Having the support of a company like Studio MDHR has always felt like a huge blessing, and an opportunity that many composers wouldn’t have until much further into their careers. What were you most excited about when creating the new tracks for the DLC? My mindset for the first game as well as for The Delicious Last Course was to think of things less as a 2010s composer writing ‘30s era music for an ‘80s-style arcade action video game, but rather trying to ask myself, “What if the golden age of big band, the golden age of Hollywood, and the golden age of video games existed at the same time? How would composers such as Ellington and Joplin, Steiner and Korngold write for video games?” This time around, I got the chance to watch a load of classic films and soak in their scores, so it hardly felt like research at all. A lot of what went into crafting the score was just spending the time to really delve into music from the era. As the original game expanded, so did the sound palate - which went on to include things like classic Joplin-esque ragtime, a barbershop quartet, and even tap dancing. Given Cuphead’s unique aesthetic, how did you go about crafting a score to match the visuals of the world?Ĭhad and Jared Moldenhauer, the founders of Studio MDHR, knew early on that they wanted era-specific big band for the soundtrack. Other than that, I can’t say too much about the new music in The Delicious Last Course because we don’t want to spoil any surprises - although with nearly 120 musicians involved, I think there will be something for everyone. Some of this process can be seen and heard on our behind the scenes ‘Recording the Overture’ video released this past December. While this seemed like a better idea before COVID restrictions made recording very challenging, our recording engineer par excellence Jeremy Darby figured out not only how to record safely, but to do so while achieving a wonderful, full and cohesive sound. But in researching ideas for The Delicious Last Course, I realized just how many more musical worlds from that era we could explore.Ī big development for this game was the decision to have a full orchestra to achieve that lush, early Hollywood, early Disney-era sound. It didn’t feel like there was much else we could have added. Kristofer Maddigan: After the original game came out, I really thought that we had ‘kitchen sinked’ that soundtrack. SPIN: With how anticipated this DLC is by fans, what can people expect from it from a musical perspective?
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