Gareth Coker | |
|---|---|
 | |
| Background information | |
| Born | May 7, 1984 United Kingdom |
| Genres | |
| Occupation(s) | Composer |
| Years active | 2009–present |
| Website | gareth-coker |
Gareth Coker is a British composer. He has composed work for video games, including Ori and the Blind Forest , Ori and the Will of the Wisps , ARK: Survival Evolved , ARK: Survival Ascended and Halo Infinite .
Coker learned the piano at a very early age. In school, he joined the orchestra and a jazz band and later studied at the Royal Academy of Music, pursuing a major in musical composition. He traveled and lived abroad in Japan for three years, where he taught English [1] and studied various ethnic instruments. [2] He later moved to Los Angeles, where he juggled between composing for video games and the University of Southern California's film scoring program. [3] [4] Coker cites Alan Silvestri's score for Forrest Gump and Star Wars: X-Wing vs. TIE Fighter as inspirations to becoming a composer. [5]
In 2011, Coker composed the accompanying music to the game's prototype after studio director Thomas Mahler had stumbled upon his work. Speaking about the game's musical approach, Coker was given free rein by Moon Studios to experiment with the music and scored the game mainly based on the visuals. [6] He worked with the idea of using instruments that would represent the area. For example, using wood-based percussion instruments for the Ginso Tree area or winds in the Forlorn Ruins. He also worked closely with the game's programmers to balance the pacing and timing of the music. Coker recorded the score at Ocean Way Nashville Recording Studios with the Nashville Studio Orchestra. [7]
The musical score had a positive feedback from critics and fans, [8] [9] garnering nominations for several industry awards, including a BAFTA Game Award for Best Music, as well as a win for Outstanding Achievement in Original Music Composition at the 19th Annual D.I.C.E. Awards. [10] Kirk Hamilton of Kotaku appreciated the score's orchestral approach, comparing it to the works of Joe Hisaishi on the Studio Ghibli films. [11] Yahoo's Ben Silverman called it "a wonderful score" and recalled how it was akin to the score of Howl's Moving Castle. [12]
Gareth Coker continued his collaboration with Moon Studios in the sequel to Ori and the Blind Forest , Ori and the Will of the Wisps . Like with the first game, Coker “worked closely with the entire team over the course of the games’ development, studying the story beats, looking at art assets, and watching how people play the game to make sure everything fit perfectly”. [13] Since the sequel is significantly larger in scale, with more characters and character arcs, Coker was able to further develop the musical identity. "obviously it's more work, but even though it's more work it actually kinda fleshed things out automatically for me because I had more themes to work with, so I actually felt less limited this time around”. [14]
As with the first game's music, Coker's score for Will of the Wisps gained wide praise and recognition from award bodies like the SXSW Award, Ivor Novello Award, the D.I.C.E. Awards, and The Game Awards.
