Spencer Doran SEASON: A letter to the future (Original Soundtrack)[ARTPL-195] Ja

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Content Introduction Spencer Doran, one half of Visible Cloaks and editor of the Japanese ambient compilation "Kanky? Ongaku (Japanese Ambient, Environmental & New Age Music 1980 ? 1990)," which was nominated for Best Historical Album at the 62nd Grammy Awards, is a leading figure in the contemporary ambient and new age movement. This is the original soundtrack for the road trip adventure game "SEASON: A letter to the future," which Spencer Doran composed and produced over approximately three years for "SEASON: A letter to the future," a meditative exploration game in which the protagonist "Esther" unravels the mysteries of the strange world surrounding her through exploration, documentation, and encounters with people. This collection of rich messages from a warm, fading world allows us to hear the culture and ecosystem through the sentimental ears of the last witness. Spencer collaborated on the production of "SEASON" from the early stages, contributing to the definition of the game's fantastical world and emotional tone. His musical activities have taken various forms, including site-specific audio installations, the compilation of the highly acclaimed "Kanky? Ongaku (Japanese Ambient, Environmental & New Age Music 1980 ? 1990)," and the creation of humanistic futuristic works as a member of Visible Cloaks. These individual pursuits found common ground in the soundtrack of this video game, which takes place in a world where invented cultures are living out their final days. "SEASON" explores what it feels like to live in a particular time and place, and how to pass that feeling on to the future. The protagonist, Esther, is a photographer and sound recorder who uses microphones, cameras, and diaries to reveal the complexities of an environment facing erasure. This documentation is not merely salvage anthropology, but a key to understanding Esther's own past and a meditation on our present. Sound and music are deeply intertwined with the interactivity and narrative of 'SEASON'. Characters are equipped with free-form audio recorders that can capture and play back any sound they hear in the game, triggering revelations about the world around them. These sounds are sometimes musical, and can be heard interwoven with his score throughout the soundtrack?from the organ played in the mountain air, to the ratchet music box that plays the village's "sleep music," to the Aeolian harp played in the gusts of wind in the valley, and the imaginative exotica flowing from the old monk's hi-fi. Spencer collaborated with the 'SEASON' audio team, not simply composing and placing in a 3D context, but arranging the soundtrack for an abstract and evolving experience using Audiokinetic's Wwise software, designed to manage complex audio systems for game platforms. The ambient music in 'SEASON' uses a layering of timbres that Spencer calls the "Venn Diagram model". He explains that "modular layers of various songs are widely dispersed, overlapping each other as they traverse the landscape, and random elements constantly create different combinations." The score functions as a "musical wind." Fragments of sound drift and swirl like the acoustic organisms of the landscape. Just as a composer composes for each instrument of an orchestra, he composes for the voices of the landscape, gusts of wind, obscure imaginary instruments, and drifting radio broadcasts. The music expresses a specific, placeless emotion, like the German Fernweh (a word that means the opposite of homesickness, referring to a state of wanting to go to a place you have never been or somewhere far away) or "far sickness." The piano pieces, in particular, show the influence of early 20th-century Impressionism, Ravel, Satie, Debussy, and D?odat de S?verac. Other historical instruments such as the viol, harp, flute, portable organ (petit-org), and celesta are heard, all expressed within the vivid, hyperreal space he explored in Visible Cloaks. The boundary between the natural world and the non-digestive score is blurred, functioning not as a superimposition on the sound world, but rather as an extension of it. He draws on the work of composers close to the field of acoustic ecology, such as Hildegard Westerkamp and R. Murray Schafer, as well as the research of Steven Feld and Jos? Maceda on what Spaencer calls "reflections of the natural world heard in traditional musical forms." Condensing this rich and ever-changing network of sounds into a traditional soundtrack release was a challenge for Spaencer, but this is music that should be lived and explored, regardless of its form of expression. The music will permeate you to the core, but this music, regardless of the form in which it is expressed, is music that should be lived and explored. Media reviews and more: Spencer Doran, one half of Visible Cloaks and editor of the Japanese ambient compilation "Kankyo Ongaku (Japanese Ambient, Environmental & New Age Music 1980 ~ 1990)," which was nominated for Best Historical Album at the 62nd Grammy Awards, is a talented artist leading the contemporary ambient and new age movement. He composed and produced the original soundtrack for the road trip adventure game "SEASON: A letter to the future" over approximately three years. (C)RS