Hello everyone,
Music is more than just a background track. It enhances every beat of the world you play through whether it’s building tension as you scout through a bandit camp or the rain trickling over your first shelter as your settlement grows.
With our newest update underway, we knew this region needed a new unique voice to fit the atmosphere alongside the new challenges and secrets. Capturing that feeling is our composer Jakub Pietras.
To showcase this we have a behind-the-scenes video where you can watch as Jakub discusses his creative process and demonstrates how he builds and blends instrumentation with modern composition to bring the Halmare isles to life.
VIDEO HERE
When you are faced with a new area or specific game moment, what’s the first step for you? Do you choose a specific instrument or melody to capture the theme of the area?
It really depends, but usually when I start a new area I don’t look for one specific sound. I try to find a sound pallet, so really, a mix of instruments or textures that can later define that region and once the pallet feels right then the melodies often come together organically
Can you describe the sound of Halmare Isles overall and the themes you wanted to go with when making these compositions?
The sound of Halmare Isles was meant to remind you of the sound of mediterranean islands. To stay true to that we researched the music of that region and worked with real musicians who knew about traditional Greek music. But we also had the freedom to add our own modern twist to it and to sort of make it our own, as you know Bellwright isn’t really a historic game.
Was there anything specific when it came to the concept art or lore of the isles that sparked any musical ideas for you?
The first thing I saw was early gameplay footage and that actually helped a lot. I could feel the pace and mood of the place right away. So I saw the open fields and settlements, cities and beautiful coastlines and all of that said a lot about how the music should behave. So I knew right away that it needed to feel organic, but also spacious and feel like it’s part of the environment.
When you’re struggling to find the right sound for an area, what do you usually do to overcome that “block”?
If I get stuck, I usually just step away. Sometimes I go outside, walk my dogs, clear my head a bit. But for Bellwright specifically, I listen to a lot of traditional Greek folk music and Byzantine music that helps me get into the right mindset a lot.
How do you decide on the instrumentation for your composition? Do you include specific instrumentation to match the historic significance of the authentic medieval feeling of Bellwright?
Yes definitely, for Halmare Isles I tried to keep a healthy balance between instruments that were historically present around the medieval Greek islands. So the instruments like the oud or the Cretan Lyre and a bit of freedom to expand that pallet. Because I was encouraged to experiment, I also brought in instruments like the Cretan Laouta as well which are much, much younger instruments. So even though Bellwright isn’t strictly historical, I like the idea that everything you hear could exist in some version of that world.
What is one specific tool you can’t live without when it comes to making these compositions?
To be pragmatic, it’s my computer and my digital audio workstation. For this project in particular, It would be my microphone. I personally recorded several instruments for the game and without that mic none of that would be possible.
Are there any small details within the music that you’re really proud of? Perhaps some hidden sounds in the score that players might not notice?
There’s a mix of colors from all sorts of traditional instruments in the game, but one of them was actually self-built from a make-your-own instrument kit that my friends gave me. It has plastic strings which actually sounded much closer to gut strings than the metal strings. Because historically, metal strings are a fairly new invention. So building that instrument was kind of my way of recreating that sound a simple sheep farmer would have in his hands centuries ago.
It was really fun to work with this instrument.
What is your favorite part of working on a game like this?
My favorite part is by far when the music and the gameplay all start working together. That's the moment you know it’s real. It’s a great feeling.
Is there anything else you would like to say about the composition or what you would like players to know/feel?
I just hope the music helps create an immersive experience for the player and that it's something that they generally enjoy.
As always, Bellwright is in Early Access, and your feedback is vital. If you encounter any bugs or have suggestions, please report them at