“...the score from Austin Wintory enhances the restrained drama of this tender story. Wintory’s style, as meditative and healing as it is instructional and revelatory, is beloved by indie gamers.”
Harold Goldberg, The New York Times
“...we need to protect Austin Wintory at all costs, as this is another generational performance from the esteemed composer, producing yet another score that not only compliments everything on screen, but steals the show.”
Callum Marshall, DualShockers
“Video game composer and music wizard Austin Wintory has composed a soundtrack so evocative and rich that I can’t help but be swept away in the game’s more emotional moments, and in a game that (for the most part) uses zero text or dialogue to tell its story, that’s impressive.”
Rachel Watts, GamesRadar
“It’s tempting to say the whimsy and wonder of a soaring choir and twinkling piano in this type of deeply pretty, makes-you-feel-things indie is a little played out. But it isn’t. Wintory is rarely in the way here; the music lifts and floats, and also subtly drives you on.”
Chris Tapsell, Eurogamer
“That explains the wonderful atmosphere, the enchanting qualities of just moving around its world, and the artifice with which its secrets are hidden. The soaring music is just as evocative, coming from long-time collaborator and multiple BAFTA-winner Austin Wintory.”
David Jenkins, GameCentral
“Whenever you finish bringing an area back to life, the soundtrack transitions from something laidback and understated into enthusiastic and exciting, with every note a joy; though this comes as no surprise to anyone who played ABZÛ, which shares the musical direction of Austin Wintory.”
Ryan Thombpson-Bamsey, The Gamer
Sword of the Sea marks my 3rd collaboration with Giant Squid, and 4th with its founder Matt Nava (who had been Journey's Art Director). 16 years now we've worked together! Every project has been so distinct, yet all so deeply "of a kind." He's a singular talent and director, who somehow manages to create space for me try seemingly anything I want, yet creates games for which a very specific musical vision seems to emerge.
At the heart of this one was an electronic soundscape enveloping a piano. Then came vocals, which actually began as a joke when Matt found a podcast in which Werner Herzog speculates that he'd use Orthodox monk chanting as underscore were he to make a skating documentary. I began writing for children's choir (performed by the magnificent Phoenix Boys Choir), and the rest soon followed.
Many, many musicians from around the world ended up performing on this score and I'm deeply indebted to them all. As with all Giant Squid games, this became a deeply personal labor of love and I am so grateful to have had the opportunity to be part of it.