I believe music properly utilized is one of the most vital tools a game developer has to create a lasting impression on players.

In this blog, I want to share some objective evidence that supports my instinct about why music is a uniquely valuable asset in video games.

I write and produce original soundtrack music for video games and films. In this post, I’d like to share some reasons for working directly with an individual composer instead of licensing music from publishers.

Creating an immersive gaming experience requires more than a riveting storyline and unique art style - it also requires a captivating soundtrack! That's why working with a professional composer is essential for any serious video game project.

Suite from Run Rabbit Run: I. Year of the OX (Live from City Recital Hall, Sydney, 2019) - Sufian Stevens

Ronroco - Gustavo Santaolalla

Passengers - Gary Burton Quartet, Eberhard Weber

The North Water (Original Score) - Tim Hecker

In this blog, I want to share some of what goes into writing, recording and controlling Arctic Awakening's music. Here's a deep dive into how I approach the technical demands of adaptive music in video games with an example from episode 1. Enjoy!

Adventure X is the only games conference in the UK dedicated to narrative games. As such, it's a perfect fit for Arctic Awakening, a narrative adventure game for which I am the composer.

Composing music for a game pitch is always exciting, although it can also be daunting and whilst dreaming up a sound world from scratch is great fun it’s never a given that what I’m writing will win the day.

Music for Arctic Awakening - an episodic narrative adventure series. Set in the not-too-distant future, survivors of an aeroplane crash find themselves stranded in the remote Alaskan wilderness.

It’s nearly August 2019, we’ve just had a scarily hot few days in the UK and today is the first day in a while that Britain feels familiar, peaceful grey skies, a cool breeze and gentle drizzle - perfect conditions for listening to some music!