THE MUSIC SYSTEM
System Supported Narrative
Nekrotefeyo was an exceptionally strange place and I wanted to convey a lot of complicated emotions. The music needed to feel epic, but it was a planet asleep for millennia so I also wanted to give a sense of a lullaby to the story in the music.
It was also an oppressive environment so I designed a bass patch in serum loosely inspired by Lorn that slowly rolls in and can open up to massive distorted moments when called to do so.
See below for a breakdown on the bass patch. It can be compared to the full soundtrack mix above.
Combat Music System Shuffle
Combat Soundtrack Mixes
Borderlands has always tried to meld song writing tools into our music. Borderlands 3 is the furthest we took that stylization which I emphasized in the soundtrack arrangements.
Soundtrack Boss Mix
Captain Traunt is the only boss in the game that I both did the sound design and music for. With the traunt characters being what they are, doing an aggresive boss theme just didn’t feel right. I felt I had to play with it a bit and make it a bit more light on it’s feet and fun.
I also felt like I still needed a belchy element since Traunt is a heavy gun toting miniboss. So the serum patches I created for the distortion (there are two instances, left/right) are supposed to supply that. I also gave it a bit of a house background so it plays a little bit of fun with itself.
The music for Tazender Ruins has it’s percussion offset by a measure to give it this additional accent to the 2nd beat which really causes the piece to lean into it’s lurchy groove. The music tried to hit more of a fun vibe to all the action that happens inside this ruin. I took it a little further for the soundtrack versions with some added vocals that aren’t present in the game-loops. You can also hear me try to retain some of the synth wave texture that ended up moving through the score while still giving it a bit of a Borderlands spin.
Supernova Dreamsicle was a fun collaboration with Julian Peterson. Technically we were in cert lock when I wrote the backing part. Julian recorded his improvisations the next morning. I edited them into the piece that evening and finished the last bits of writing and then got it implemented into the fight.
Came together really quick.