Casey Edwards is an American composer in the Film, TV, and Video Game industry. Along with writing for games, he has often blurred the line between these industries by bringing some of the biggest Video Games in the world to TV and the big screen screen for companies like Ubisoft, EA, Microsoft, Bethesda, and War Gaming, to name a few.
Casey’s beginnings as a rock/metal guitarist, plus his classical training, paired with his passion for modern production, synthesizers, and tonal experimentation have lit his path to being one of the most versatile and unique voices in the industry.
A US Black Ops team has a small window of opportunity to covertly destroy assets in Cherna, a haven for terrorist financing. Rush is an officially sanctioned feature film, turned episodic, based on the popular video game series Battlefield, from Swedish game developers DICE. The name comes from a unique battlefield mode in which the player must locate and destroy/defend two objectives.
Polaris Primetime is Disney’s new play-through gaming and variety show hosted by top personalities in the entertainment gaming world, with scripted comedy, skits, and guest appearances by gaming personalities highlighting a variety of video game genres. Sometimes these skits happen to feature music by yours truly.
Saigon Bodyguards is an international action-comedy film. It follows the intense and hilarious journey of two professional bodyguards tasked with their most important assignment ever.
I had the great pleasure of writing additional music for this film with composer Akihiko Matsumoto. Like most fun comedy scores, the music ranges from serious to silly and can shift gears within seconds. If you dig spy tunes, romantic gestures, and fight scenes with a dramatic orchestra and upbeat jazzy tunes then you’ll definitely want to check this out!
In 2013 Microsoft released a reboot of the popular 90’s fighting game, Killer Instinct as an Xbox One release title that launched with new console as a day-1 purchase.
Through seasons 1 & 2 I had the pleasure of assisting lead composer Mick Gordon in pretty much every musical aspect. We collaborated on lyrics, faux languages, orchestral mockups, performing and recording myself and others, musical sound design, etc… It was a massive learning experience and an immense pleasure. One of these collaborations even led to a G.A.N.G. award for best pop vocal on Orchid’s character track “Touch Me and I’ll Break Your Face”, featuring the vocals of Ali Edwards.
Wolfenstein: The Old Blood is a stand-alone title in the Wolfenstein series and a prequel to 2014’s Wolfenstein: The New Order, set in an alternate history 1946. The single-player story follows war veteran William “B.J.” Blazkowicz and his efforts to discover the locations of a Nazi compound.
This was another game where I had the pleasure to assist Mick Gordon, the lead composer on the project. For this project I orchestrated the combat cues for live recording, designed musical stingers, and composed the music for the final boss of the game. For the final boss music it was an interesting challenge fusing the classic 1940’s orchestral monster genre with a more modern sensibility, but in the end, I think we successfully married the two!
Legendary ranger Talion takes on a group of volatile orcs and shows off his brutal move-set to initiate distrust in the group and remove heads from bodies.
This was an awesome opportunity in which WB Gaming wanted to promote their new game, Shadows of Mordor, with a live action short film. The only rule: the music isn’t allowed to quote any of the franchise’s famous themes by Howard Shore. This is the same Tolkien universe, but a different story, and it was a lot of fun to be tasked with delivering a new musical experience in such an incredible world.
The fearsome pirates Edward Kenway and Blackbeard pretty much own the seas. This is what happens when you mess with them!
This project was set into motion by Ubisoft to promote their game Assassin’s Creed: Black Flag. In this piece, we didn’t use any of the Black Flag musical material. Instead, the music utilizes some of the original Assassin’s Creed themes while also adding some pirate swagger and cinematic drama to set the tone.
A behind the scenes look at how short films are produced by the internet sensations from Rocketjump. Shows various aspects of the filming process as well as a new short with each episode. For this show I wrote the music for “Jess’ Big Date” where a world-renowned super spy just wants to spend her one free evening on a normal, unspectacular date…but the Russian mob has other plans.
This particular episode is filled with spy and espionage cues and also includes a jazzy swingin’ fight scene! It’s also my first time double scoring a scene on purpose. During the date section of the film, they’re getting to know each other at a restaurant. The foreground cues are scoring the scene and hitting beats while the background restaurant ambient music is a pun-filled jazz song titled “Under Cover Love.” The title of the song itself has more than one meaning, but I’ll leave that for you to figure out…
A devastating pandemic sweeps through New York City on Black Friday, and one by one, basic services fail. Within weeks, society collapses into chaos, and the government activates The Division, a classified unit of self-supporting agents. Leading seemingly ordinary lives among us, Division agents are trained to operate independently of command when all else fails. In Tom Clancy’s The DivisionTM: Agent Origins, four newly activated agents must serve as civilization’s last line of defense after a man-made virus devastates New York City. Based on the video game and produced by Ubisoft® and Corridor Digital, this action-packed film introduces the world of The Division to fans of Tom Clancy movies.