BY STEPHANIE ESLAKE FOR LEVEL AND GAIN
If you see Angelo Valdivia’s name pop upacross Level and Gain, it’s for good reason: this guy is a mastermind of music for screen. He writes some pretty cool stories for us about the topic — but he also works as a classical trumpet player and educator, videographer and game reviewer…the list goes on.
The real reason we wanted to sit down together with Angelo, though, is to learn about one of his most impressive creations: his podcast Game Composure.
It’s an audio series boasting interviews with game-changers in the industry (if you’ll pardon our pun). After a huge launch with composer Christopher Larkin (Hollow Knight, Barbecue, Expand), the podcast has featured talent such as Jeff van Dyck (EA, Creative Assembly), Daniel Golding (Untitled Goose Game), and Meena Shamaly (ABC Classic) among others.
Angelo, games. Why do you love them?
The easiest way for me to answer, really, is they’ve been a part of me throughout my whole life.
It was the first hobby I developed when I was 3 years old; I recall memories and life events alongside having played certain games, and it’s how I developed a lot of relationships while growing up. Through the best and worst times, I was playing them.
Heck, playing adventure games and RPGs was how I got better at reading!
So you’re something of a games music nerd, hey. Why are you dead-set on sharing your love of this music?
Everyone has their favourite film actors, directors, and composers. It’s only been in the past 10-15 years that people have really taken notice of who’s making video games and, by extension, the music.
As classical musicians, we know our ‘style’ is very niche, and can take some convincing to get others interested. It’s kinda the same for me with games music; and being a teacher, I’m always excited to try to explain music and concepts to people in a way that they can somehow find an ‘in’ for themselves. (Read more: Do you really think classical music is dying?)
But, really, I just don’t have many people around to talk about games with on a deeper level, so I do it into a microphone and throw out to the internet!
One of your impressive projects is your podcast Game Composure. How did this start, and how do you choose who to program on the podcast?
I just finished my second degree, which majored in screen media and minored in journalism. And in the current state of freelance games-writing (which has dwindled severely in the last decade), I needed a way to differentiate myself and try to create something enjoyable. I decided putting together a podcast would help develop my interview skills, and get me to meet some super cool people.
At the moment, I’m looking for people who work in and around games music in Australia first, then start a new season featuring others.
What are some of the biggest lessons you’ve learnt through your podcast about composing for games?
Everyone is different, has different life experiences, and even learns differently. What I’ve loved learning so far is how deeply personal it is for people to not only listen to music, but to create it. And what’s really changed my perception is how I reflect on music I thought I already knew well, but now understand differently after hearing about its conception, straight from the source.
Read the full story right here on Level and Gain, a new screen music publication from the creative team behind CutCommon.
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