Tobias Lilja
speaker
91 appearances
1 recordings
1 series
first heard Apr 2025
last heard Apr 2025
Tobias Lilja’s voice in public audio — every appearance, attributed to the second.
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Appearances
And I also like to kind of play the game all the time. Since when I was working at Tarsier, it was like an office job in many ways. I had my own room and I could... Play the game all the time. Every day. So I had a really good kind of overview. Where the game was going. So I think that also helps. To kind of understand the game. Because if you're doing music for a scene.
You kind of have to understand. What's happening next. What happened before. You kind of have to understand all the context. So the more you know and understand. I think the better job you're able to do. Audio wise.
More like the latter. It's more a trial and error, trying things. And it's, no, it's very, I mean, I can have an idea about, okay, is this, is it going to be fast paced? Is it going to be intense? Or is it going to be, I mean, I can have an idea about how I should feel when I hear it. But it's a lot of experimenting. That's what I also really love about it.
What I do is usually try to find some kind of limitation. So in the case of that track, Boots Through the Undergrowth, I think that's from the forest level in Little Nightmares 2. So that level has a distinct kind of forest look or woods. And it's like a cabin in the woods, a wooden house. Mm-hmm. So the first thing I did there was kind of to try to nail down some instruments that would work.
And that's very subjective. To me, that's like, okay, that should be some acoustic instrument, something that feels kind of rooted. Maybe a guitar, acoustic guitar, or a banjo even. And then I guess try to limit myself to that. What can I do with a guitar? I'm not a guitar player. So what can I do with it? And that's kind of a very experimental thing. I don't try to write a song on the guitar.
I try just to make sounds from it. That is musical, but it's not like what you would expect from a guitar. And that's also what's fun with the horror genre. It's kind of rewarding experiments like that. I think the eeriness comes a lot from sounds that you haven't really heard before or you don't really understand what it is. And it's kind of familiar, but you can't really place what it is.
Oh, really? Oh, wow. Okay. That's amazing. I thought that you kind of had to have played the games before to understand it.
Cool.
But I think one part of the job is to also be a little bit invisible. Like, it's supposed to kind of be... a bit subconscious in a way. I think that's when it's working the best. I think that is a phenomenal point because you're right.
Sorry to interrupt. Especially ambient sounds. It doesn't have to be music even. It can be the background sounds. I think David Lynch is doing that really well in some of his movies. Have you seen Eraserhead? R.I.P. Oh, yeah. Every goth kid in the U.S. watched Eraserhead.
But the thing with that film is that you have these, uh, these industrial drones in the background, like all the time, even though when they're kind of indoors, They have these indoor scenes, and you still hear those factory drones in the background. It just makes you so claustrophobic and uncomfortable. And it's just background ambiences.
And that's really on almost like a subconscious level, I think. It's...
I think it comes down to a lot of like personal interest, I think. And it's also like, I think most people who enjoy writing for orchestra has probably played in an orchestra. Maybe they have a background. Maybe they play the cello or violin in an orchestra. They have that kind of background. I don't have that background. Like I said before, I liked techno music when I was a kid.
I was listening to the Prodigy. Yeah. And if you're writing for an orchestra, you kind of have to know the range of all the different instruments and kind of how they work together. Also, you have to kind of listen to a ton of orchestral work to kind of start thinking about
You're right. It's not about performing. That's the thing. I'm a lousy performer. I'm terrible at playing the piano because I never practice. But I'm... It's more interesting to me to kind of play instruments in weird ways. Well, it works great, sir. Explore the sound, like the sonic potential in the instruments in other ways.
Because, I mean, there's already a million of people playing the guitar really well. I can't compete with that. But I think it's a lot about background and interest and some... Yeah, and as I said before, I was part of Little Nightmares from the start, from the first prototype.
So I had the chance to also kind of find some music that was really fitting to what I could do, to my style, or something that I felt I could do.
No, I mean, I'm also pretty old school. I like artists like Aphex Twin. Oh, yeah. Which is maybe more like an experimental vein.
Yeah, actually, my oldest brother was listening to Front 242 a lot when I was a kid. Yes! Yeah, definitely. And Duff and that kind of body music. I love that stuff. Probably more into that stuff than EDM.
Yeah. Interesting.
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