Annapurna Interactive’s ‘OUTER WILDS’ – Original Video Game Soundtrack, which features an original score by Andrew Prahlow (composer of the 2017 Mobile VR Game of the Year, ‘Eclipse: Edge of Light’). ‘Outer Wilds’ is an open world mystery game about a solar system trapped in an endless time loop. The soundtrack is now available digitally on Annapurna Interactive.
Andrew Prahlow has been a part of this project since the beta stages in 2013 and has created a perfectly 'ambient soundscape with guitar and synthesizers' to contrast the 'melancholic textures' of the game, which won the Seumas McNally Grand Prize at the Independent Games Festival.
"When asked to compose the music for 'Outer Wilds', I wanted to create a sense of simplicity and nostalgia as the player slowly becomes familiar with the world of the Hearthians. I immediately thought of an old beat up banjo that I had received as a gift a few years prior. This main theme contrasted the melancholic textures of the Nomai - where I crafted ambient soundscapes with guitar and synthesizers, heavily influenced by post-rock. As the player explores the solar system and the story moves forward, these textures become more complex, along with the campfire tunes that are the center of the score.” – Andrew Prahlow
About ‘Outer Wilds’: “In ‘Outer Wilds’, the player-character is an astronaut that starts out camping on a planet near his rocket. Within 20 minutes of game time, the local sun will go supernova, ending the game, though the game will restart at the same point. Thus, the player is encouraged to explore the "quirky and condensed galaxy" to learn how the astronaut got there, why the sun will go nova, the secrets of the Nomai, the alien race that had built this galaxy, and other information and secrets that can be used on the subsequent replays of the game to explore further. For example, in order to use the rocket, the player must guide the astronaut to a local observatory, where the launch codes are located. Once the player has done this once in one playthrough, that information will not change in subsequent ones, so on the next playthrough, the player can bypass the observatory and immediately launch the rocket with the known codes. Though the galaxy repeats the same 20 minutes each time the player starts the game, the galaxy will change over the course over that period, making some parts of planets accessible only at certain times; one example is a pair of planets orbiting so close to each other that sand from one planet is funneled over to cover the other planet, making its surface inaccessible later in the 20 minute period.
The player-character has health and oxygen meters, which are replenished when the character returns to the rocket. If the character's health or oxygen should run out, they will die but respawn back on the home planet.”
About Andrew Prahlow: Andrew Prahlow’s music focuses on larger-than-life, emotive soundscapes with a core of chamber-ensemble minimalism, hoping to create a sense of familiar nostalgia for the listener.
He began his career in music as an intern at John Powell’s studio while completing his studies at the Scoring for Motion Pictures and Television (SMPTV) Graduate Program at USC. From 2011-2014, he assisted on the music of ‘The Legend of Korra’ for Jeremy Zuckerman and also on ‘Kung Fu Panda: Legends of Awesomeness’ for Jeremy Zuckerman and Benjamin Wynn. In 2015, his music was featured in trailers for Ridley Scott’s ‘The Martian’. From 2015-2016, Andrew composed ambient guitar soundscapes for the Madden NFL franchise. In 2017, Andrew wrote an arrangement of ‘Be Our Guest’ for the 2017 Academy Awards ‘Beauty and the Beast’ TV spot, and the score to the Mobile VR Game of the Year, ‘Eclipse: Edge of Light’.
Andrew also writes for mainstream trailer campaigns, including ‘Star Wars’, ‘Avengers,’ ‘Blade Runner 2049’, and ‘Star Trek’.
Andrew Prahlow has been a part of this project since the beta stages in 2013 and has created a perfectly 'ambient soundscape with guitar and synthesizers' to contrast the 'melancholic textures' of the game, which won the Seumas McNally Grand Prize at the Independent Games Festival.
"When asked to compose the music for 'Outer Wilds', I wanted to create a sense of simplicity and nostalgia as the player slowly becomes familiar with the world of the Hearthians. I immediately thought of an old beat up banjo that I had received as a gift a few years prior. This main theme contrasted the melancholic textures of the Nomai - where I crafted ambient soundscapes with guitar and synthesizers, heavily influenced by post-rock. As the player explores the solar system and the story moves forward, these textures become more complex, along with the campfire tunes that are the center of the score.” – Andrew Prahlow
About ‘Outer Wilds’: “In ‘Outer Wilds’, the player-character is an astronaut that starts out camping on a planet near his rocket. Within 20 minutes of game time, the local sun will go supernova, ending the game, though the game will restart at the same point. Thus, the player is encouraged to explore the "quirky and condensed galaxy" to learn how the astronaut got there, why the sun will go nova, the secrets of the Nomai, the alien race that had built this galaxy, and other information and secrets that can be used on the subsequent replays of the game to explore further. For example, in order to use the rocket, the player must guide the astronaut to a local observatory, where the launch codes are located. Once the player has done this once in one playthrough, that information will not change in subsequent ones, so on the next playthrough, the player can bypass the observatory and immediately launch the rocket with the known codes. Though the galaxy repeats the same 20 minutes each time the player starts the game, the galaxy will change over the course over that period, making some parts of planets accessible only at certain times; one example is a pair of planets orbiting so close to each other that sand from one planet is funneled over to cover the other planet, making its surface inaccessible later in the 20 minute period.
The player-character has health and oxygen meters, which are replenished when the character returns to the rocket. If the character's health or oxygen should run out, they will die but respawn back on the home planet.”
About Andrew Prahlow: Andrew Prahlow’s music focuses on larger-than-life, emotive soundscapes with a core of chamber-ensemble minimalism, hoping to create a sense of familiar nostalgia for the listener.
He began his career in music as an intern at John Powell’s studio while completing his studies at the Scoring for Motion Pictures and Television (SMPTV) Graduate Program at USC. From 2011-2014, he assisted on the music of ‘The Legend of Korra’ for Jeremy Zuckerman and also on ‘Kung Fu Panda: Legends of Awesomeness’ for Jeremy Zuckerman and Benjamin Wynn. In 2015, his music was featured in trailers for Ridley Scott’s ‘The Martian’. From 2015-2016, Andrew composed ambient guitar soundscapes for the Madden NFL franchise. In 2017, Andrew wrote an arrangement of ‘Be Our Guest’ for the 2017 Academy Awards ‘Beauty and the Beast’ TV spot, and the score to the Mobile VR Game of the Year, ‘Eclipse: Edge of Light’.
Andrew also writes for mainstream trailer campaigns, including ‘Star Wars’, ‘Avengers,’ ‘Blade Runner 2049’, and ‘Star Trek’.
Jeremy [Six Strings]
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