Brain + Brawn (Original Game Soundtrack)

I’m happy to announce that my soundtrack to the game Brain + Brawn is finally out. Brain + Brawn is a space themed puzzle game by developer Spork Games that was released earlier this year for the iPhone and iPad. In addition to creating the sound effects for the game, I wrote a few pieces of music for the game.

 

Because there are only two backing tracks written for the game, a main menu theme and the main game theme, I wanted to add some extra music for anyone buying the album. As a result, the two main tracks each have a piano arrangement counterpart.

 

The Brain + Brawn OST has been released through Materia Collective, a game music label which I’ve worked with before on a number of game music arrangement albums. The label has been publishing original soundtracks in addition to their amazing arrange albums, so I’m delighted to have my original music included among their other releases. If you haven’t listened to the other albums they’ve published, you should definitely take time to look through their catalogue.

In addition to the album, there is digital sheet music available for the Brain + Brawn piano arrangements “Robot Lullaby” and “A Puzzling Ship” on Sheet Music Plus. A big thanks to Sebastian Wolff for the music engraving to help get the sheet music ready for publishing.

Working on and releasing this album was a lot of fun and I hope people enjoy listening to it. You can find the full Brain + Brawn OST on Bandcamp and Google Play. Versions of the album containing just the in-game tracks can also be found on Spotify and Amazon.

Tesseract: An Acoustic FEZ Album

This year marks the fifth anniversary of the indie game FEZ. On top of being a great exploration and puzzle game, FEZ has a wonderful electronic soundtrack created by Rich “Disasterpeace” Vreeland. To help celebrate the puzzle game’s anniversary Materia Collective has released an album of acoustic covers of the game’s soundtrack titled Tesseract: An Acoustic FEZ Album. As part of Materia Collective I contributed a cover to the album.

There are a few reasons for restricting this album to an acoustic direction for the arrangements. First, by distancing the album from the electronic sounds of the original music, it gives the album a distinct sound. Taking a soundtrack that existed in the realm of synthesizers and digital effects and bringing it into a world of acoustic instruments makes for a much different listening experience. It also forced those of us creating arrangements to come up with different approaches for interpreting the melodies and harmonies of Rich Vreeland’s score.

I also think that it was good to avoid synth remixes of FEZ, since there are already some excellent electronic re-imaginings of the soundtrack on albums like FEZ: Side F and FEZ: Side Z from the game music remix community. With Tesseract, we are taking the music in a less explored avenue.

My arrangement on this album was for the track “Progress.” Much of the music in FEZ has a minimalist composition structure, with “Progress” in particular having some similarities to the music of composers like Steve Reich. The music is constructed out of multiple ostinatos and rhythmic patterns that stack and build on top of each other. In the actual game, these adapt and shift in real time with the gameplay. For the arrangement I stuck with the structure that Rich Vreeland created on the official soundtrack.

Since this arrange album was emphasizing the use of acoustic instruments, I did as much of the track with live instruments as possible. Normally I use virtual instruments for the music that I create, so tracking live audio for a majority of a project was a new adventure for me. The guitars, bass guitar, organ, and bits of the percussion were performed by me live, with the remaining accompaniment instruments played with sample libraries. My idea was for the music to sound like an improvised jam session, using the guitars, bass guitar, and percussion to provide a steady backing texture, with the other instruments soloing over them.

 

The two instruments that I knew had to be performed with real instruments (as opposed to samples) were the flute and trumpet, since I had arranged them to have the melodies that play over the other instrument’s rhythms and chord patterns. I was delighted to bring my Materia Collective friends John Robert Matz, on trumpet, and Yishan “Catboss” Mai, on flute, for this track.

This was my first time having other musicians contribute to one of my tracks, and I’m kicking myself for not doing it sooner. Their performances really brought the quality of the arrangement to the next level, and I will definitely be bringing Materia Collective members onboard for future arrangements when possible.

Tesseract: An Acoustic FEZ Album was quite fun to work on and a great learning experience. There are some great arrangements featured on this album. Be sure to check it out if you’re a fan of the original FEZ soundtrack or enjoy acoustic music arrangements. You can find the Tesseract: An Acoustic FEZ Album on Bandcamp, Spotify, and iTunes.

Train Jam 2017 Albums

On my way to the 2017 Game Developer’s Conference, or GDC, I took part in the Train Jam. Like all game jams, Train Jam is an event for game developers to get together and make a game in a limited time with specific restrictions. The Indie Train Jam takes place on a the Amtrak California Zephyr line running from Chicago to San Francisco. The trip was a 52-hour journey across the western half of the United States that resulted in some fun collaborations and interesting games.

As with many game jams there was a mix of artists, programmers, and audio people all working together to create games within the time limit. On this jam we had more than 20 composers/audio designers participating among the 300 game jam attendees. By the end of the Train Jam, over 70 games were finished.

Charlie McCarron, one of the other composers on the Train Jam, had the great idea of collecting all of the songs created by the composers during the jam, and putting them up as a set of albums on Bandcamp for free. There are over 60 tracks created by the twenty or so composers that participated in the event.

The music is divided into five different albums, with each one representing a music genre of sorts. For example, my piece from the game Chicken Fight is on the Train Jam 2017: Chip album, since I went for a retro synth style on that track.

 

The games from Train Jam 2017 can all be played on the itch.io website and you can find all five Train Jam 2017 albums on Bandcamp. There’s some excellent material here from all of the composers who participated. A special thanks to Charlie McCarron for taking the time to gather all of the music from the composers and assembling everything into a coherent set of albums on Bandcamp. The Train Jam was a lot of fun and I hope everyone enjoys the games and music that we created.