Music for Two Senses

 

 

 

 

 

Samuel Laflamme is a composer who has strengthened projects across the film, television and video game worlds. Most recently, has been hard at work creating the score for Outlast 2, which is set for a release in spring 2017. In this upcoming installment, just as the asylum has been traded for a more rural backwoods setting, Laflamme has switched from the orchestralbased arrangements he used in the first game, in favor of something far more visceral and brutal. In addition, he bolstered the voice of the score by crafting new instruments, leading to unique and unprecedented sounds.

 

 

Samuel Laflamme began his composing career scoring numerous television shows, documentaries, and ad spots across a multitude of genres. Some of his fan-favorite projects include the scores for the video game adaptation of Sony’s The Amazing Spider-Man 2 for Activision, and quirky puzzle game Tiny Brains, released on Playstation Network and Steam. He has collaborated with many of the top video game companies in the industry, including Ubisoft, Activision, and Red Barrels Games. Samuel’s other credits include French Canadian dramatic comedy series Le Chalet, along with the 2016 Canadian-American co-production, fantasy film Wait Till Helen Comes, based on Mary Downing Hahn’s best-selling novel from the 1980’s.

 

 

In 2013, Samuel’s music entered the international spotlight through his work on the critically acclaimed survival horror-game Outlast. The game told the nightmarish story of Miles Upshur, a journalist investigating the crimes of a twisted mental institution, and it fell upon Laflamme to simultaneously capture the setting’s dark and overwhelming sense of helplessness, while also subtly clue the player in on the unique dangers of each hidden area. This complex task required Laflamme to draw on a wide range of musical techniques, including the use of live orchestras, layered samples, and experimental musicianship, at one point incorporating the sound of a violin bow running against a cymbal to create a sound uncannily similar to a human scream. His work played a valuable role in the tension of the game, and is interwoven into the identity of the game, contributing to its fervent fan following.

 

 

“The music is quiet, atmospheric, but there’s a screechy undercurrent hinting at terrible things to come. The doctor moves towards you, sharpening his knives as he mutters. It’s all too much. You’re a nervous wreck. You stand up, and just run. The music explodes, all manic strings and booming horns, as you bolt through corridors, frantically looking over your shoulder, flinging closed doors behind you and pushing cabinets up against them, leaping over beds and drawers, until you can find a cupboard to cower in or get far away enough from the doctor so that you can breathe easy, at least for a moment.” – Destructoid