In 2015, Coker was brought on by Studio Wildcard to compose the music for ARK: Survival Evolved. His first track became the main theme for the game. “...it ticked several boxes for Studio Wildcard, who had essentially given me an open brief and also said that they didn't want it to sound like John Williams’ Jurassic Park. It was important for them to have a recognizable main theme and to help evoke a sense of adventure with an element of strife and survival”. [15]
Much of the score was recorded with the Philharmonia Orchestra in Abbey Road Studios. He also attributes the success of the recording sessions to his additional eyes and ears, Zach Lemmon, and his conductor, Alexander Rudd. [16]
Coker utilized many ethnic instruments for his score. “Each biome has its own unique instruments and characteristics, for example, the swamp makes heavy use of the didgeridoo, the mountains make use of various ethnic wind instruments, but the orchestra can help unify things, and also give the ‘epic’ feel that the majority of players are expecting”. [16]
The score for Ark was nominated for a GoldSpirit Award in 2017, and a Jerry Goldsmith Award in 2018
Gareth Coker contributed to the music of Minecraft through the Minecraft Mythology Expansions, of which include that of Chinese, Greek, Egyptian and Norse. For the Chinese Mythology expansion, Coker had personal experience with learning Chinese culture. “Having lived in Japan, China was never far away for a quick trip, and I’ve always been fascinated by Asian music, so a lot of the research was already done”. [2] To make this feel like a blend of both worlds, Coker focused on using solo instruments from the region, such as erhu, dizi, hulusi and xiao, and then limited himself (mostly) to the more traditional Chinese harmony and scales. [2]
For the Greek Mythology expansion, Coker referred to the limited records of ancient Greek instruments, such as the lyra, psaltery, and pipes. To further immerse the listener into the world of ancient Greece, he used the gods as inspiration for the soundscape. “So for Poseidon, I'd focus on making the track sound like it was ‘underwater’, as Poseidon is the God of the Sea”. [2]
Across the mythologies, Coker had the opportunity to work with renowned musicians; among them is Rachel Nesvig, who specializes in the Norwegian Hardanger Fiddle, Karen Han, who specializes in erhu, and Kristin Naigus, who plays iconic wind instruments from different cultures. [17]
He also wrote the music for the Battle, Tumble, and Glide mini-games as well as the Pirates of the Caribbean expansion.
Coker's work for Minecraft ’s Greek Mythology expansion pack caught the eye of Ubisoft. “...they used my soundtrack for Minecraft : Greek Mythology as temporary music. I think it ended up working, and they were like, ‘Maybe we should contact the composer’”. [18]
The soundtrack as a whole is a mix of the orchestral sound, and the esoteric, non-orchestral elements for the magical/mythological aspect. Additionally, Coker commissioned instruments that were handcrafted and shipped across the Atlantic from Greece. [19]
For the expansion of Immortals Fenyx Rising , Eastern Realms DLC, Coker included Chinese instruments into the soundscape. He received guidance from Ubisoft Chengdu, who provided history lessons on Chinese instruments and Chinese music in general. [19] The resultant soundtrack is a rich blend of Orchestral and Chinese elements, but does not go for an authentic experience. Rather, it is made to feel like a unique experience that can be recognized as Coker's style in writing. [19]
Coker worked alongside Joel Corelitz and Curtis Schweitzer on the soundtrack for Halo Infinite. In contrast to previous work, “The challenge was that Halo is the first time I'm stepping into someone else's creation, so it's been about learning the vocabulary and understanding why people like the original Halo music in particular”. [20]
The original Halo score, composed by Martin O’Donnell and Michael Salvatori, is deeply ingrained in the series’ identity. Coker, Corelitz, and Schweitzer's jobs were to balance between honoring this legacy and introducing their own creative vision.
Coker pointed out the importance of silence and space in the soundtrack. “As opposed to a game like Doom Eternal, where the Slayer moves at an intense pace mowing down demons to filthy djent riffs, the reaction NPCs have when they see Master Chief arriving on the battlefield is in and of itself a prompt to let subtler music do heavier lifting”. [21] The score was nominated for a BAFTA in 2022.
Coker was brought on to the score for Mario + Rabbids Sparks of Hope, along with composers Yoko Shimomura and Grant Kirkhope. “The three talents were tactically deployed across the score by audio director Romain Brillaud, bringing different orchestral and electronic sensibilities to the game... Coker helped bring new colours and emotions to specific settings in the game as well as some boss fights, touching on styles including French impressionism to enrich the score”. [22]
Wired heralds the resultant work as “...one of the most ambitious video game soundtracks released in recent years, fusing elements of Japanese RPGs and ’90s film scores with the eccentricity you'd expect to hear in a Mario or Rayman game”. [23] Amongst many plaudits, the score won the Ivor Novello Award for Best Game Soundtrack in 2023.
