{"id":19691,"date":"2019-10-11T02:18:35","date_gmt":"2019-10-11T06:18:35","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=19691"},"modified":"2019-10-11T02:42:26","modified_gmt":"2019-10-11T06:42:26","slug":"podcast-austin-wintorys-remnants-erica-2019","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=19691","title":{"rendered":"Podcast: Austin Wintory’s REMNANTS + ERICA (2019)"},"content":{"rendered":"

\"\"In 2010 I interviewed Austin Wintory<\/a> after his chilling score for Paul Solet’s psychological shocker\u00a0Grace<\/strong><\/a> (2009) was released on CD.\u00a0In the passing years, Wintory has scored a variety of film & TV projects, but he’s perhaps better known for his dynamic scores for multimedia projects, especially video games (Command & Conquer: Rivals<\/strong>, Abzu<\/strong>, Assassin’s Creed: Syndicate<\/strong>).<\/p>\n

His Bandcamp page<\/a> catalogues the myriad releases on digital, disc, and vinyl, and his latest project is the new interactive game Erica<\/strong>, developed by\u00a0Flavourworks, and published by Sony for PS4 \/ mobile platforms.<\/p>\n

Shot like a feature film, Erica<\/strong> is designed as a Choose-Your-Own-Shocker, with the player given a multitude of options to experience a young woman’s traumatic loss of a parent when a mysterious gift is delivered bearing grisly contents.<\/p>\n

Wintory’s busy career has yielded realized and unrealized projects, and as with any artist, sometimes pitches and demos and whole works don’t lead to successful endpoints. Remnants<\/strong>, which he describes as “a study of rejection,” offers an eclectic collage of themes, cues, and extended pieces from unrealized works, although one project, an aborted video game, is represented by lengthy cues that\u00a0really<\/em> deserve their own release, especially on bass-friendly vinyl.<\/p>\n

 <\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

 <\/p>\n

In our roughly half-hour discussion we touch upon writing for video games, scoring the multiple options in\u00a0Erica<\/strong>, some of the specific cues in the lengthy\u00a0Remnants<\/strong>, and the wisdom that resides within the works of Jerry Goldsmith, and Charles Ives.<\/p>\n

The podcast is now available via GooglePlay<\/a>, iTunes<\/a>, Libsyn<\/a>, SoundCloud<\/a>, and Stitcher<\/a> channels, and early next week an audio extract from Remnants<\/strong> with analogue-styled visuals will be available on my IGTV<\/a>, Vimeo<\/a> and YouTube<\/a> channels.<\/p>\n

Coming next <\/em>are several reviews, including Severin’s Blu-ray editions of\u00a0All the Colors of the Dark\u00a0<\/strong>(1972) + the documentary\u00a0All the Colors of Giallo\u00a0<\/strong>(2018), and Charlton Heston in the forgotten classic\u00a0The President’s Lady<\/strong> (1953) from Twilight Time +\u00a0The Buccaneer<\/strong> (1958) from Olive.<\/p>\n

Thanks for reading,<\/p>\n

 <\/p>\n

 <\/p>\n

Mark R. Hasan<\/strong>, Editor
\nKQEK.com<\/strong><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

In a new podcast, composer Austin Wintory discusses scoring the interactive PS4 video game ERICA + the eclectic music on the compilation album REMNANTS.<\/p>\n","protected":false},"author":1,"featured_media":19706,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6,4,11,1557],"tags":[59,6308,2562,6311,6310,2563,5555,6309,1081,6263,1637],"jetpack_featured_media_url":"https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2019\/10\/AustinWintory_featured.jpg","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-57B","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/19691"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=19691"}],"version-history":[{"count":12,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/19691\/revisions"}],"predecessor-version":[{"id":19712,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/19691\/revisions\/19712"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/media\/19706"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=19691"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=19691"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=19691"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}