Adventure Time Presents: Bad Jubies

I had the pleasure of scoring Kirsten Lepore's guest directed, Emmy award-winning episode of Adventure Time from Season 7, 'Bad Jubies'. This is one of my favorite shows and I wanted to honor the feeling of open-ended creativity I feel is often on display when watching it, so I set out to create a collage aesthetic. I asked a bunch of friends to contribute samples to the score, and I was showered with all kinds of wonderful sounds. Guitars, organs, vocalizations, old answering machines, and that's just scratching the surface really.

Special Thanks to: Kirsten Lepore (nature collages), Joseph Bourgeois (gameboy and various voice samples), Liz Ryerson (amazing answering machine recordings), Mateo Lugo (jaw harp from one of our sessions), Dan Cantrell (accordion from one of our sessions), Mark DeNardo (wonderful acoustic guitar and dobro recordings), Dan de Lara & Matt Powell (drums, organ and pianet), Martin Kvale (cool weird synth things), Jay Tholen (ukelele, guitar, keyboards), John DiMaggio (for being Jake the Beatboxing Dog wonder), Mathijs Wiermans & Anne la Berge (for avant garde flute improvisations), and Dino Lionetti (because I sampled his circuit bent keyboard).

In Depth: Hyper Light Drifter

Thematic Development

It became harder to make progress late in the development, so I amassed about 100 piano ideas that I felt could fit in the game. Alex, the creative director, and I went through all of them and made notes about where we thought certain pieces might work. That helped to figure out what kind of music we need and where, and in coming up with themes. I wrote a title piece early on, and it was nice but didn't turn out to be the right fit for the game. Then Alex heard a short sequence of chords in one of the other piano sketches, and it immediately clicked with him that he had found the theme, and I agreed. I was originally thinking of using it for a deep, cavernous level, but it captures the dark, haunted, adventurous quality of the game very well. Part of what happens when I try to write themes, especially on the piano, is I tend to write these through-composed pieces with lots of sections. Then, when I try to bring it into a synth environment, it tends to sound overwrought, too complicated with too many parts. So, we went from a theme that was sixteen bars long to a theme that is three chords.

Track Descriptions

Vignette: Panacea.

For a long time, this was just one of many piano sketches I was considering using in the game. Alex Preston (creative director of Hyper Light Drifter) was very much involved in my process, and he helped keep me on track, especially towards the end of development when the project started to become more emotionally challenging for me. I think I had been using this piano sketch in the credits, and he suggested we use it in a trailer. Using music that seems unfitting has worked quite well in past game trailers, and lately, it has become quite trendy to use pop music in game trailers to tie the emotions of a fantastic world to reality. I think this approach generally seems to work, and we felt like this was accomplishing some of the same things.

Vignette: Visions.

After going through numerous attempts at writing theme music for the game, Alex once again steered me in the right direction, honing in on just three chords from one of my piano sketches that he thought could be the game's theme. We ran with the idea, and it became a crucial element of the score which we used in one of the trailers, the final boss fight, and this piece which is the game's intro.

Titan.

This is one of the first pieces I wrote for Hyper Light Drifter. Alex took the game to Minecon, the Minecraft Convention.

Wisdom's Tragedy.

Originally I had intended to create four variations on this theme (the tower theme), one for each of the four cardinal directions, but it turned out this version worked fairly well no matter where you placed it, so I never elaborated on it. It does show up in the final area of the game too though (The Abyss), to try and consolidate everything together.

Seeds of the Crown.

This track was based on a piano sketch, and a bit more lively and energetic at first. I originally had a more ambient version for interiors (i.e.,. the Drifter's bedroom), but Alex felt like the more ambient style worked better, and so we agreed to move in that direction. The darker portion of this track is the variation I wrote for the 'Dregs,' the levels that connect the Central town to the 4 cardinal regions. We developed tech to have elements of the music exist at points in space, but we never really used it. The one place we did was in Central. A little guitar player fashioned with the Disasterpeace skull for a head does a little improvisation along with the underscore.

Vignette: Corruption.

This was the first time I think we were really able to create a piece that fully captured the essence of the game. This was written as an escalating, melodramatic piece with a thematic send-off, for the 2nd trailer.

The Midnight Wood.

This started as a series of variations on a piano idea that involved overlapping hand patterns and an interesting harmonic progression. I wrote more variations of this piece than any other in the game (except the Gauntlet), and I think this improves its listenability as you are wandering through the opening section of the West.

Gaol in the Deep.

This chord progression started as the 'underground' part of a larger piano sketch that was meant to represent the West in its entirety. I ended up not using the whole idea because it had too many changes. I kept this section because I thought it captured the vibe of a deep place that I wanted. This area of the game is a prison (as you might have guessed). As the second variation begins and adds percussion, the intent is to create a sense of confrontation. This reaches climax towards the end, to match the intensity of the final battle.

