Angela Bermudez)
2
$50.00
Autographed vinyl of 1 album (winner’s choice between “Banner Saga 1”, “Banner Saga 2”, or “Absolver”) + “The Rendezvous” CD signed by Austin and the artist (Angela Bermudez)
3
4
5
