Behind the Scores: An Exclusive Interview with Benedict Nichols, Master Composer of OMNO and The Falconeer

When you jump into a video game, you get lost in the world—stunning visuals, tight gameplay, and epic moments. But what about the music? It's always there, setting the mood, pulling you in, and making every scene more powerful—often without you even noticing.

I had a great chat with Benedict Nichols, the Ivor Novello-nominated composer behind OMNO, The Falconeer, and Before We Leave. We talked about what goes into making game music, how sound shapes the experience, and the creative process behind those unforgettable soundtracks.

If you've ever been moved by a game's music (or wondered how it all comes together), this one's for you.

Bringing Worlds to Life Through Music

Q: Music can make or break a game's atmosphere. Where do you draw your inspiration from, and how do you go about shaping the sound of a game to fit its world and story?

A: That's a deep first question! Inspiration can come from everywhere and anywhere, but first and foremost it's the game in front of me. The artwork, the story, the atmosphere the developer is going for. Then, the more time I sink into the project the more it runs constantly in the back of my mind in everyday life. A fragment of a melodic idea might come to me in the white noise of the shower, or while going for a walk in the woods or staring at the sea…or often, and frustratingly, JUST as I'm falling to sleep (or before I wake up!). How I then craft those musical ideas to fit the world and story is a marriage between what I want to do artistically, and the technical boundaries of implementation. In the case of Bulwark, for example, I had developed the sound of the world in the previous game (The Falconeer), and so creatively it was about taking sonic world forward 40 years…how had the music of the factions changed? What instruments were they still using after the big war? Etc etc…but then technically, how I can match the bringing together of different factions in one settlement, where the player can build quickly, but still create the right atmosphere the developer (Tomas Sala) wanted? And then also reflect the size of settlements, the return to power of factions, the deep waters etc. In the end all these considerations help shape what I do creatively so that the music feels as much 'of the world' as possible. And for me, that is key.

Working Across Different Genres

Q: You've worked on a lot of different types of games, from the serene landscapes of OMNO to the deep, atmospheric world of The Falconeer and Bulwark. How do you approach composing for such vastly different styles? Do you have a process, or is it different every time?

A: I think the first step is common for most projects I work on: Find that unique sound that matches the game. Whether it's one instrument, or 30 seconds of music… what is it that really resonates, both for me and the developer. There is of course experimentation in finding that, and I can spend many many hours in my studio searching for it, but once I've got it, it's a bit of a "Eureka!" moment. Excitement and relief comes flooding in! For Omno it was a 16 bar extract from an early demo track that the developer (Jonas Manke) and I both loved…every time I listened to it it felt like waves of gentle euphoria washing over me, so that feeling was my north star for much of the rest of the game (it's used in game when you surf). If I could sit back and listen to a track, forget that I had written it and feel that euphoria, I knew it was ready. That is often the case for me; If I can play the game with the music in, and forget that I wrote it - just get absorbed in the game - then I know I'm on the right track. I'm extremely critical of my own work (as is any composer I suppose)…so it takes some work to get there!

Do You Have a Signature Sound?

Q: Some composers have a signature style that carries across their work, while others like to reinvent their approach with every project. Do you think there's a 'Benedict Nichols' sound, or does each game lead you somewhere new?

A: I don't really know to be honest. I once asked AI and it said my signature sound was taking acoustic instruments and using them in unusual ways…literally because it took that from an interview for The Falconeer….and I laughed, because that is certainly not the case! I love writing in lots of styles, each gives me a different thrill. On the rare occasion when I have time to write music for the pure joy of writing music and expressing myself, its tended to fall into one of two categories…Bombastic hybrid orchestral, or serene melodies and heart-tugging emotions (at least for me!). It's good to get those off my chest sometimes so I'm not distracted by the temptation to satisfy my own creative urges at the expense of a project. (That said…listen to some of my music for credits - I GO FOR IT in credits :D )

Your Collaboration with Tomas Sala

Q: I recently had the honor of chatting with Tomas Sala about Bulwark: Falconeer Chronicles. How did you two first connect, and what was it like working together to create the game's soundscape?