Coker was brought on with Iranian composer Mentrix for Prince of Persia: The Lost Crown . Coker focused on creating character themes and an intense musical style largely focusing on the cinematics and boss fights with his writing. He emphasizes the importance of thematic melodies for characters, particularly protagonists and antagonists. He highlights the unique blend of various musical elements in the game's soundtrack, including a combination of synths, guitars, Persian instruments, and a 70-piece orchestra. “Between Mentrix and myself, we cover a lot of ground both aesthetically and emotionally, and that is definitely reflected in the game's score”. [24]
| Video games | ||||
|---|---|---|---|---|
| Year | Title | Developer | Notes | |
| 2011 | inMomentum | Digital Arrow | ||
| 2012 | Primal Carnage | Lukewarm Media | ||
| 2015 | Ori and the Blind Forest | Moon Studios | ||
| The Mean Greens - Plastic Warfare | Code Headquarters | |||
| 2016 | The Unspoken | Insomniac Games | ||
| Minecraft | Mojang | Expansion Packs: Chinese Mythology, Egyptian Mythology, Greek Mythology, Norse Mythology, Battle & Tumble, Pirates of the Caribbean | ||
| 2017 | Ark: Survival Evolved | Studio Wildcard | ||
| 2019 | Darksiders Genesis | Airship Syndicate | ||
| 2020 | Ori and the Will of the Wisps | Moon Studios | ||
| Dota 2 | Valve | The International 10 music pack | ||
| Immortals Fenyx Rising | Ubisoft Quebec | |||
| Rushdown Revolt | Vortex Games | with Alessandro Clemente (a.k.a Aless) | ||
| 2021 | Ruined King: A League of Legends Story | Airship Syndicate | ||
| Halo Infinite [35] | 343 Industries | Composed with Curtis Schweitzer and Joel Corelitz | ||
| 2022 | Mario + Rabbids Sparks of Hope | Ubisoft Paris Ubisoft Milan | Alongside Grant Kirkhope and Yoko Shimomura | |
| Arknights | Hypergryph | Dorothy's Vision, [36] Fire Within the Sand [37] and Mizuki & Caerula Arbor [38] events | ||
| 2023 | Ark: Survival Ascended | Studio Wildcard | ||
| The Mageseeker: A League of Legends Story | Digital Sun | |||
| Wayfinder | Airship Syndicate | |||
| 2024 | Prince of Persia: The Lost Crown | Ubisoft Montpellier | Composed with Mentrix | |
| Ark II [39] | Studio Wildcard | |||
| Films and TV | |||
|---|---|---|---|
| Year | Title | Notes | |
| 2009 | Nameless | ||
| 2010 | Unwound | ||
| Ellen | |||
| You Kill Me | |||
| What to Bring to America | |||
| The Incident | |||
| Laugh and Die | |||
| Homeland | |||
| George's 40th Birthday | |||
| 2011 | Buried Alive | ||
| Dysteria | |||
| Upon Release | |||
| Cab 57 | |||
| Waking Up | |||
| The Silence Inside Us | |||
| I Am Rupert Caldwell | |||
| Good Intentions | |||
| August's Claim | |||
| 2012 | Call to Arms | ||
| All Up to You | |||
| Haven's Point | |||
| Dog-Eared | |||
| 2013 | Veritasium | 1 episode | |
| Rise | |||
| Diary of a Teenage Nobody | 1 episode | ||
| The Plagiarist's Game | |||
| Billy in Motion | |||
| Verax | |||
| United Grand Lodge of Queensland Grand Installation | |||
| Dark Power | |||
| Where the Sky Is Born | |||
| 2014 | Thrilling Contradictions | ||
| Rush | |||
| 2015 | Recoil | ||
| The Sweet Taste of Redemption | |||
| Let Go | |||
| 2016 | Emma's Chance | ||
| Mandroid | |||
| 2017 | The Labyrinth | ||
| Resistance is Life | |||
| Moving Art | 1 episode | ||
| 2018 | Level Up Norge | 3 episodes | |
| Buoyancy | |||
| The Price | |||
| 2019 | Full Moon | ||
| The Teleios Act | |||
| 2024 | Ark: The Animated Series | ||
James Hannigan is a BAFTA Award winning composer and producer. His credits include entries in the Harry Potter, Command & Conquer, Dead Space, RuneScape, Evil Genius,EA Sports and Theme Park video game series, among numerous others. He has also scored full-cast adaptations of Neil Gaiman's The Sandman, the Audie Award winning Alien dramas (2016–2019), BBC Radio 4's adaptations of Neil Gaiman’s Good Omens and Neverwhere.
