We pretty much had free reign with this one since we weren't tied to any particular cut-scenes or gameplay. This was written as an end credit suite and it's one of our favorite pieces on the soundtrack. It just felt like the right way to end the journey and wrap up the score with one final emotional push. At the very end of this cue we used a full choir for the first (and only) time in the whole score. It's been a long road for Titus and the music needed to add that additional weight to his every move. Without giving away any spoilers, the music starts off a bit uncertain and emotional. This music plays during the final cinematic of the game. The Taiko drums are actually live but most of the percussion is processed in the Kyma workstation. Lots of distorted pads and crunchy percussion. This is one of them however it was edited for the soundtrack release. Chaos was supposed to sound completely different than the rest of the score. There are a lot more Chaos cues in the game. Listen to this cue on a good sound system with a sub. While we were trying to stay away from using too many synth sounds, at 1:53 you can hear a new melody played by a custom patch by some freeware synth. It became quite a versatile melody even though it's fairly chromatic as well. Even though the Inquisitors' theme sounds quite dark and disturbing here, the theme was composed in a way where it can be played with major harmony supporting it as well. It's immediately followed by the low brass playing the theme for the Power Source. This starts out with the cellos playing the Inquisitor Theme. It just seemed to fit the Space Marines better than the more energetic and disjointed type action music that we might normally feel inclined to write. We went for longer, broader phrases in a lot of the action material for this game. This is the track that replaces Prelude To War in the big set piece where Titus is obliterating orks by the hundreds. It seems really simple but was rather complicated to write. The strings were edited to create this odd counter rhythm to the percussion. We wanted this cue to really to feel ‘weird' and out there. This cue was actually constructed by cutting the live orchestra recording up and treating it like samples.
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