Discover the Musical Magic Behind South of Midnight’s Enchanting Soundtrack!

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As a gamer, I’ve noticed that music in video games usually serves as a supportive element, helping to amplify on-screen emotions but never really stealing the spotlight. However, the music in Compulsion Games’ South of Midnight is something extraordinary. The melodies and lyrics from its soundtrack breathe life into the storyline, intensify the action, and perfectly encapsulate the game’s Deep South vibe. It’s a monumental task that took years to perfect, and next month, we’ll be able to hear the fruits of their labor firsthand.

Game Rant interviewed Olivier Deriviere, the composer of ‘South of Midnight’, and Chris Fox, the Audio Director, about their experiences working on this significant project. They also discussed how Microsoft and Xbox’s support enabled them to extend their work beyond just the game. And here’s great news: The soundtrack is now accessible on popular streaming platforms!

South of Midnight Brings the South to Life Through Music

In Game Rant’s sneak peek at South of Midnight, we pointed out that the soundtrack isn’t just background orchestral music. Instead, it features complete songs within the game that narrate the tales of significant characters and beings. This method of storytelling adds an extra dimension to the action, a point Deriviere, Fox, and Creative Director David Sears settled on after deliberation.

Chris Fox: Initially, Creative Director David Sears played a significant role. Upon his return from the South, where he had spent some time and was actually born, he shared an idea with me: “I believe player actions should influence music, creating a more immersive experience for the audio director.” As the audio director, this presented an exciting challenge. I began searching for the ideal interactive music specialist and composer who could infuse emotion into the music. A sound designer had recommended Olivier to me after witnessing his work on Get Even. Coincidentally, Guillaume, the head of [Compulsion Games], was having lunch with my sound designer, and he too praised Olivier’s work on A Plague Tale. This fortuitous meeting led us to collaborate. We had a mutual acquaintance who knew Olivier’s sister and agent, which ultimately brought us together for discussions about blending music and player actions effectively. And that’s how the collaboration started between me, Olivier, and David Sears.

Olivier Deriviere: “At first, we hadn’t planned on creating songs. We were mainly discussing and evaluating everything according to David’s creative direction since he’s in charge. However, it was soon apparent that there was a tradition in the deep south involving songs. Naturally, we were familiar with this, but questions arose about whether we should strive for authenticity or create our own tunes. It took some time for everyone to grasp David’s vision and decide on the approach.

Later on, we pondered if we should incorporate songs into the game. We grasped the link to the Deep South, but in this context, how could we broaden this aspect within the gameplay? This is when the concept of integrating song elements into exploration and rewards came into play. At an early stage, we opted for what Chris referred to as “concept songs,” similar to concept art. This led us to create one initially, then we recognized the need for one song per creature, and eventually, a second song for all creatures. The narrative would unfold through these songs, and as you gradually reveal the story of each creature, the song could be presented in various forms throughout the level. This entire process took approximately 2 1/2 years to complete, so it wasn’t an overnight decision; rather, it was a lengthy, thoughtful journey.

Olivier Deriviere found it quite a significant task to blend various tunes, harmonies, and a complete score for his largest project yet, titled South of Midnight. Discovering melodies was particularly tough since they had to align with the lyrics. Game Rant got an exclusive sneak peek at the soundtrack and its songs prior to their unexpected online launch today, and it’s clear that the soundtrack showcases a great deal of intricate musicality.

This project marks the largest music production I’ve ever undertaken personally. As a result, it was both nerve-wracking and exhilarating. The reason we embarked on this adventure is because of its challenges. We were fortunate to have the backing of Compulsion and Xbox, allowing us to record in Nashville an abundance of exceptional artists, as well as recording the London Contemporary Orchestra at Abbey Road.

As a composer, stepping into the world of 53 unique musicians alongside an orchestra was like diving into a kaleidoscope of sounds. I had to keep an open mind, ready to embrace each musician’s individuality, and fortunately, they were all eager to immerse themselves in the music. When we hit record, I wanted each musician to feel like they were on a journey with me, not just showing up for a gig. To my delight, they were all deeply invested. They infused each note with their personality, their musical history, creating a tapestry of styles that was as diverse as the musicians themselves. Each song became a testament to their unique talents, something I couldn’t have predicted on my own. This is the magic of collaborating with live musicians – they bring something truly special, something only they can contribute. So, I extend my heartfelt thanks to Compulsion and Xbox for providing us with this opportunity.

Game Rant: Do you have a count of the number of instruments?

