The iconic soundtracks of the Tomb Raider series have etched themselves into the memories of gamers worldwide.

Now, with the recent releases of Tomb Raider I-III Remastered Starring Lara Croft, and that of the even more recent drop of Tomb Raider IV-VI Remastered, it’s time to delve into the sonic world of Peter Connelly.

From the haunting melodies of “The Last Revelation” to the orchestral grandeur of “Angel of Darkness,” Connelly’s compositions have shaped Lara Croft’s adventures. We sat down with the legendary composer to discuss his involvement in the remasters, his creative process, and the evolution of his iconic scores.

Join us as we explore the journey behind the music, from Abbey Road Studios to the digital realms of today.

And if you want to know even more, enjoy our exclusive chat with Aspyr too.

Can you please introduce yourself?

Hi. My name is Peter Connelly, Composer and Sound Designer mostly known for my work on Tomb Raider 4 “The Last Revelation”, Tomb Raider 5 “Chronicles” and Tomb Raider 6 “Angel of Darkness”.

Tell us a little more about the projects you have been involved with over the years. Any highlights you can share with us?

Sure, I’ve been fortunate enough to land some really cool gigs. Highlights include “Tomb Raider”, “Driver: San Francisco”, “Assassin’s Creed Identity”, “Watch_Dogs”, “The Crew”, “Stumble Guys”, “Project Cars 2”, and “South Park: Fractured but Whole”.

You originally worked as composer on all three of the Tomb Raider games; games that land in the release of Tomb Raider IV – VI Remastered. How are you involved this time around?

Minimally, I was helping them retrieve assets, but I do have some rather cool ideas I presented to them. Whether or not they use them, we’ll know in future updates or patches.

If we head back in time, how did you approach creating the score for each game in such an iconic series?

For me it’s about “feeling” the mood and / or the narrative. I like to experiment with playing and sonic textures and, once an idea aligns with the visuals, I’ll expand upon that.

In 2002 you recorded at Abbey Road Studios with the London Symphony Orchestra whilst working on Tomb Raider: The Angel of Darkness. Tell us more about what must have been an incredible experience.

Working with the LSO at Abbey Road Studios was a highlight and, as everything happened really fast (there was a lot to do), including the excitement of being at the studio in front of the world’s finest players, I probably didn’t have enough time to sit back and truly appreciate the experience.

I do remember their café though, which is quite probably the only time we could properly wind down.

Years later you returned to the world of Lara Croft with The Dark Angel Symphony. How did this project come about?

Way back in 2014, I had some ideas to rework my music and, after talking to other TR peeps (mainly Ash Kapriyelov) about the possibility of making it happen, it gradually became a reality.

We knew it was a MAMMOTH task as the infrastructure in planning it was immense. It was actually a commercial flop… for various reasons I’ll not get into… but overall, I am glad we did it and we are all hugely proud of what we achieved.

Anticipation for Tomb Raider IV – VI Remastered has been building, how are you feeling about it?

They’re here now and I am still processing the reality that they’ve actually happened. Waiting for the feedback is as it was when they were first released, i.e. I’m feeling a little nervous and anxious, but I feel more confident in its reception because anything that needed resolving has been addressed AND we have patches… something that wasn’t a possibility back then.

This may be a difficult question, but out of the three games bundled here which is your personal favourite and why?

I am fond of Tomb Raider 5 “Chronicles”. TR4 was my first TR project (apart from the boss music I composed for TR3), but as I was new to the team and learning the ropes, it felt that all eyes were on me to deliver so I was more focused on getting the process right.

By the time I worked on TR5, I kind of knew the setup so was able to enjoy the ride without worrying too much.

What other projects are you currently working on? Anything you can share with our readers today?

I am currently responsible for anything and everything on Stumble Guys by Scopely.

Sure, I need a bigger audio team and there is a lot to resolve to align it with where I want it to go but, overall, it’s an honour and a pleasure to work on… it’s going from strength to strength.

If you had to choose just one musician or band, who would you say has been the biggest inspiration for you and your work?

Pet Shop Boys. My daughter, Cara, every time she hears “Left to My Own Devices,” she tells me it sounds like Angel of Darkness which blows my mind, but I don’t have the heart to tell her that it’s probably the other way round, lol.

Incidentally, the legend that arranged and conducted the orchestra on “Left to My Own Devices” (and Grace Jones “Slave to the Rhythm”) was the arranger and conductor for The Dark Angel Symphony. I approached Richard Niles and asked if he wanted to be involved, based purely on these two tracks.

And finally, what would be your dream project to work on which you haven’t had the opportunity to already?

It would be great to produce at the same level as “Angel of Darkness,” I feel that was pretty much as far as it could go so, if I were given that opportunity and budget, I could only expand upon from where I left off.

The Project doesn’t matter, it’s the possibility that entices me.

From reminiscing about the London Symphony Orchestra to his current work on Stumble Guys, Peter Connelly’s passion for music and sound design remains as vibrant as ever. His insights into the creative process, the challenges of remastering classic scores, and the enduring legacy of his Tomb Raider work provide a fascinating glimpse into the world of game audio. 

Tomb Raider IV-VI Remastered is now available on Xbox One, Xbox Series X|S, PlayStation 4, PlayStation 5, Nintendo Switch and PC, and Connelly’s reflections remind us of the power of music to transport us to other worlds. 

We thank Peter for sharing his time and experiences, looking forward to hearing the echoes of his iconic scores once more.

Pick up Tomb Raider IV-VI Remastered from your favourite digital storefront right now. We’ll point you to the Xbox Store.