In this week’s devlog, we speak to Greg Harrison and Michelle Hwu, the composer and audio director for Ambrosia Sky, respectively. They share insights into using sound & music as worldbuilding, discuss the instruments and methods used in composing tracks for the game, and reveal the first full track for the game (demo players will recognize it!): Gerald’s Last Rites.
Can you describe how you approached the music for the Cluster’s different generations?
Michelle: When I first learned where and when our game takes place, I got really curious about how music and art might have been created and preserved in our futuristic, sci-fi world. Kait outlined the three generations of humans that lived on the Cluster, which helped shape my understanding of how music might have evolved over roughly 200 years. People leaving Earth for Saturn would have brought only specific items and materials, which would impact what could be preserved over time. I wanted my early exploration of the music lore to serve as a foundation for our game’s soundtrack.
From there, I came up with some loose guidelines for each generation and how that would influence the game’s sound. For example, I imagined that when people first arrived on the Cluster, wood was scarce, large instruments were hard to come by, and they had to make do with whatever they could find, such as metal scraps from ships, mycelium, and beast bones. That got me thinking about how we could incorporate a sense of primitive technology and accessible instruments into the game’s music, using items like bones, jaw harps, ocarinas, and conches. I was introduced to Grej’s music, which felt like a perfect match for our world — he’s well-known for blending organic and electronic sounds in a really compelling way, and I knew he would be able to bring a great sound to our game.
What different types of instruments and sounds did you play with?
Grej: The Cluster was an invitation to think outside the box and explore what kinds of sounds might have existed and evolved over time in a completely different world. I considered what resources would be available, which instruments might have survived the journey from Earth (and which didn’t), and how those instruments might adapt to new contexts. What if bellows were used as percussive tools instead of for breathing air into a reed instrument? What if bowing a cymbal could transform it into something melodic? What if flutes were resonated by springs? These kinds of questions became the blueprint for the score. My intention was to make the Cluster feel alive — and to do that, I knew I had to build things from scratch.
I began by exploring “found sounds”: scrap metal, bones, springs, pipes and tubes, cymbals, and various synthetic skins. From there, the experimentation really blossomed as I searched for expressive ways to bring these textures to life. One of the main thematic drones you’ll hear is created by playing a jaw harp through a tube and processing it through layers of granular reverb, resulting in an organic, growling sound that feels unique to this world.
Can you describe your process for composing the music that plays during Gerald’s death ritual?
Grej: I really appreciated the team’s approach to death in the game. While much of the score leans into dark, ominous textures, Gerald’s death ritual felt like a space to shift into something gentler, something beautiful.
In contrast to all the bespoke, clustery instruments I built for the world of The Cluster, I wanted to introduce a sound that felt pure and transcendent. For me, the piano embodies that feeling. It’s an instrument that doesn’t exist on the Cluster — almost a mythical relic, a distant memory from Earth. Using it in Gerald’s and Kai’s rites became a way to musically connect them to their ancestors as they cross into the beyond.
The piece itself unfolds like an intimate dirge — not heavy or mournful, but quiet, reflective, and reverent. It’s also one of the only moments in the game where vocals appear, adding a human fragility to the farewell.
How does the music interact with the level design and gameplay experience? How do you account for player action?
Michelle: Grej and I wanted each track to evolve in its own way as the player moves through different levels in the game. We have several distinct mission types, and each one calls for a different musical vibe. Some needed to feel more exploratory, while others had to align closely with the narrative. Then there are moments where the level ramps up into full-on, fast-paced action. While working with Grej, we ensured that each section of music had sufficient variation based on the player’s choices — specifically, the path they take, the duration of their stay in an area, and their subsequent actions. We were constantly thinking about the mood of each level and what we wanted the player to feel at every stage.
Sometimes, the music needed to take center stage — like during the death rites — while other times, it’s more of a background groove for tasks like cleaning fungus off a level or just casually exploring for items. The fact that our main character often wanders through abandoned spaces filled with dead bodies significantly shaped the darker undertones that appear in our soundtrack.
What inspirations did you draw from for the music and sounds of the game?
Grej: Michelle gave me a lot of great influences to start with. One of the main themes we focused on was incorporating throat singing and jaw harps — sounds with deep, organic qualities. My goal was to take those traditional elements and push them into really unconventional, unexpected contexts to fit the world of the Cluster.
