Interview with the Panda

We spoke with the official soundtrack designers on our upcoming project, ‘Jack the Ripper: Shadow Over Whitechapel’

A crucial component of ‘JTR: Shadow Over Whitechapel’, was a high-quality soundtrack that channels the period of the era and creates a palpable sense of fear and dread. Our Community Manager, Jake Connor, interviewed one of the sound designers, Matthew Walker of Red Panda Audio. Based in Bristol like ourselves, Matthew spoke candidly about how Red Panda took on board our requests, and what inspirations they had when designing such a soundtrack (Fellow owner and sound designer Chris Light also popped his head in).

Jake — How was the music for the game made?

Matthew — The ‘Jack the Ripper: Shadow Over Whitechapel’ soundtrack is very much a product of method composition, it’s incredibly dark. My process for this from start to finish was to starve myself creatively of anything other than the Avant Garde, soundscapes and dark ambiances. Together with typical instruments I also used such props as actual knives to create grinding-soundscapes. I’m a fan of contrast and juxtaposition, I enjoy splicing ideas that otherwise wouldn't be heard together — within the OST I sang the national anthem in varying ranges and voices, played it backwards and applied slight distortion.

My research would contain Horror soundtracks, twisted string pieces with horrible clusters of sound. Whilst researching and during composition I would have unpleasant films and documentaries playing in the background with my only source of light being a small lamp: windows closed, shutters shut. It’s worth noting that the ‘Shadow Over Whitechapel’ soundtrack was composed in June/July.

How did you draw upon the mood of London/England during the dark days of the Ripper’s reign when designing the sound?

Matthew — With regards to mood, I really wanted to focus on the pure sadness and tragedy that befell the victims. ‘Shadow Over Whitechapel’ is largely an organic soundtrack, using little in the way of synths, so using traditional instruments like the Violin, Piano etc help maintain a sense of authenticity to the period. These hardworking people are growing to know of the threat that is out there, so the air around them is totally suffocated with dread and fear.

ON SOUND DESIGN — Chris added…

When creating a soundscape it’s important that one; the sound design is fitting and accurate to the world, two; fits with the music and graphics and three; conjures a believable and immersive world. ‘JTR’ is no exception and we focused our efforts into making the player feel uneasy in the streets of London by using sounds that are suggestive of aggression and space. The subject matter is truly tragic so the mixing and mastering process has given us the opportunity for audio to be more tactile, vintage and with dreamy qualities.

What did you learn about the contemporary music of the day. Was there such a thing as popular music back then?

Matt — Using Classical and/or Folk music of the Victorian era would not have given the project the gritty output that I sought. It was never really my intention to create something that is 100% pure Victorian England. For me, it doesn’t matter what time period you put this nightmare in; the people are real and the tragedies run deep. However authenticity is still key, thus my instrument palette in this case would always include Strings, Piano, Voice, Music Box, Woodwinds, Harp etc but composed in a more Romanticised method.

When being introduced to the project my first idea was to lay an emotional path that delivered the sadness and loss — these were innocent people that somehow were dealt the cards of brutality and mutilation. That was my picture to emote.

The theme music, ‘A Violet From Mother’s Grave’, holds some particular relevance to the Ripper murders. Can you explain what that relevance is, and tell us about your interpretation which will feature in the game?

Matt — ‘A Violet…’ is thought to have been a song that was sung by Mary Kelly (the fifth and final victim), the night of her murder. The entire ‘Jack the Ripper: Shadow Over Whitechapel’ soundtrack is built around this re-arrangement.

The lyrics are again incredibly dark. So too was my imagination — I imagined Mary Kelly tied up, blind-folded, beaten and exhausted. In front of her was Jack, pacing back and forth with only the sound of his boots stomping upon wooden floorboards, grinding the razor edge of two knives together. As terror and the trance-blackness of exhaustion sets in, Mary Kelly prays, but the words and melody of ‘A Violet From Mother’s Grave’ come out. A song she remembers from her childhood. This prayer is her solace and her only comfort in the face of a demon.

I called in a theatre friend of mine Rosie Wake to sing this piece. She delivered a beautiful rendition whilst giving the characterful performance needed. It is more than a song; it required someone that digs a little deeper.

Video games seem to be something of a speciality for you. Why is that, and what is different about making music for games as opposed to film or writing standalone songs?

Matt — First and foremost, I’ve always been a gamer; fascinated by the colours, the sounds and later the concept and mechanics running through the spine of production. I too grew up playing piano from a young age and I remember asking myself as I headed into the final year of university: what shall I do with this degree and experience? The answer was clear, combine music and video games.

Composing and producing audio for video games is certainly our (Red Panda Audio) spiritual home, but as a post-production audio company you have to be flexible across varying platforms and media.