The Resonant Canyon.

This is one of the only tracks on the soundtrack with an acoustic source (a piano). It's also one of the most improvised. I laid down a basic groove and tonality and had fun putting different sounds over the top of it.

Stasis Awakening.

This piece starts with the Jackal's recurring motif, just as it does in the game. This area of the West is heavily patrolled and felt to me like a base of some kind, so I wanted to create a piece that was heavy on percussion and had a bit of a militaristic vibe. I actually ended up repurposing a sketch for an earlier section of the West as I thought it worked better hear. The piece ends in an ethereal, atmospheric way to set up an eerily quiet traversal from the base to the final battle in the West.

The Last General.

I originally wrote something else for this boss fight, but it wasn't working. Alex guided me a bit with this, showing me a boss fight from Dark Souls with a giant wolf that had a melancholy quality to it. I used that as inspiration to write something that had a bit of a 'fallen hero' quality to it.

The Winding Ridge.

This piece came together in an unusual way - the beginning of this track was actually written afterward as elements to fill in the spaces between the musical elements that happen on the stronger beats. The finale was written for a chaotic battle at the top of the mountain from a very early prototype. This encounter was simplified later on, and for a while, the music was hitting the intensity level desired better than the battle itself. In that way, the music actually inspired the gameplay at the top of the mountain.

Flock.

This piece came together very quickly and leans heavily on the sounds themselves, which often came first. Because this piece is very sound-centric, the resulting music was written specifically for these sounds (instead of vice-versa, which was also an approach I used at times). The 'swarming' sound in this track was designed early on for a battle on top of the Northern mountain that no longer exists. It was meant to reflect the concept of the cult birds, swarming around you. I think this sort of buzzing sound worked well in creating a kind of tense, and yet ambient environment. This track also features a MIDI Script I developed called 'Tremolo-ADSR,' which allows you to replicate crescendo accelerandos like the ones heard in traditional Japanese music. I used this to kind of sell the religious/temple vibe a bit further. That and FM bells!

Cult of the Zealous.

I created two very similar versions of this piece for two areas of the North that were laid out differently. There is a dry, narrow version for a region that is full of narrow brick pathways, and a bigger, wetter version for a library that leads to the final battle in the North. I think I was fortunate in that I was able to write the boss music finale in the exact same structure as the much slower feeling sections leading up to it, by subdividing the tempo. Castlevania was a definite influence in trying to get the right harmonic vibe for a very dark, cultish environment.

Cascades.

In setting out to create a vibe for the East, a pale, watery place of pathways and waterfalls, long drawn out airy notes and bells were the first things that came to mind. Some of the wind instruments also do their best animal imitations, with plenty of portamento and diving pitches not unlike the sound of a mourning dove. There are also some rather large set pieces in this environment, remnants of millennia old Titans, and those were a perfect backdrop for the distorted colors in this piece. Generally, when things get quieter and wetter sonically, we are heading underground. The music is extra wet in the underground sections of the East.

The Refiner's Fire.

I had a lot of fun with the drums on this piece. While still quite ambient, it was a nice reprieve to have a much more percussive piece. I stumbled onto a tom-type sound in Alchemy (soft-synth) and leaned into that patch to make it more closely resemble the drum sound of Danny Carey of the band Tool. I loved this sort of athletic tom-heavy drumming, and this was one of the central inspirations of this track. The main pad riff features a slowly evolving delay unit that pitches the material up continuously to create what end up sounding like peculiar harmonics. I push this as far as I can, especially towards the end of the piece.

Mycelium.

Many of the east pieces started out as placid, Satie-like piano sketches, and I had to go back and try to darken them up to match the difficulty of these levels. Many dynamic layers were added to this piece after the fact to make it more intense.

Acropolis Falls.

I originally wrote this piece for the plaza/town area of the East, but Alex and I were at odds about this piece. It was one of my favorites and one of his least favorites, so I ended up extending out 'Cascades' instead, and using this piece for the Sunken Docks. I think it ended up working well there because it's one of the largest, most open areas in the East if not the whole game, and there are very few enemies, which I think gives the music a lot of room to establish a setting. Part of this scene is a giant titan head floating in the water, which comes up in the middle of this piece. There are crackling noise sounds and deep percussion to try to give weight to the vision of this titan's head, and to imply that it goes way down below into the depths. This is capped off with a late add, a more active, percussive version of this idea to go along with a chaotic battle.

A Chorus of Tongues.

This area starts kinda small with just a few frogs, and so I complemented that feeling with some dueling melodies. As the region opens up and gets deeper, the leads give way to material that is more rhythmic, eventually emerging from the depths into a drier, more intense march type variation as you fight all sorts of enemies. As the clash subsides, the music recedes into wispy pads, representing a memory of what has just transpired.

The Hermit.

