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Payday composer Simon Viklund on his tough ‘try and fail’ process

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Payday composer Simon Viklund on his tough ‘try and fail’ process

As a die-hard fan of Simon Viklund‘s electrifying compositions, particularly the adrenaline-fueled soundtracks of the Payday franchise, I feel like I’ve been on one heck of a musical rollercoaster ride!

Known for composing the iconic dubstep/EDM/techno soundtracks of the Payday series or voicing Bain in the same games, Simon Viklund is frequently linked with action-packed video games. His portfolio includes work on Bandits: Phoenix Rising, Bionic Commando, Dead by Daylight, and of course, Payday: The Heist and Payday 2.

At TopMob FM, we delve into the fascinating connection between music and gaming for an entire week. In this exploration, Viklund shares insights about his initial influences and the reasons behind using unconventional rhythms in video game tunes.

GameMusicQuest: Did a game’s soundtrack or tune motivate your journey into composing game music? Could you describe the atmosphere it evoked for you, and explain why it had such an impact on you?

As a kid, I found myself deeply enamored with the music from the NES games, so much so that I’d record Megaman 1-3 tunes directly from the TV onto cassette tapes. This way, I could enjoy them even when I wasn’t playing the games. The reason the NES music was so impactful was due to its primitive sound chip, which forced composers to create economically and focus on exceptional harmonies and melodies. In my opinion, the music during the 16-bit era didn’t quite compare because the technology sounded like real instruments but not quite – it was reminiscent of the uncanny valley for sampled instruments. Composers during this time started to overly rely on these tools.

Could you please share some insights about the composition process of one of your songs? What were the key inspirations behind it? Did any video game soundtracks, other music, or different sources inspire its creation?

As a game developer at 10 Chambers, I crafted an electrifying tune titled “Inject,” tailored perfectly for the name reveal trailer of our upcoming techno thriller heist co-op game, Den of Wolves. My goal was to ignite a pulse-pounding, “that’s bad-ass” response in viewers, and I drew inspiration from the rhythmic beats of half-tempo bass music.

As a music producer with over two decades of experience under my belt, I have come across countless tracks that impress me and leave a lasting impact. However, there are only a handful of songs that truly resonate with my soul and make me want to dive deeper into their intricacies. One such track is “Arbiter” by Draeden, a piece that caught my attention due to its unique blend of trap influences.

In the creation process of “Inject”, I intentionally aimed to give the music an unpolished, slightly off-beat feel. Instead of making it pitch-perfect or quantized (rhythmically precise), I opted for a wonky sound, which I believed would make the music catchier because of its slight irregularity. I spent considerable time purposely making the rhythm less precise and allowing the synths to produce a screeching, wobbly effect, even though it was done intentionally. The process of creating “Inject” was exhilarating as I experimented with new concepts, ventured beyond my comfort zone, and picked up fresh techniques!

As a game enthusiast and fan of the Payday series, I’ve always been curious about the music that sets the tone for these heists. So, here’s how I would rephrase your question in the first person:

In the creation of “Payday: The Heist” during 2010-2011, there was a dilemma about the kind of music to use – either opt for cinematic tunes that mirrored its Hollywood movie inspiration or go for something more rock ‘n’ roll to fit the “outlaw power fantasy”. In the end, I chose the latter approach, resulting in tracks featuring drum loops, distorted synths, occasional electric guitar and bass, and less cinematic, more rock-oriented music.

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

As a musician with years of experience under my belt, I can attest to the fact that creating a new track is never an easy task for me. It’s not because I lack skill or creativity; it’s simply because every project presents its own unique challenges and opportunities. The blank canvas of a fresh track can be overwhelming, causing me to grapple with choice paralysis more often than not.

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2024-08-10 20:19

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