"S.T.A.L.K.E.R.'s atmosphere improved by 400%". Interview with MoozE for GSC-Fan

An interview with the composer Vladimir Frey aka MoozE for GSC-Fan site of May 19, 2010. Author: Vyacheslav Murygin.

Introduction

The gaming media called S.T.A.L.K.E.R. “the most atmospheric game of 2007”. Besides visual design, architecture and sound, quality music score by Vladimir Frey aka MoozE plays a big role in the creation of Zone’s signature spirit and mood. Read our interview in which Vladimir talks about music, creativity, participation in the S.T.A.L.K.E.R. project and more, also he will give some advice for novice composers.

Music and advice for composers

[GSC-Fan]: Hello, Vladimir! So, let’s start from the usual question. How and when did you decide to connect your life with music?

[MoozE]: When I was 13, I accidentally discovered that FastTracker 2, as I thought at the time a feature-rich player, was able to record custom patterns. That's how it all started.

[GSC-Fan]: Would you ever have imagined that you’ll become an in-demand video game composer?

[MoozE]: No, but I dreamed of this like all beginners.

[GSC-Fan]: Once in search of potential clients you were sending your recorded music to the developers. How do you communicate with devs now? Are they reaching out to you or are you showing initiative?

[MoozE]: It’s both, actually.

[GSC-Fan]: You’re composing music in genres from industrial breakbeat to dark ambient. What music genre do you prefer and which is more interesting to work with?

[MoozE]: Thank God, the range of genres and styles with which I work, plan to work and I’m interested in as a listener is not limited to the scanty “dark” span from “industrial breakbeat to dark ambient”... Probably, this misconception stems from a simple lack of knowledge about my craft and tastes.

I don’t understand composers and music bands who find “their style”, chew it for decades and after just one of two albums go head-first in self-copying and deep creative block. Also I don’t understand listeners who limit themselves to a couple of genres and don’t make even minimal efforts to try to discover something new.

[GSC-Fan]: Vladimir, what bit of advice can you give to someone who would like to be a composer?

[MoozE]: — For the first 5-7 years of creativity don’t seek professional opinions and listen only to yourself.. First, this is due to the fact that unfortunately it’s extremely difficult to find an appropriate professional who can objectively evaluate your creativity and give you good advice. Second, even if a novice composer has a lot of talent, it’s very difficult to see that talent behind those natural technical flaws that are present in the craft of any beginner, without mistaking it for lack of talent itself, even if you possess a professional ear. Third, given “the subtlety of the matter” that we’re dealing with, it can be assumed that most novice composers accept any criticism (both helpful and non-objective) and all kinds of advice too much to heart. And these first 5-7 years will help to form at least some of your own opinions and views on craft, and as such one needs to develop the skill to choose which feedback is worth listening to and which should be ignored.

— Get out of your head one of the biggest myths in the modern world of music: a need to find “your style” and “your tone”. Can you imagine an actor who finally found “his role” and is ready to spend his life “polishing” it until it shines? That would be absurd and we all know that any actor in his right mind will be glad for every new role that differs from his previous works. So why today, when technologies gives us just colossal opportunities for working with sound and music (and I think those opportunities multiply every year), when you can find all information that you need (on the music and sound theory, its history and anything related to music) online with a few clicks, instead of plowing these giant “layers” of limitless opportunities, composers find “their style” and are ready to stagnate for years and decades? In my opinion, it’s just not interesting and deeply stupid. To put it mildly.

— Find your way (not to be confused with the style referred to above), the most comfortable and acceptable one specifically for you.
You can go to get a classical education, or you can be self-taught or stop on an average between these two choices and study only what you’re interested in and in a way you’re interested in, while resorting to the help of teachers or tutors from time to time when you need it.

— Develop a taste. Listen, read, study a variety of artworks in various genres and styles, various eras as much as possible.
Study all that you’re interested in, even if it’s not directly related to music. It's amazing how much useful information a composer can find, for example, in a good book about cinema, article about design or philosophical work from an outstanding person.

So, in short, anything you pass through yourself forms your taste. And taste, in turn, is pretty much the highest power in working with the little things which constitute creativity.