A: We first met online. He was posting early dev vids of awesome aerial combat for The Falconeer and it immediately resonated strongly with me. I just knew that I wanted to write music for it….I felt I had something special to bring to it and could do it (plus loved aerial combat games from my youth)…. I contacted him and we had a chat. He told me what sort of instrumentation he was looking for - he was especially keen on Mongolian singing. I went away and wrote a track for combat that was brutal, bombastic and brought together instrumentations you wouldn't often hear, and he loved it. He put his trust in me and off we went. He afforded me a lot of freedom to try out unusual things in creating a new world's sonicscape, which is why The Falconeer soundtrack has such a wide range of instruments in it, and so when we came to Bulwark it was a straight forward extension of that. We chat very regularly, so the the throwing around of ideas comes easily, and all we really had to do for Bulwark was work out how the dynamic music system would work, and that first feeling in game. Once we had that, I would deliver tracks and sound design, he'd implement, and then we test….and very rarely were adjustments to already created tracks needed. As the game evolved from a visually stunning peaceful kit-bashing builder into the unique hybrid experience it is now with its wars and politics and trading, the music I was writing evolved too to reflect that grander scale…. The music evolved as the game did, which is great. It's always an enjoyable work experience when you are step-by-step alongside the developer.

Click here for the full Soundtrack

Toughest Project So Far?

Q: Every creative job has its challenges. Was there a particular game that really pushed you as a composer? What made it so tricky, and how did you overcome it?

A: I think a lot of composers would say that the hardest project they've ever worked on is their current one. The one that they are currently stressing and/or procrastinating over… For me, that's currently Otherskin. It's a third person action adventure, and on a different scale from other recent projects, and has been developed in a somewhat more modular way which has certainly made it more challenging. I'm both the composer and Audio Lead, so my time gets split between directing a small team of sound designers, management meetings, mixing, QA, bugs etc. There has been considerably less time to focus on just composition. I could have compromised at the design phase and decided to write less music, but compromise is not really my style! So I defined myself parameters for composition, rules, instrumentations, and stick to them as much as possible. This makes the writing easier and music coherent within the game world. We'll have to see whether or not I've successfully overcome those challenges when it releases later this year (release date not confirmed)….eek!

Exploring Different Styles

Q: Your music has such a unique blend of sounds and textures. Are there specific styles or genres you enjoy experimenting with the most? Do you ever challenge yourself by stepping outside your comfort zone? And when you're not composing, what kind of music do you enjoy listening to just for yourself?

A: I don't think there is any style or genre that I enjoy experimenting with the most, but I do always like to challenge myself…in part to keep the job interesting and not rest on my laurels, but also so that the project doesn't feel generic. Sometimes I get to use large orchestral forces, and maybe twist them up a bit, and I absolutely love that, but not all games need that. The unique blend of sounds and textures always comes about from trying to find what I think is the right sound for the project. They are often the result of working with limitations…most are produced by twisting samples or recorded sounds in my studio… and so the challenge is to come up with something new from the resources at my disposal. I am a lover of melody though, so I will rarely rest with just an ambient production…I will push and see if melodic content can be added without detraction, which I suppose helps create a certain unique signature…. And then sometimes the challenge is for me to say "No, that's enough. It doesn't need anymore." Sometimes the developer needs to say that!

Currently I'm listening to a lot of kids nursery rhymes (we have 2 boys under 2!)…but generally I will try and listen to a bit of everything. When I can I check out the latest big games soundtracks both in game and the OST release to compare, but I also love gospel music, big band, jazz, fusions, hybrid orchestral or just classical (though generally late-Classical period onwards… I got a lifetime's worth of preludes and fugues as a youngster!). Whatever amazes me or makes me feel something.