Halo is a military science fiction media franchise, originally created and developed by Bungie and currently managed and developed by 343 Industries, part of Microsoft's Xbox Game Studios. The series launched in 2001 with the first-person shooter video game Halo: Combat Evolved and its tie-in novel, The Fall of Reach. The latest main game, Halo Infinite, was released in late 2021 as a free to play beta, and then had the campaign release later that year.
Bear McCreary is an American musician and composer of film, television, and video game scores based in Los Angeles, California. His work includes the scores of the television series Battlestar Galactica (2004), Agents of S.H.I.E.L.D., Outlander, The Walking Dead, The Lord of the Rings: The Rings of Power, The Serpent Queen, Percy Jackson and the Olympians, Halo, the video games Call of Duty: Vanguard, God of War and God of War Ragnarök, and the film Godzilla: King of the Monsters.
Martin O'Donnell, sometimes referred to as Marty O'Donnell, is an American composer, audio director, and sound designer known for his work on video game developer Bungie's series, such as Myth, Oni, Halo, and Destiny. O'Donnell collaborated with his musical colleague Michael Salvatori for many of the scores; he has also directed voice talent and sound design for the Halo trilogy. O'Donnell was Bungie's audio lead until April 11, 2014.
The Halo Original Soundtrack is a soundtrack for the video game Halo: Combat Evolved. Composed and produced by Martin O'Donnell and Michael Salvatori for Bungie, the soundtrack was released on June 11, 2002. Most of the music from Halo: Combat Evolved is present on the CD, although some songs have been remixed by O'Donnell in medley form for "more enjoyable" listening. The first piece O'Donnell wrote, known as "Halo", became the basis for Halo's "signature sound" which has been heard in the other games of the main trilogy.
Halo 3 Original Soundtrack is the official soundtrack to Bungie's first-person shooter video game Halo 3. Most of the original music was composed by Martin O'Donnell and Michael Salvatori, but also includes a bonus track, "LvUrFR3NZ", which was the winning entry in a contest held before the soundtrack's release. The 2-CD set was released on November 20, 2007.
Olivier Derivière is a French video game composer, best known for his work on the Alone in the Dark, Obscure, Remember Me and Streets of Rage 4 soundtracks. His work on Remember Me won the 2013 IFMCA award for Best Original Score for a Video Game or Interactive Media.
Neil Davidge is an English record producer, songwriter, film score composer, musician, and occasional backing vocalist. Once an associate of dance producers DNA, he is best known as the long-term co-writer and producer for the music production outfit Massive Attack. In 1997, he also produced the Sunna album One Minute Science. During that time he has established a career as a film score composer including projects such as Push, Bullet Boy, Trouble the Water, and additional music for Clash of the Titans.
The Halo 4 Original Soundtrack is the official soundtrack to the first-person shooter video game Halo 4, developed by 343 Industries and published by Microsoft Studios. British record producer Neil Davidge was Halo 4's main composer and producer. The soundtrack was released on October 19, 2012 in Australia and New Zealand, and October 22 everywhere else. A second volume containing more of the score was released digitally on April 8, 2013.
