![]() "The characters are quite funny guys so we really needed that juxtaposition. "The original classical score by Mikael Karlsson works as a foundation for the war, the battlefields, the threat, and a theme for the antagonist," he says. The juxtaposition of those two elements – fun and terror – makes for a pretty sleek package." Additionally, Strandberg added some licensed jazz to the mix as well. ![]() The music is exciting and serious, I think, and will give a good backdrop for the story. They form their own mission and their own standards, and they get to know each other very well, but the environment that they are in is not in any way 'fun' or 'laid back.' Stefan felt that the score should remind us about this." "We went for a very dark, strong and sinister tone in the music, and some really hitting production on top of that. "It's a fun shooter, and the characters are loose-cannon, likable guys who find themselves in a war that maybe isn't really theirs, you know.like any soldier must at one point or other. "I was given the instruction to counter the laid back humorous quality of the game with some power and serious force," says Karlsson. Keeping Bad CompanyEarly work started almost two years ago with Karlsson and Strandberg bouncing ideas off each other as well as PMW's Tobias Wagner and Roman Vinuesa who also contributed to the project. "Games are still finding new genres to explore, and the level of innovation and ambition that has (to some level) gone out of Hollywood still lives in games," he says. Though not a gamer himself, the idea of working with the medium had definite appeal. Karlsson in turn was excited to work on a video game for the first time. He and Karlsson had known each other for years previously, and after seeing the resources that PMW had at their disposal, Strandberg knew the company could handle the kind of score the game would need. Please MusicWorks was originally introduced to Bad Company by audio director Stefan Strandberg of developer DICE. ![]() And these days he works from Please MusicWorks, the music production company he helped found. Not a bad record for a former liquor retailer from Sweden who first moved to New York in 2000. As mentioned, Karlsson writes concert music as well, and his works have been performed at such prestigious venues as Carnegie Hall and Lincoln Center. Instead, he more resembles the prototypical avant-garde artist, having written music for art installations, modern dance, and experimental films, all while holding a teaching position at the Aaron Copland School of Music in New York City where he earned his master's degree. Mikael Karlsson is something of an anomaly among game composers, fitting neither the typical Hollywood mold nor the less flashy in-house composer type. "I write a lot of avant-garde concert music, so believe me… I could have gone much further out on any given limb had the narrative warranted it, but this is about the game and the player's experience is the main concern, and I think this score will both challenge and excite the gamers." We didn't want to completely go against all expectations, but we didn't want it to be just another flawless but pointless action score either." "Strings are so incredibly versatile, and second to a piano I think a string ensemble is the broadest small chamber ensemble that you can work with while staying reasonably within conventions," he continues. "If you want to be heard as a composer in that genre – if you want to affect the audience and push the story – you better do something that's out of the ordinary. "Sure, you rely on your company, but when you're in a situation with such enormous costs on the line, in the end there's only you." "Orchestral music for war games, as well as for action movies, is so very formulaic that it almost becomes a gesture or a symbol more than an actual musical statement," he continues. "It makes sense if you think of how isolating a battle really must be," composer Mikael Karlsson, explaining the reasoning behind the game's signature string quintet sound. Though there are a few comparatively traditional orchestral cues in the game, players may increasingly find that war sounds more like classical chamber music infused with African rhythms and percussion. This story naturally called for accompanying music, but what results is far from an ordinary game score.
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