This is a piece came out of a series of piano sketches that I stitched together, followed by overdubbing additional ideas on piano. I then spent a long time splitting out the various elements into a full arrangement. I wanted this piece to feel patchworked with lots of different ideas and patterns, hoping to give it a circus quality.

The Water Shelf.

This area of the East feels a bit smaller, and not as decrepit or foreboding, and so this piece I think has a lighter, upbeat quality. The underground battles get rather intense, so I ended up having to revisit that section of the music and add more variations to it.

Petrichor.

Another piano sketch, this one came to me late in the game. The South had an unusual structure to it, and kind of came together from pre-existing material, such as 'The Gauntlet', which was originally written for a 30-minute demo we made for Kickstarter much earlier. Much of the South is constructed from the levels of that demo, and so we did the same thing with the music. 'Petrichor' was a new piece that I added later as the overworld theme. We initially used the tower motif here (Wisdom's Tragedy), but it didn't make sense to have the tower theme playing when the tower only takes up a small part of the overworld. I tried with this piece to create something that had the appropriate amount of desolation to it.

The Gauntlet.

This music is where I really hit my stride as far as figuring out the structure of the music in the game. We had a short timeline to do a vertical slice of the game for a demo presentation, so I had to get to work without hesitation and build it gradually over time. The variations were heavily influenced by constantly cross-referencing with the labyrinthine map of levels that eventually became the mass of the South. The music branches, introduces new elements, and often removes old ones, in an attempt to stay on top of the feeling of each individual level.

The Sentients.

This is essentially the ending of The Gauntlet, split out into a separate track for listening reasons. The first section of The Sentients is the first boss track I wrote for Hyper Light Drifter and ended up seeing a lot of usages. There are 5 significant battles in the South which feature this music. The post-battle music ended up being an excellent title track, as it has a sort of chill, plodding quality that we found inviting. The final sequence is meant to capture the gravity of a significant encounter with a Titan.

The Abyss.

The root of this track was the very first piece written for the game, and remained largely unchanged in its final version, except mainly for the incorporation of the tower theme. It seemed appropriate to include this motif as it is meant to represent the technology, wisdom, hubris and ultimate downfall of the four civilizations. Chimera evolved fairly naturally out of this piece.

Chimera.

The final boss music came together very late in the project. I didn't know what to write, and in fact felt quite intimidated because I knew it had to be climactic and surpass much of the music I had already written. Knowing this, but also knowing I did not have time to be precious and had to write because our time was almost up, I dove in and wrote very loosely, playing a lot with effects to try to create as gnarly a soundscape as I could muster.

Panacea.

I came up with a sequence of ideas at the piano and recorded them in a somewhat lo-fi manner, with a field recorder. The general structure and ideas were there, but the specifics were always a bit blurry, and that allowed me to tinker with the form and the details of the performance over the course of a 10 - 15-minute jam. Afterward, I edited this down into a more listenable form, a six-minute track.

The Heirloom.

This little ditty was pulled from the intro sequence and seemed like the perfect vignette for the death of the other drifter you encounter throughout the game.

Technique: Quantized Phasing

While working on The Floor is Jelly, I really pushed myself to try some new things. Mapping music to the geography of levels, using individual raindrops to generate music on the fly… Some of these ideas fell flat on their face, but one idea that managed to squeeze its way in is one I’d like to talk about. For lack of a better term, I’ll call it Quantized Phasing.

The idea at first was straightforward enough; I wanted to experiment with phase music, a musical form that appeared in the 1960s after tape experiments by folks like Terry Riley, Earle Brown, and Steve Reich. However it didn’t take me long to realize that using the gradual phasing style of that period was probably not going to serve the context that I was attempting to use it in. There was nothing particularly phasey about moving around in a watery level, so I started experimenting with ways to dial back the smeary nature of phase material and dial in the accessibility a bit. The solution I came up with was taking the phasing material and quantizing it, so that the material still phased in a way, but adhered to a more musical grid (namely, triplets and duplets). The result is similar to Steve Reich’s Clapping Music, where one overlaid pattern periodically shifts forward a beat.

'Clapping Music' by Steve Reich

The experiments for the water music proved to be too athletic and unusual for a peaceful, natural locale, so we ended up using them for the final world of The Floor is Jelly. A glitchy world.

Phase Structure

Level   Phase       Harmony
-----   --------    ---------------------
1       5.5 : 11    A Minor to C Major
2       6   : 11    F 6 no3 to E Minor b6
3       6.5 : 11    D Minor 9
4       7   : 11    C Major 6
5       7.5 : 11    Bb Major 6
6       8   : 11    A Minor 9 add6 no7
7       8.5 : 11    G Major 2 add6
8       9   : 11    B Minor 7 add11
9       9.5 : 11    C Major 2 add6
10      10  : 11    F Major add2
11      10.5: 11    E Lydian b7