May 29, 2014

  • Deriviere's Haitian-Influence Score for Assassins Creed 4

     

    Ubisoft’s Assassin’s Creed series is one of the best-selling collection of video game titles for Playstation 3.  The series has been graced with equally engaging scores as well, most recently by Lorne Balfe and Winifred Philips.  The latest game features a sore by Olivier Deriviere (Alone in the Dark; Destination Treasure Island).  Most likely, the present score will further enhance the composer’s music as the larger budget allowed him a chance to work with original folk music and a full symphonic orchestra, here the Brussels Philharmonic.

    The use of Haitian folk songs in this score immediately comes to the foreground from the opening “The Root”.  The melodies inform the score with the orchestra adding to the rhythmic energy.  The melody here is quite beautiful and effective.  The orchestral writing, as hinted at in earlier scores, is well-developed and complex with a great command of orchestral sound that works well to depict respective sequences.  “The Storm” certainly has plenty of suggestions and is set up to loop well as well as jump to its more action-oriented section.  Deriviere’s harmonic palette also sends us into some very rich areas in sections such as the gorgeous “False Paradise.”  Action music does not settle for straight rhythmic development but adds in a variety of exciting cross rhythms often and sets thematic material against this with often excellent orchestration choices (“Fight the Tyranny”; “Attack at Sea”).  “On to Freedom” is another standout track with folk percussion against orchestral writing, with violin lines suggestive of folk music at times but which become more stylized as the music progresses its energy level rarely abating.

    For this score, Deriviere headed to Haiti where he worked with La Troupe Makandal for performances of the folk songs and dances that he would then incorporate into the score (“Never Again” is one track where they come together).  These musical threads become as important as the other original material in the score, making for a truly fascinating experience.  The Haitian group was recorded and thus added into the orchestral fabric as an important component to the sound of the score.  This is easily one of the composer’s best scores with practically every track here grabbing a hold of the listener.  The Haitian ideas are not used as a gimmick but rather an integral part of the score and even when sections may slide into more contemporary scoring styles (“The Hideout”, “United”, “The Freedom Cry”) the music stills works well.  The different threads presented in the edits here feel as if they would work well in loops with other segments feeling more narrative for connective sequences.  Hopefully the score will make an appearance as a digital download.  For now, it appears it is only available as part of a Limited Edition set.