Lorelei and the Laser Eyes channels Twin Peaks, says composer

As a die-hard fan of Simogo’s captivating indie titles, I can’t help but be mesmerized by the magical touch of composer Daniel Olsén’s work. The way his soundtracks seamlessly blend with the gameplay and environment is nothing short of enchanting, creating an immersive experience that lingers long after the credits roll.

As a gamer, I can’t help but associate Simogo’s innovative collection of games with the haunting melodies of composer Daniel Olsén. Be it the spine-tingling tunes of Year Walk, the pulsating hyperpop beats of Sayonara Wild Hearts, or the enigmatic tracks of Lorelei and the Laser Eyes, these indie game titles etch themselves deep into our memories due to how seamlessly their soundtracks align with the gameplay and ambiance.

We contacted Olsen through TopMob FM during our themed week focusing on the blend of music and gaming, to learn more about his thoughts regarding his projects.

MusicGuru: Did a specific video game soundtrack or tune spark your interest in composing game music? Could you describe the atmosphere it created for you and explain why it resonated with you so deeply?

Daniel Olsén: Instead of a single soundtrack influencing me, it was a mix of tunes that came from growing up during the era of 8-bit and 16-bit consoles like the Commodore 64. Games such as Super Mario, Zelda, and Mega Man were among my favorites, leaving an indelible mark on me. One remarkable aspect of video game music is how easily melodies, chords, and rhythms can evoke memories even when you’re not playing the game itself. As a child, I didn’t own any consoles, but I found myself humming my favorite tunes wherever I went, which reminded me of those cherished gaming experiences. I did have access to a C64, and sometimes I would start games just to listen to their music, like The Last Ninja or Delta, to name a few. Sometimes, progressing through the game was only to hear more of that enchanting music. To this day, I still strive to replicate the emotions those soundtracks elicited in me.

Would you be able to analyze one of your own compositions and explain its origins? Did it draw inspiration from video game soundtracks, other music, or perhaps something different altogether?

In the composition for “Interrogation” within the album “Lorelei”, I incorporated elements from another song in the same series, titled “Woman on the Other Side”. Additionally, this piece was partially influenced by the walking basslines and slow jazzy drumbeats found in “Audrey’s Dance” from the television show “Twin Peaks”. This particular scene within the game shares similarities with our earlier production, “DEVICE 6”, in terms of interrogation scenes. To create a sense of continuity, I added raw surf guitar sounds to link these two works.

Throughout this song’s span, we transition from an intense interrogation with a gun pointed at your head to wandering amidst hazy, noisy recollections of the past and then back again. The music needs to keep pace or it loses its impact, so we chose dynamic tunes for this section of the game. We aimed to create distinct layers to facilitate a range of dramatic performances. From the sound of crackling vinyl to haunting piano melodies, even the sound effects contribute to the final musical experience. When you’re traversing through these memories, the footsteps have been altered to mimic vinyl noise and crackles to complement the theme.

As a seasoned music producer with years of experience under my belt, I can confidently say that selecting the right instruments for a project is crucial to its success. In the case of the captivating soundtrack for “Lorelei,” I chose a combination of strings, piano, and percussion to create an enchanting and emotional atmosphere.

The goal was to create two distinct aspects: one that clearly showcases the digital realm, and another that represents the human/analog side, given the game’s art style combines analog photos with distorted digital art. To mirror this blend, we aimed for the music to embody both elements as well. Consequently, the majority of songs feature digitally-sounding instruments alongside cello played by Linnea Olsson and vocals by her, or guitar performed by Jonathan Eng. I devoted considerable effort to ensuring these sounds remained unique yet harmonious.

Is there anything else I should know about your approach to composing video game music?

The most important thing for me is that the music fits with whatever the game is, rather than being good on its own. You have to create a sort of universe for the music that can add to the lore of the game. It’s like an extension of the video game universe. It gives you the chance to tell stories about a bigger world and it gives players the opportunity to imagine parts that are not portrayed in the game. I often hear great music in games, but it doesn’t fit the vibe, or the songs are not in the same coherent universe. That can make the impression of the game feel a bit disjointed.

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2024-08-11 20:18