Little Nightmares OST - The Death Waltz
Tobias Lilja
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Browse piano sheets by Tobias Lilja on Zen Virtual Piano. Anderstorp, a small Swedish town, is where Tobias Lilja was born in 1984; his older brothers, who gave him access to their record collections, awakened his musical interest early and encouraged it. At 7 he received Kraftwerk's album Man Machine from his eldest brother and listened to it on repeat, fascinated most by the sounds, their feel and their textures. A child who put one album on repeat for its textures seems to have been drawn to sound before technique. He studied music engineering at the University of Växjö after high school, and when he finished he found work as a sound technician and producer at a studio there, which is where he made his first vocal experiments. Ex-Leper, his first full-length album, came out in 2003 on the Philadelphia label Nonresponse; two years earlier, at 17, he had made his first official release, on Chillosphy vol. 1 from the Malmö label Digital Structures. A first release at 17 and a full-length album two years later point to an early habit of finishing music and sending it out. In 2011, he says, he was laid off from a part-time teaching job and needed work quickly, saw an ad that Tarsier Studios was looking for an audio manager, and got the job despite no prior experience in the gaming industry. He says the music starts with drafts, a part that is always trial and error and can go on for months. A job found in an ad, with no game experience behind it, and months of drafting after that mark a route into games through practice. For Little Nightmares he aimed for a balance between the childlike and the nightmarish, setting a simple, bright music box melody against a low, dissonant industrial drone. Sounds from the game world itself, distant bangs on a metal hull, boat horns, pots and pans, a metal cage dragged over a concrete floor, are mixed with the core material, acoustic instruments such as music box, trombone, accordion and voice that are heavily processed and filtered. He still lives in Malmö, Sweden, and continues to do freelance work as a sound designer and composer. Pots and pans set beside a music box suggest a palette where domestic objects and instruments are treated as equal material, and a childlike tune set against an industrial drone shows the same idea at the level of melody.
Browse piano sheets by Tobias Lilja on Zen Virtual Piano.
Anderstorp, a small Swedish town, is where Tobias Lilja was born in 1984; his older brothers, who gave him access to their record collections, awakened his musical interest early and encouraged it. At 7 he received Kraftwerk's album Man Machine from his eldest brother and listened to it on repeat, fascinated most by the sounds, their feel and their textures. A child who put one album on repeat for its textures seems to have been drawn to sound before technique.
He studied music engineering at the University of Växjö after high school, and when he finished he found work as a sound technician and producer at a studio there, which is where he made his first vocal experiments. Ex-Leper, his first full-length album, came out in 2003 on the Philadelphia label Nonresponse; two years earlier, at 17, he had made his first official release, on Chillosphy vol. 1 from the Malmö label Digital Structures. A first release at 17 and a full-length album two years later point to an early habit of finishing music and sending it out.
In 2011, he says, he was laid off from a part-time teaching job and needed work quickly, saw an ad that Tarsier Studios was looking for an audio manager, and got the job despite no prior experience in the gaming industry. He says the music starts with drafts, a part that is always trial and error and can go on for months. A job found in an ad, with no game experience behind it, and months of drafting after that mark a route into games through practice.
For Little Nightmares he aimed for a balance between the childlike and the nightmarish, setting a simple, bright music box melody against a low, dissonant industrial drone. Sounds from the game world itself, distant bangs on a metal hull, boat horns, pots and pans, a metal cage dragged over a concrete floor, are mixed with the core material, acoustic instruments such as music box, trombone, accordion and voice that are heavily processed and filtered. He still lives in Malmö, Sweden, and continues to do freelance work as a sound designer and composer. Pots and pans set beside a music box suggest a palette where domestic objects and instruments are treated as equal material, and a childlike tune set against an industrial drone shows the same idea at the level of melody.
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Tobias Lilja was born in Anderstorp, Sweden, in 1984, studied music engineering at the University of Växjö and works as a composer and sound designer in Malmö.
In 2011 he started working as an audio designer for the video game studio Tarsier Studios in Malmö.
He aimed for a balance between the childlike and the nightmarish: a simple, bright music box melody set against a low, dissonant industrial drone.
In 2003 he released his first full-length album, Ex-Leper, on the Philadelphia label Nonresponse.