Welcome. These musical excursions, demos and rough mixes are based on imagining what sort of material could be appropriate for DOOM based on established precedent and audience expectations. These 40-odd tracks, produced over the last several months, combine electronic, industrial, metal, ambient and neoclassical elements. Ultimately, the goal is to find ways to make games more cinematic and immersive emotionally, psychologically, physiologically and spiritually. Ideas are discussed here, in individual song descriptions, as well as here:
I feel that the music that I would write on my own happens to fit the world of DOOM. I imagine that, with a proper design brief and understanding of motivations, I could be part of taking the experience to a whole new mind-blowing level if given the chance.
Many years ago a friend of mine, an artist who has done some of my album covers, originally described DOOM to me as “Hell takes over the future.” I played the game and thought his description was perfect, simple and accurate. I have decided to honor him by using his description as the design brief for my second phase of demos I am doing over the course of the next three months. Unlike the first phase, this will focus less on guitar and more on sound design approaches to music, with heavy emphasis on synths, atmospheres and properly motivated processing and producing. It will be aggressive and otherworldly, and I will try to make heretofore unknown tonal and textural combinations.
I saw a review of Eternal that explained how the music was everything. Without taking anything away from other aspects of the game, I want to take this to the next level by noting that the human interpretation of stimuli is not layered into parts the way a game or film is. So we don't need a layer that is visual, another that is sound and another that is music. We can be more immersive by making the music and rhythms out of the would-be sounds of the space. This works because, again, in the game experience, the mind isn't parsing each thing individually; it's all one emotional, psychological and spiritual experience. By blurring or erasing the line between diegetic and nondiegetic sound we make a more immersive and cinematic experience.
So in this new round of demos obviously I am using arbitrary examples, as I have no design information. But I think this would work in a next-level way in some places in the experience.
I spent several days experimenting with different mixing and mastering approaches, trying all manner of plugin demos from several vendors. I was able to get close to a sound I want and make a template for upcoming material. Having read an older design brief, some of the upcoming material will be less metal and more sound-design based, but still with evolving and repeating structures that are interchangeable. I am quite excited for this second phase of demos.
Regarding the song titles, I was going for a cross between super-awesome and heretofore unseen levels of ridiculocity. I really feel I've accomplished my goal here.
The idea here is to not only make music that is appropriate based on audience expectations and building on what exists but also to understand different approaches to making such music fit into the sonic space of the experience along with other diegetic and nondiegetic sounds.
While I have to use existing descriptions such as "metal" or "industrial" or "neoclassical" my philosophy is that we only reach the potential of an art form and our own potential as artists be reaching beyond genre conventions. While such language may be used in selling and hyping the experience, in reality the music serves the game and not a particular genre or scene.