However, I’ve listed the highlights a few of the projects I’ve worked on recently here. (All of my music is available on my SoundCloud)
Most of the tracks presented here required between 10 and 15 hours of work to compose and mix.
Moving away from the orchestral style I used in the Black Flag trailer, Red Space is written in a much more modern style. FM Synthesis, guitars, and sample manipulation are the bulk of this track. I’ll be sure to make more of this in the future.
Into the Rabbit Hole
I woke up on one Sunday morning and just felt like making some horror music. No particular purpose for this one, I just wanted to play mad scientist with samples.
Black Flag (Rescore)
The Assassin’s Creed trailers generally function more like short films than traditional trailers. I particularly like the Black Flag trailer for this, but wanted to try writing a more traditional, orchestral score for it. So, this is what it turned out like!
Time For Bedlam
These three tracks were composed for the indie dungeon crawler ‘Time For Bedlam’.
The idea was to create a sense of wonder and fantasy whilst sticking to a smaller scale. To this end, the latter two tracks are rather reserved, intended to not blow the characters’ intimate over-world exploits out of proportion.
Of course, the main theme uses the full orchestra and is rather grandiose, but this is fantasy after all!
I wrote ‘Run’ for the side-scrolling indie game ‘Decommissioned’. It was made clear that the style they were going for was one of 80’s nostalgia, and really wanted to capture that in the music. So, I chose to write the track in a synth-wave style, using lots of synthesis techniques that, although simple by today’s standards, was all they had in those days.
Days of Heinz Past
Some of my friends in the animation department were creating a spoof Heinz advert for a competition. After seeing the goofy animation, I was more than happy to provide some music.
Here, I was creating a Frankenstein’s monster of synthesizers and orchestral flourishes. Good fun.
One of the first games I ever worked on, Geo Realm was pitched to me as “Pokemon Go, except it has medieval castles. And people fight. And there’s no Pokemon”.
With that in mind, I set about writing a title theme that used modes, plenty of upright bass, and good old fashioned counterpoint. No room for synthesis in this one I’m afraid.
This music comes from a cancelled sci-fi horror game. A fun opportunity to experiment with signal-processing, all sounds were created out of manipulating existing samples. If you listen closely, you may be able to spot the sonic remains of some human speech.
Part of another cancelled game, this piece was intended to be a title theme for a first-person shooter. It holds a special place in my heart as the first orchestral piece I wrote for a game.