Why Gaming?

Q: What brought you into the gaming industry in the first place? I know a lot of musicians (myself included) who don't always think of game music as a career path. What would you say to composers in other industries—does working in games open new doors, or do you think it's a niche that's not for everyone?

A: As a youngster I played a lot of The Settlers with my oldest brother. At the same time I was discovering improvisation and composition both in classical and jazz forms, and so I wrote my own soundtrack for the game on a Technics PR602 that's still sat in my parents house. I then did the same for ES: Oblivion when I eventually discovered DAWs (Garritan Orchestra was my first sample library purchase..I was so naive I first thought it was a hardware synth because of the pictures!)… From early on I knew that writing for games was an exciting prospect, but I didn't really know how to get into it other than writing for mods and Unity Asset store. My first paid gig came about because one of my brothers was a coder for Battle Camp (an early iOS hit). He was sending me bits of sound design and music that their sound designer had produced that weren't always fit for purpose and I'd fix them. Eventually I got to have a call with their producer and they offered me a try out. 2 weeks to write 2 x 1min loops and create some sfx. I got the gig. They never paid great, but I got to practice writing to a wide variety of briefs, for which I will always be grateful.

It is a bit niche, but its a BIG niche with room for composers of all styles…it's one of the wonderful things about games. It's such a varied and rapidly evolving art form. On the practical side, some gigs are nice and straightforward, or will fit a new composer to the industry like a glove, and they go great. But there can be a lot of iteration. Writing dynamic music, that may or may not loop, that seamlessly transitions in/out, that doesn't get boring, and that brings interest but not too distracting, is challenging and brings hurdles to the composition and production process…which could lead to creative frustration. Composers tend to have at least some knowledge of integration methods too, and learning middleware (FMOD, WWwise etc) is very helpful. Fortunately, there are loads of resources on all this, so while its a bit niche to have to learn all this as well as be a proficient composer and producer, it's usually ok. Give it a go… it might open big doors, and it doesn't have to limit you to composing just for games. You're a composer first and foremost, games just happen to be one of the mediums your work is presented in.

Advice for Aspiring Game Composers

Q: For musicians looking to get into game composition, what's the best piece of advice you could give? Anything you wish you had known when you started?

A: Where to start… For many, it takes a long time to establish game composition as a career. Don't put all your eggs in one basket, have a side job that gives you time to compose still, but don't give up. Somewhere, someone is looking for your talent and has a budget to match. It just takes time…Forge friendships. Care passionately about what you do. You are not just writing music, you are providing a service. It is a marriage of your unique creative spirit and the demands of an entertainment industry (and usually a pressured developer who will appreciate every extra effort you put in). Aim for perfection, and you'll achieve a high standard….if you aim for just good, you'll only get mediocre. Spend your money on gear wisely. You'll probably need an orchestral library as a basis, research thoroughly and learn it well…its amazing what can be achieved with even the cheaper options. There are lots of free sample libraries out there too which are great for adding a unique touch, and of course don't forget to make use of any live instruments you can… those unique elements may be what helps you stand out and land your first gig.

Study everything. Practice writing in different styles (the results of which may be handy for quick pitches). Give yourself space to create. Get outdoors. Be grateful for any and all feedback, and remain professional at all times.

Where Game Music is Headed

Q: With the way game music is evolving, where do you see things going in the next few years? Are there any trends or changes in the industry that excite you?

A: Well, the big concern in the industry at the moment is AI. It threatens the industry in various ways, including the livelihoods of composers. However AFAIK, it (so far) has not created anything really 'new' of exceptional standard, and we can take some solace in that. Hopefully there will always be developers and filmmakers who will value the humanity in the creative arts. I don't spend a lot of time dwelling on the bigger picture, as I'm too busy working with my clients or looking after family. I think if we stay focused on crafting unique, engaging experiences that either touch the human soul and/or provide a moment of enjoyable escapism from the struggles of life, then I will always be excited to work in the industry, whatever the project is, wherever the industry goes.