Translating the given text into simpler and more conversational language:

“Regarding the guitars, it was about 10, give or take, though I’m not certain. The orchestra for this project wasn’t standard; we aimed to create something unique yet harmonious. Live recording is crucial to me, but for this specific venture, it’s even more vital. Everybody was in the same room, feeling and contributing to the music’s energy. And I believe you can sense that when listening to the soundtrack – the raw power and excitement! We had various instruments like banjo, clarinet, saxophones, trumpets, trombones, guitars, fiddle, church organ, honky-tonk piano, and a children’s choir. The kids were essential as they play crucial roles throughout the game. There’s a deeper meaning behind their presence – it serves a purpose within the narrative.

For the first time, I found myself in a studio recording an orchestra. What I hadn’t realized was that they weren’t accustomed to playing together as a group. This was quite unusual for them, but the joy on their faces as they recorded was truly heartwarming. It was a privilege to sit back and observe Olivier while he worked closely with John Kurlander during the recording session. Although John is no longer with us, his presence and involvement in the project left a lasting impression – one of the most musically rewarding experiences of my career.

South of Midnight Was a Massive Musical Undertaking

Could you provide some insight as to how this current project, which you described as your largest yet, stacks up against your previous ones?

In simpler terms, when creating music for “South of Midnight”, the composition process is more complex than in my previous works like “Remember Me” or “Dying Light”. This is because the soundtrack for “South of Midnight” includes various elements such as songs, deconstructed songs, and an orchestra. In contrast, my other projects primarily focus on orchestral music with some synth tracks. Managing these different styles, spaces, engineers, and vocalists requires bringing in more people than usual, as I’m not just working with the orchestra in a single room like before, but rather collaborating with a diverse group of artists.

In the soundtrack of “The South of Midnight,” you’ll find instruments not commonly used in video game scores, but ones that are characteristic of the Deep South region. These instruments are consistently incorporated into the music, and for Deriviere, capturing the essence of the South was crucial to creating an authentic sounding track.

In our initial conversation with Compulsion Games, the response was unexpected as they are based in the Deep South, but I’m from France. However, David and Chris made it clear that they were not aiming for complete accuracy; instead, they wanted to craft a unique world. They desired to infuse the Compulsion Games aesthetic – an innovative and artistic studio. While I grasped their principles, when the music came into play, we wanted to incorporate elements of Deep South music as inspiration. So, there will be no accurate Blues, Country, or Bluegrass. However, there will be a taste, reminiscent of my childhood memories of my father listening to lots of Deep South American music.

“Fox expressed that one of the reasons he recalled David expressing interest in was humming themes. Fox felt this led to the creation of these songs, and he wanted to ensure they weren’t just imitations. He sought something live, as their previous production had fewer live elements. He questioned if everything could be done live and original, with unique songs that didn’t mimic others. To achieve this, he believed the composer needed creative freedom without being restricted by a list of references. Fox thought this approach would result in something original, potentially timeless.”*

Additionally, there’s a blend of tunes, classic symphonic music, as well as what Deriviere refers to as restructured melodies. This fusion necessitated Deriviere to follow and expand upon the vision of Compulsion’s Creative Director, David Sears.

“As an old-school composer, I specialize in creating melodies which I greatly appreciate. Having songs was the ultimate expression of melody for me. The melody is crucial, and it should be both memorable and harmonious with the lyrics. Since we started with the words for these songs, I had to compose music based on them. There were discussions with David Sears regarding the fit, but generally, the lyrics were so strong musically that it felt as if I didn’t alter anything significantly.”

After penning down the melodies for the tunes, I also consider how they would sound when played by an orchestra. Naturally, I decide which songs will be fully orchestrated and which won’t. For example, on Rougarou, I adore the song, but my initial vision for it was a classic, Sinatra-esque style in its bossa nova version. This is the essence that the composition evokes within me. As a composer, it’s crucial for me to concentrate on two aspects: the rhythm and the melody. Once these are established, you can adapt them to any style, provided you can sing it comfortably.

“Working on this project has been an enlightening journey for me in terms of composition. Olivier once shared a unique tip: playing the fundamental melody using just two fingers on the piano can provide a good example of a well-structured tune. That’s a trick I picked up from him, so now I always strive to play the core of a melody on the keys with only two digits.”

GR: Was there any melody that Compulsion put a priority on?

