How does it feel to exhale after a decade of your life working on this project? It went well, and we just kept working on them together, then went into the studio with John Congleton to make the record.īy contrast, you were working on Kentucky Route Zero, which was released in five parts, over the course of almost a decade. Both of my parents are string players and it has always felt really natural using them in my music when I have the chance, so I convinced her to let me try an arrangement for one of the songs. She asked me to come by a rehearsal space and play through some of the new songs she was writing, and she mentioned wanting to use strings. We had a chance to hang more in 2018 when she was here. We’ve been friends for a long time, and I’ve always tried to see her play when she’s come through L.A.
How did you come to work with Angel Olsen? So I’ve been doing some more of that: collaborating with other people on their work, producing and co-writing, and working on my own music again. That was such a great experience, I really loved that process of being in a studio and collaborating IRL as a contrast to working on the game. I worked with my friend Angel Olsen on her newest record, All Mirrors. I just spent a lot of time going through all of the music and putting together a compiled soundtrack that we just released, but I’ve also been working on new music. We just finished the last episode of the game in November, so I’m in a bit of a transitional space, but there has still been a lot to do surrounding the release. So what is your day-to-day like now that you’ve wrapped up Kentucky Route Zero?
My aesthetic interests have changed a lot, but I’m still fascinated by the process. It was definitely the first place I encountered a lot of the conventions of making records that are still useful now. Our older friend who ran the studio treated me like a peer, and that was really encouraging. You worked in a recording studio in Chicago while you were playing in bands? I sort of obsessively practiced through my teen years. I started playing guitar when I was like 10, and that was maybe the first instrument that I was motivated to spend time with on my own. Both of my parents are musicians, they put a little violin in my hands when I was a toddler, and I took piano lessons-just kind of bounced around to different instruments. But beyond that I didn’t have much experience with them.īut music was a big thing in your life from a young age? I did play some N64 games at friends’ houses and loved those games.
So I never played a video game in my house growing up.
#Kentucky route zero soundtrack tv
We didn’t have consoles, very limited TV access etc. I wasn’t really, because my parents didn’t let us play video games at home. We spoke to Babbit from his current home in Los Angeles about finally finishing Kentucky Route Zero, working with Angel Olsen on last year’s All Mirrors and how growing up in the DIY scene shaped his development as a composer. The result is not just one of the most artistic and affecting achievements in the history of gaming, but a compiled 26-song soundtrack-released late last month-that is just as stunning and surprising. Little did Babbitt know, he would go on to write and record new music (as well as engineer the game’s sound design) for almost a decade. Regardless, he possessed the unique skill set to craft both the ambient electronic soundscapes and harmony-laden folk songs that the designers envisioned for the game’s emotional anchors. It was the first time Babbitt had ever been commissioned for a project. To soundtrack this stunning-and often perplexing-saga, KRZ’s creators turned to their classmate Ben Babbitt, a 21-year-old fledgling musician (and non-gamer) from the Chicago suburbs. Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to track
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