… and we just revealed the new trailer at Summer Game Fest! It’s a tense, cinematic glimpse into the world we’ve been working hard on building.
This time around, the synths take on a life of their own. There’s a pulse running through it all. Hypnotic, gritty, a little eerie. It’s less about nostalgia, more about pushing you into the unknown.
Creating this soundscape has been a very rewarding part of my journey. Hope it pulls you in as much as it did us. Such a great collaboration with the Embark Team and my friend and composer Johan Söderqvist! October 30 can’t come soon enough..
The wait is finally over. GORN 2 is officially out now and I’m beyond excited to share that the original soundtrack is live as well.
Scoring GORN 2 was a wild ride. From bone-crunching chaos to moments of eerie calm before the next battle of carnage, the music was crafted to be as gorny as the gameplay itself.
You can listen to the full GORN 2 (Original Soundtrack) now on Spotify:
The Arc Raiders Tech Test 2 is almost live, and with it comes a brand-new trailer, but this one’s special. It’s not just a glimpse into the next evolution of the game, it’s the sound of wires, oscillators, filter sweeps, voltages, and late-night madness
Composers Patrik Andrén and Johan Söderqvist went deep into the analog cave for this one, modular rigs humming, vintage synths and a mess of patch cables to build a sonic world that feels like the retro-futuristic Arc Raiders!
The result is a score pulsing with tension and texture, gritty basslines, glitched-out arps, and the occasional tape-warped moment of beauty.
Excited to share that The Helsinki Effect has just premiered at CPH DOX! I had the pleasure of composing the score together with my friend Uno Helmersson for this sharp and witty doc about the 1975 Cold War summit in Helsinki. The project is packed with incredible archival footage and newly declassified transcripts.
Performed by The Royal Swedish Orchestra at The Royal Swedish Opera!
MUSIC: Mikael Karlsson, Magnus Birgersson, Johan Skugge, Jukka Rintamäki, Rami Yacoub, Gordy Haab, Johan Söderqvist, Patrik Andrén, Hildur Guðnadóttir, Sam Slater
This panel discussion is organised in the frame of the European Film Music Day (EFMD) event. The EFMD is organised by the European Composer & Songwriter Alliance with the support of the Creative Europe Programme.
The discussion features composers: Nainita Desai (UK), Bobby Tahouri (US), Joris de Man (The Netherlands) and Patrik Andrén (Sweden). The conversation is moderated by Yati Durant (UK).
The panellists give the viewers insight into scoring gaming soundtracks and the challenges and opportunities that come in the video games realm. They also discuss how music in video gaming has come a long way and will elaborate on their music creating process and the differences between scoring for film/TV and video games.
This is the making of the Battlefield 5 Soundtrack! EA invited me to Abbey Road Studios in London back in June 2018, a month after reveal, to witness many of the parts being recorded that would eventually become the Battlefield 5 soundtrack and some of what I recorded is absolutely astounding! 😀
I chatted with Uno Helmersson and Patrik Andren, who I worked with to create the sounds in Zebra Nordsund. They are the composers, along with Johan Soderqvist, for the TV series The Bridge, and we talked about how they go about writing for such an intense, long-running series.
And they also give some insight and advice on writing music and working in television.
Hello guys. How does it feel that The Bridge is coming to an end? Uno:A relief, together with a slight feeling of emptiness. But mostly pride over our collaborative work with the music for all four seasons. Patrik: We first started working on the music for the season one in 2010 and it has been a fantastic journey to watch it grow. So of course it is a bit sad. At the same time I am very proud of the outcome.
How has working on The Bridge evolved between series one and four? And how has the music evolved? [read more…]
Patrik Andrén is a Swedish composer known for his collaborations with Johan Söderqvist and Uno Helmersson on the series Bron (The Bridge) and films such as Kvinden I Buret (The Keeper of Lost Causes) and Fasandraeberne (The Absent One). In recent days, the videogame Battlefield 1 was released on 21st of October, scored by both Andrén and Söderqvist.
MT: Can you tell us something about your musical background?
I have always had a passion for music. I started playing the piano from an early age. My father was a jazz pianist and so was his father. So my choice of instrument became easy. I also played the drums and mallets as a teenager. This never became a principal instrument, but learning about rhythms has been a great asset later in life, especially in film music.
Then at the age of 19 I took the leap across the Atlantic to Boston where I attended Berklee College of Music. A fantastic school! At first, I went there to become a jazz pianist, but changed to film scoring that I studied for four years.
I stayed six years in Boston before I moved back to Stockholm, Sweden. I will not go into every detail, but I did a bunch of different things for a while. I got into pop, I worked as a producer, while gigging and touring. I covered most genres and styles and it was a straggly time for me. The fact that I tried to do so many different things led up to the point where I got fed up and wanted to focus more on one thing; film scoring.
So I contacted Johan Söderqvist and I started assisting him on his films. As the most established film composer in Sweden Johan guided me kindly into a better understanding of film. This mentorship was a pivot time for me for sure and all of a sudden my straggly background of styles became really useful.
