“We’re actually working on that now with Paul. We’re taking the sessions from the record, which were mixed and mastered some time ago, and we’re diving back into those and pulling elements out, and then re-recording more variation, more complimentary sounds. […] You know that you have to make a record and that the record has to make sense and be accessible, and at the same time you know that all of that music is totally destroyable and it’s going to be atomized and rendered in a great number of variations.”

“But the way it tends to play out is that most generated stuff tends towards ambient and quite granular, soft, synth-y stuff because the nature of a computer game as opposed to scoring a film means that the music’s never quite sure what action it’s about to be soundtracking. It could be anything because the player’s got agency. Having a soft, ambient soundtrack that can react very quickly tends to work best, but obviously the further you go in that direction the less memorable, the less melodic it becomes.”

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