Translating this passage into a more natural and easy-to-read form,

Initially, we completed two songs, followed by a third called Rougarou. While I’m not much of a singer, I was playing the song and singing it as best I could. David listened carefully to the song and then commented, “I really like what we were doing, but I can see its potential.” He later added, “But this one I truly love it.” I responded with an affirmative nod, because everyone reacts differently to a song. Chris might mention that not every person will respond equally to each song; it’s quite subjective. So, we did our best, and ultimately, it’s up to you to decide which version is the best for you.

“Fox:” “It seems like everyone in the studio has their own unique favorite track. This diversity excites me because each song carries a distinct feel. Since music is so personal, having different emotions evoked by different songs indicates that we may have created something special across the entire soundtrack, rather than just one standout tune.

South of Midnight’s OST Release is Structured Like a Book

The soundtrack for the game “South of Midnight” features an array of uncommon elements, such as the wide variety of instruments used and the live recording made at the esteemed Abbey Road recording studio in London. Deriviere and Fox were granted a unique opportunity during the music recording process, which further highlights why the Original Soundtrack is generating considerable interest and will be available on streaming platforms prior to the game’s release.

Beyond the distinct style of South of Midnight’s soundtrack, the music is receiving exceptional care through a special Original Soundtrack (OST) release. In collaboration with Cook & Becker, Compulsion Games will unveil The Art & Music of South of Midnight Box Set. This set comprises a 160-page art book, a double-LP vinyl soundtrack, an exclusive comic book, and various game-inspired memorabilia. Such a comprehensive release for a game’s music is uncommon, and creators Olivier and Chris shared their thoughts on the significance of this support.

“It’s fantastic that not just Compulsion, but also Xbox, have been incredibly supportive in helping us create a live, entirely organic soundtrack for our game. They recognized the potential of the music as a draw for players too. While it might not be common for players to listen to the soundtrack before playing the game, they allowed us to present the soundtrack as a standalone entity, not just something released if the game is successful. Typically, we handle the soundtrack production but for this project, the music is an integral part of the game itself. We debated whether to release the soundtrack before or after South of Midnight’s launch. However, we made a wise decision to release it ahead of time because the soundtrack doesn’t contain any major spoilers. This way, we can focus on the music and build anticipation for the upcoming game. I believe this was a smart move, and I’m truly grateful for their support, as such backing is rare and deserves recognition.”

As a gamer, I value the trust that’s been built among all parties during this interview, particularly in Deriviere. He’s the one crafting the game we’ll eventually share with the world, and he aims to create an immersive journey that mirrors the experience of reading a book. Not every tune from South of Midnight made it into The Art & Music of South of Midnight Box Set, but that was intentional.

“Explain: “They gave me free rein to do whatever I thought was appropriate. The game’s music surpasses what’s included in the soundtrack. For my taste, a good soundtrack should last around an hour, but it can vary depending on the type of soundtrack you want to create. In this case, since the game is like a book with a beginning, middle, and end, the soundtrack needed to mirror that journey. Therefore, I had to be very selective when choosing songs for the playlist because the music for the game is scattered throughout. However, in order to make the listening experience intriguing, unexpected, and ultimately immersive, I also had to ensure that the journey was interesting. So if you listen to the entire soundtrack, I hope it will provide a sense of understanding for the narrative arc that concludes with the final track.”

“I have great faith in Olivier and his group. Sometimes people can be swayed by many opinions, but music is highly subjective, and this is something I always keep in mind. After all, we all have our individual favorites. Therefore, it was crucial for everyone to trust Olivier. Allowing him creative freedom without too much interference gave him the space to create something he could be proud of and call his own. It’s essential for creatives to feel a sense of ownership over their work rather than being influenced in any particular direction. This is why I believe in this approach, and I hope it continues to foster the best results in the future.”*

As a fan, I’m captivated by how South of Midnight‘s music mirrors its diverse setting. It doesn’t limit itself to one musical style, but instead presents a rich tapestry of melodies that resonate with the emotions and themes of each scene. On its own, the soundtrack showcases the remarkable effort put in by Olivier Deriviere and Chris Fox; however, when combined with gameplay, the music truly shines. Gaming enthusiasts will soon have the opportunity to immerse themselves in this symphony of sound and vision next month, but until then, they can stream the soundtrack or purchase the exclusive South of Midnight Box Set in May.

The game titled “South of Midnight” will be launched on April 8, 2025, for Xbox Series X/S and PC platforms. A preview period, known as Early Access, begins on April 3. You can already listen to the soundtrack of “South of Midnight” on various streaming platforms like Spotify, Apple Music, Amazon Music, and Bandcamp. The Art & Music Box Set for “South of Midnight” is scheduled for release in May.

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2025-03-20 18:13