![]() But as soon as I sent him some music, he was super into it, and I think he was glad we went that route. If this guy didn’t want my dark chiptune stuff, he could go find someone else. I was feeling really cocky at that point: I had just gotten word we were starting up Spelunky 2. ![]() When I was first hired to do the game, Ojiro Fumoto, the lead developer, asked me for essentially Mega Man 2-style music. The Downwell soundtrack is probably the closest to home. Is there a game soundtrack that got closer than Spelunky to representing your style? I think it’ll be something darker, more wistful, stranger. But I also truly feel like there’s really room for me to do something that I would be completely satisfied with. I think what it really comes down to is being able to distance yourself from your art: To not dislike yourself just because you’re not satisfied with a piece of music or whatever. I don’t think artists ever really should be completely satisfied. When I put it under the microscope, there’s a lot of stuff I feel like I could and should have done better.ĭo you wish you could just let that go and be fully happy with your work? I don’t know if I have imposter syndrome, specifically, but I will admit that I’m not particularly satisfied with anything that I’ve done, including Spelunky 2. I went from indie games to bigger commercial ones. I think my first released game was like 15 years ago, a small freeware thing. Did you have imposter syndrome at all, entering the commercial world of game music? Especially in the Super Nintendo version, where some of the instruments are slightly out of tune. It’s a fighting game, but some of the music feels kind of sad. I remember thinking about the music in Street Fighter 2. I was definitely conscious about it, because I remember trying to figure out melodies from games on piano, or humming game music. Were you consciously listening to the music in games as a kid? Did game music make you feel unsettled? The art that I like the most is the stuff that makes me feel the most present in this universe. It’s a very strong emotion, being unsettled. I think it’s because it makes me feel alive. I like ambiguity, that’s my favorite thing: Being unsettled. I generally like metal to be really ugly-sounding and scary-sounding. Although I personally listen to some really messed-up shit that is definitely not normal. Being a metalhead is definitely not out of the ordinary here. Actually, black metal originated from exactly the part of Norway that I’m from, from my little part of the suburbs. Isn’t metal sort of a national pastime in Norway? ![]() I was born in ’88, he was born in ’83, so a lot of my influences for music and movies are a little before my time. ![]() Metallica was the first band that I was super into, even in preschool, from having an older brother who would essentially tell me what we liked. Video game music was for sure an early influence, but also metal. What kind of music were you first enamored by? From a very early age I had a guitar and an NES. I don’t know if I could choose one or the other. So were you a music kid or a video game kid? We talked to Suhrke via telephone about black metal, self-criticism, and writing music that can write itself. It is one of the year’s best game soundtracks. The result is a deeply hypnotic, globe-trotting collection of music that feels as ambitious and surprising as Spelunky 2 itself. For the long-delayed Spelunky 2, though, Suhrke threw out his own formula for making tightly knit songs with an entirely new process: One that mirrors the game’s own procedural level generation. ![]() Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to trackĮight years-and many memorable soundtracks, including acclaimed mobile hits Ridiculous Fishing and Downwell-later, Suhrke’s second crack at Spelunky music has finally arrived. ![]()
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