Shani Arshad is a Pakistani film music director, songwriter, TV jingle composer, playback singer and record producer. He has composed music for various television serials and films including Actor in Law, Na Maloom Afraad, Load Wedding, Teefa in Trouble, and The Donkey King. Shani Arshad, as a music composer, has made 16 super hit films background score and 18 television Soundtracks, also he has directed 11 musical compositions in Coke Studio (Pakistan). Shani Arshad also made orchestral music with Hungarian orchestra "Budapest Film Orchestra" for the film The Donkey King. He earned wider recognition for composing the OST of the popular Pakistani drama serial Tere Bin (Kya Hoti Hai Bewafai)
The music of the 2009 video game Minecraft, developed by Mojang Studios, primarily consists of two soundtrack albums by German musician Daniel Rosenfeld, better known as C418. American composer Lena Raine has also contributed music for three major updates to the game since 2020, alongside Aaron Cherof who handled the latest version in 2023. Music included in downloadable content (DLC) for legacy console versions of the game was handled by British musician Gareth Coker.
Ori and the Blind Forest is a platform-adventure Metroidvania video game developed by Moon Studios and published by Microsoft Studios. The game was released for Windows and Xbox One in March 2015, and for Nintendo Switch in September 2019. Players assume control of Ori, a small white spirit, and Sein, the "light and eyes" of the Forest's Spirit Tree. Players are tasked to move between platforms and solve puzzles. The game features a save system called "Soul Links", which allows players to save their progress at will with limited resources, and an upgrade system that allows players to strengthen Ori's skills and abilities.
Moon Studios GmbH is an Austrian video game developer founded in 2010. They are best known for their 2015 title Ori and the Blind Forest, for which the studio was awarded the Best Debut award at the 2016 Game Developers Choice Awards. In 2020, the studio released a sequel, Ori and the Will of the Wisps.
Ori and the Will of the Wisps is a platform-adventure Metroidvania video game developed by Moon Studios and published by Xbox Game Studios. Announced during E3 2017, the title is a direct sequel to 2015's Ori and the Blind Forest, and was released in March 2020 for Windows and Xbox One. A Nintendo Switch version was released in September 2020 by Iam8bit, and a version optimized for Xbox Series X/S was released as its launch title in November 2020. The game maintains narrative continuity with Blind Forest, and follows the journey of series' main character Ori in a new region called Niwen.
Gordy Haab is an American film, video game and television composer based in Los Angeles, California. His work has been featured in works associated with franchises including Star Wars Battlefront II, for which he won Video Game Score of the Year from the American Society of Composers, Authors and Publishers. Haab is also known for his work on Microsoft's Halo Wars 2, for which he was nominated for a 2017 HMMA award. His score for Electronic Arts' Star Wars: Battlefront, won three awards at the 2016 GDC G.A.N.G. Awards: Music of the Year, Best Interactive Score, and Best Instrumental Score. Haab was also nominated for a BAFTA Games Awards for his work on Star Wars: Battlefront.
Anne-Kathrin Dern is a German composer who lives in Los Angeles, California, United States. She is mostly known for her scores in the Netflix's Fearless (2020), The Claus Family (2020–2022), Help I Shrunk My Parents (2018), Four Enchanted Sisters (2020). Her works had been used for Hallmark Media and collaborated with Klaus Badelt on Leap! (2016).
Immortals Fenyx Rising is a 2020 action-adventure video game developed by Ubisoft Quebec and published by Ubisoft. The game was released for Nintendo Switch, PlayStation 4, PlayStation 5, Stadia, Windows, Xbox One, and Xbox Series X/S.
Joel Corelitz is an American composer and sound designer. He is best known for his work on The Unfinished Swan which garnered him a BAFTA nomination for Best Music. His other works include Gorogoa, Death Stranding and Halo Infinite.
The Game Audio Network Guild Awards is an award show that celebrates excellence in video game audio. The awards, which started in 2004, are arranged by the Game Audio Network Guild and held annually during the Game Developers Conference in San Francisco. The first four shows were held at the Fairmont San Jose, before moving to the Moscone Center from the fifth; due to the COVID-19 pandemic, the 18th, 19th, and 20th ceremonies were held virtually.
{{cite web}}: Cite uses generic title (help)| International | |
|---|---|
| National | |
| Artists | |
