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Though Cory and I experimented with reusing themes from the older games, we decided that the classic music really did not fit in the new game. With that in mind, I set out to compose a new theme for Kratos, one that could guide us through his journey. For the early prototype, I composed a melancholy lullaby in a lilting waltz, featuring nyckelharpa and a small string ensemble. The melody was disarmingly gorgeous, nothing like what one would expect from the main theme of God of War.
The majority of recording took place during a two-week blitz, with sessions running literally twenty-four hours a day, due to geography. While the Sony music team and I traveled to Europe, recording teams in Los Angeles produced soloists locally, and supervised the large choir sessions taking place simultaneously in Prague. While we were in Iceland recording choir, we also remote-produced more chorale sessions back in London, sessions that had to take place after Icelandic the choir to ensure proper pronunciation. During this time, I was either conducting orchestra, or listening to audio clips from other sessions to offer input. Once in a while, I slept.
At the end of production, I had written and produced over six hours of original score for God of War, music that was then edited and implemented by Sony audio teams into a musical experience to underscore the entire gameplay experience with ever-evolving and adapting custom score. When I put my baton down, I thought I was done. In the months leading up to the game’s release, however, I was surprised at Sony’s enthusiasm (bordering on insistence) that the music in the game’s massive marketing campaign be consistent with the score for the game itself. Anyone who ever pays attention to music in trailers knows that it rarely directly reflects the score to the product being marketed. For God of War, the music in all trailers, promotional events, and BTS videos is almost entirely drawn from my score.
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