![]() ![]() “The next person I sought out was Layth Sidiq, who is an Iraqi-born Jordanian violinist and the artistic director for the New York Arabic Orchestra.” As we chat, that same orchestra is recording a track for the game behind us, and little teases of the emotive, minor key composition begin to lay the foundations for what this game is about: innocence, tragedy, madness, revenge. “The first person I reached out to was my friend Emel Mathlouthi, who is a Tunisian artist and performer based in New York,” he says. Mirage, like the rest of the Assassin’s Creed series, needed to be as historically authentic as possible … and an electronic composer from Connecticut knew he couldn’t do that by himself. Perfect for a video game soundtrack, then. Ubisoft approached him because of the nature of the work he’d done before similar to Jesper Kyd – the musical architect of the entire Assassin’s Creed series – Angelides is renowned for fusing the orchestral and the electronic, creating weird electronica that’s powerful enough to capture your attention but understated enough not to overwhelm. “It was an opportunity to connect with a community that has a tremendous wealth of talented musicians.”īut Angelides does not have Arabic heritage, and did not come into the project with a depth of knowledge about how music from that part of the world works. “When I first learned that the new Assassin’s Creed takes place in 9th-century Baghdad, I was excited at the prospect of diving into unfamiliar territory,” he explains to me in the middle of a recording session, where the last organic elements of his score are being finalised by the New York Arabic Orchestra.
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