Since Michelle and I both have backgrounds in classical and contemporary percussion, we wanted to blend scrap percussion with driving electronic layers. Finding a balance between the raw, natural qualities and the more synthetic, rhythmic elements was key. We aimed to create music that felt fresh, immersive, and approachable, allowing players to emotionally connect with the soundscape while experiencing something new and unique.
Michelle: Some of my early inspirations came from experimental artists who lean heavily on percussion, like Yosi Horikawa and Steve Reich, along with cinematic soundtracks like Mica Levi’s Under the Skin, Colin Stetson’s Hereditary, and Clint Mansell’s Moon. A big focus for the game’s soundscape was capturing the feeling of being alone in space, while still hinting at the vibrant history that once existed there. The phrase “weird and wonderful” became a guiding idea throughout the process, particularly when illustrating how the fungus took over the Cluster and reshaped the landscape.
We wanted to create a fresh, unique take on how a sci-fi game can sound, especially since we’re not making a typical space marine-style title. I’ve always loved using “found sounds” — taking whatever materials are around and turning them into organic soundscapes, which is what led me to work with Grej. He explored new ways to play familiar instruments and gave them a fresh twist.
Do you have a favourite instrument you like to work with, and if it made its way into the game, how?
Grej: I used a lot of granular synths like the GR-1, Lemondrop, and Omnisphere to turn all these found sounds into playable instruments. One sound I was really excited about was called the “Beast Teeth” — a mix of actual teeth and jawbones (don’t ask) combined with a pitched-down vibraslap. Playing this on a keyboard instrument was incredibly fun!
Michelle: There are a number of standout sounds that Grej designed, but one of my personal favourites is when we hear the DynaCrasher, which appears in some of the later levels. It has a sharp, percussive quality (which we jokingly call the “tsk tsk”) that cuts through the mix with precision, helping to anchor the rhythm during high-intensity sequences. He also created a great sound which we lovingly referred to as the “FZEW FZEW”, which is a combination of analog synth layers with processed metal samples to produce a static-laced, almost electrical texture that gives the soundscape a sense of tension and movement.
From a team perspective, we were especially excited by the positive reactions to Grej’s use of throat singing sounds. We integrated them across several tracks, using layered harmonic overtones and low-frequency textures to evoke a sense of ritual, which added depth to the game’s darker, more atmospheric moments.
How do you score a piece of interactive media compared to something more traditional, like film?
Grej: This was my first video game I’ve worked on, and I was super intrigued by how an interactive medium can really influence the compositional process.
I began to notice parallels with contemporary music styles, particularly in the works of John Cage. Cage’s use of “chance” in many of his later compositions inspired me to approach the score as a living, evolving system rather than a fixed piece. This way, the music could feel alive and responsive, reacting dynamically to the player’s choices and progress throughout the game.
Michelle: One of the most interesting parts of collaborating with Grej was learning to communicate in different ways–sometimes through more traditional, linear scoring approaches, and then translating that into something that works for interactive media. His fresh approach to composition initially pushed the limits of my Wwise implementation skills, but once we figured it out, it was incredibly rewarding. We ultimately found some unconventional ways to manipulate Wwise to achieve the desired results, which is always a fun challenge. The outcome is a set of music transitions that feel much more organic and seamless as players move through the levels.
Gregory Harrison, also known as Grej is a dynamic and multi-faceted musician, composer and producer based in Toronto. Greg’s an East Coast Music Award winner and Dora-nominated composer, with over 50 composition and recording credits spanning concert music, film, and interactive media. His commissioned works include projects for Toronto Dance Theatre, ProArté Danza, Popular Demand Pictures, and Architek Percussion. He has toured internationally with artists such as Jeremy Dutcher, Cirque du Soleil, and The Cybertronic Spree, performing at venues including Massey Hall, NPR’s Tiny Desk, the JUNOs, and The Kennedy Center. Greg’s work explores the intersection of acoustic performance and live electronics through his innovative use of music technology.
Michelle Hwu is the Audio Director at Soft Rains, with over a decade of experience in both games and post-production for film and TV. Her work in games includes audio roles at Ubisoft Toronto, Beans, and Drag Her!. Originally trained in Percussion Performance at the University of Toronto, Michelle has performed with ensembles such as the Toronto Symphony Orchestra, the YouTube Symphony Orchestra, and the Esprit Orchestra. In post-production, her credits include projects featured at TIFF, Sundance, and the Tribeca Film Festival, along with work for CBC, NBC, and Shudder. Most recently, Michelle was recently nominated for a Canadian Screen Award in Sound Editing for the film In A Violent Nature.
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📸 by Gabriel Packer