Sound, Space, and Play: an interview with Jessica Curry

Jes­sica Curry is an Eng­lish com­poser and co-dir­ector (together with Dan Pinch­beck) of video­game stu­dio The Chinese Room. Like many people, I first became famil­iar with her work through the award-win­ning soundtrack for the game Dear Esther, an exper­i­mental attempt to tell a ghost story in an inter­act­ive medium. […] Jes­sica is cur­rently work­ing on the soundtrack for the stu­di­o’s upcom­ing game Every­body’s Gone to the Rap­ture. In a recent email con­ver­sa­tion, we dis­cussed her back­ground, cur­rent works, and some thoughts on the rela­tion­ship between space, sound, and play.

The Floating World and the Wood Beyond

The Float­ing World is the main artistic pro­ject of Amanda Votta, spe­cial­ising in flute-based ambi­ent music with dark and mys­ter­i­ous under­tones. Start­ing as a solo flute pro­ject with its first releases eight years ago, it has since attrac­ted numer­ous col­lab­or­at­ors on vari­ous instru­ments and, occa­sion­ally, spoken word. Recent albums The Appar­i­tion and We Hunted have appeared on Cyc­lic Law and Reverb Wor­ship, respect­ively, and this label atten­tion will hope­fully pro­pel Vot­ta’s music into a wider audi­ence.

Her latest album, The Wood Bey­ond the World, is just out on Eclipse, the sub­si­di­ary label of Cyc­lic Law. […] The inter­view below is the res­ult of an email con­ver­sa­tion I had with Amanda. My inten­tion was not just to give her the oppor­tun­ity to tell us a bit about the his­tory of The Float­ing World, but also to get her to delve a bit deeper into lit­er­ary and art his­tory, a topic I know she enjoys. As you’ll see, those prom­ises were ful­filled, as Amanda has a lot to say on the sub­ject.