Q: With so many projects under your belt, is there anything exciting on the horizon? Are there any upcoming works or creative endeavors you're particularly looking forward to? And if there's anything you'd like to share-a little glimpse, a teaser, or just a hint—we'd love to hear about it!

A: Yep, there are a few exciting projects! Otherskin releases soonish (https://www.youtube.com/watch?v=IkBhZc2qQQs), Beyond These Stars will go into EA some time this year (sequel to Before We Leave which was an absolute joy to work on) and then of course there are the next projects from Tomas Sala and Jonas Manke (Kibu: https://www.youtube.com/watch?v=7M1ejFqX1b8) which always get me excited…Im also just starting out on scoring a few other smaller indie projects, but their releases are further out (EdenFall being one of them). If anyone needs a score for an awesome RTS, well that would be a creative endeavour I'd certainly look forward to :D

Discover More

For those who want to explore more of your work, where's the best place to find you? Are there any platforms where people can listen to your music, see what games you've worked on, or even check out some of your earlier work before you started composing for games?

My website is www.benedictnichols.com. It's a bit out-of-date due to NDAs, but there is all sorts there, some of it going back a long way….you can hear some of my early attempts at hybrid orchestral, and some of the battle camp tracks for example! 

The nicest way to listen to most game composers work, and support us, is to purchase the OST through platforms like Bandcamp, where we receive a better cut. Soundtrack sales tend to be the only long-tail earner for composers between gigs so they can be important for our survival.

If anyone has any questions, I'm always happy to answer them (project specific or career-wise). I can be reached via twitter @BNicholsMusic, bluesky @BenedictNichols or my website.

Cheers!

Highlighting Key Projects

While Benedict Nichols has contributed to a wide array of video games and films, let's take a moment to highlight a few standout projects that exemplify his exceptional talent and versatility:

• The Falconeer: This game showcases Nichols' expertise in blending orchestral depth with electronic elements to enhance the mystical aerial combat experiences. Its soundtrack contributes immensely to the immersive atmosphere of the game.

• OMNO: Nichols crafted a serene and ethereal soundtrack for this adventure game, which has been praised for its ability to complement and enhance the contemplative gameplay experience.

• Dread Hunger: Known for its intense thematic music, Nichols' compositions amplify the game's suspenseful atmosphere, making each session uniquely compelling.

• Color Guardians: Demonstrating his role as audio director, Nichols created a vibrant and engaging soundscape that matches the game's dynamic and colorful visuals, enhancing the overall player experience.

• Battle Camp: Recognized as Apple's Multiplayer Game of the Year 2013, this game features a dynamic audio landscape crafted by Nichols, which played a key role in its success and popularity.

These projects are just a snapshot of Benedict Nichols' capabilities and achievements in the realm of game music composition. Each piece of work not only showcases his versatility across different musical styles but also his ability to enhance narrative and gameplay through sound.

Discover More About Benedict Nichols

For those interested in exploring more of Benedict Nichols' diverse and expansive work, be sure to visit his official website. There, you can discover the full range of his projects, from indie games to major cinematic scores, and experience the depth of his musical contributions to the gaming and film industries.

Explore further and stay updated on his latest projects by visiting Benedict Nichols' website.

Our journey into the world of video game music with Benedict Nichols has not only illuminated the intricate craft behind the scores that define our favorite games but also emphasized the passion and dedication that composers like Benedict bring to the digital table. His stories and experiences remind us that behind every captivating game experience is a layer of profound musical artistry that often goes unnoticed. As we continue to explore new gaming adventures, let's remember to listen a little closer to the soundscapes that accompany our digital escapades. For those inspired by today's conversation or curious to hear more of Benedict's work, be sure to explore his soundtracks and follow his ongoing projects. Music, after all, is a core thread in the fabric of gaming, weaving emotions and narratives into an immersive tapestry that enhances every playthrough.