— When once again you’re ready to spend your savings on expensive cathodes and analog hardware, think carefully if you need it, or if it would be better spent as a tribute to the devs, whose pirated “demo” software every novice composer uses. Trust me, with good software, good monitors and a more or less powerful PC or laptop you can move mountains. And purchase of a licensed software is also very useful because it’s a powerful incentive for a deeper dive into software’s capabilities and features.

Of course, all of the above makes sense in an ideal situation where you can waste as much time as you want to compose only what you want. When working with soundtracks or, if you prefer, production music, be prepared for the fact that sometimes you have to turn in at least some tracks, because a deadline is coming and there is no way back. Just keep in mind that unsuccessful pieces sometimes bring a lot more useful experience than easily and quickly composed ones. And with accumulated experience you learn to cut corners well in extreme situations and make tracks that are very simple “under the hood”, but “look” epic on the outside :) But only those won’t get far.

Working with GSC Game World

[GSC-Fan]: When GSC Game World, in recognition of your work on FireStarter, invited you to compose for the S.T.A.L.K.E.R. project. What were your first thoughts about the offer? Did you immediately want to join in?

[MoozE]: It wasn’t like that at all. In 2003 I sent a lot of emails to GSC asking for a chance to compose for Stalker, and after finally receiving a reply, I made a test track after which they agreed to work with me. But while I was composing the first three tracks (Amb#1-3) it was clear that I have a lot of free time while waiting for replies from the dev and discussing one of the more recently finished tracks, it led me to my services for the FireStarter project as well.

As a result over the next six months I composed eleven tracks for FireStarter (plus one more track that I composed earlier “for myself”), and then in 2004 I returned to S.T.A.L.K.E.R.

[GSC-Fan]: FireStarter is a very dynamic and furious shooter. Music and pacing should be consistent with the style and atmosphere of the project. What helped you during the work on the soundtracks?

[MoozE]: The different media materials for the game. Arts, screenshots, video…

[GSC-Fan]: When working on the soundtracks for S.T.A.L.K.E.R. you had your personal view on which tracks should give a unique atmosphere to the game. Which of those were most justified? What were GSC’ impressions after listening to the first results of your work?

[MoozE]: I tried to shovel as much as possible with as many different sources of inspiration “on said topic” as possible. It was difficult to work as it always is the case when working with a new style, but also bloody interesting. I recorded a lot of different radio noises and just noises on an old tape cassette player, then digitized all of the material and did some heavy editing (and sometimes didn’t edit at all) in order to make it usable for music.

I wanted to make it sound very dirty and vintage to create the impression that the soundtrack consists of recordings made in the 1980's or were digitized from battered tape recordings of that time. Not all GSC devs who talked to me agreed with my idea. And I even had to “fight” for some of the tracks to be put into the game the way I made them. So, for example, GSC never wanted to include a track “Mutation” in the game, but according to statistics on last.fm and feedback that I still get, I was right to insist on my vision.

And I clearly remember the devs’ impressions after listening to music in the game. Anton Bolshakov, a project manager, wrote to me at the time: “The game’s atmosphere improved by 400%” :)

[GSC-Fan]: After S.T.A.L.K.E.R. you decide not to compose for the next games in the franchise. What is the reason? Did you want to work in other areas?

[MoozE]: I composed two tracks for “Clear Sky” and devs liked it, but a bit later when they listened to these tracks in the game, critical remarks and disagreements on the music design followed, and, in general, I had to recompose it. Having estimated the time, I realized that recomposing these tracks and composing others will take me much more time than I originally planned, and I didn’t have it. So I had to leave the project and take those two tracks with me.

[GSC-Fan]: If GSC will invite you again to compose music for their new projects, would you mind?

[MoozE]: I wouldn’t mind.

[GSC-Fan]: How do you evaluate S.T.A.L.K.E.R. games? In your opinion, how successful are they?



[MoozE]: I really liked “Shadow of Chernobyl”. I haven't tried the others yet.

[GSC-Fan]: Chernobyl and a terrible disaster that happened there almost quarter of a century ago has overgrown with many different myths. Of course, a huge part of them are unconvincing, but people are still scared of those places. Would you like to go to the Exclusion Zone for a tour?

[MoozE]: If this will be as part of work, why not. But just for myself I doubt it. Maybe I’ll surprise the fans of S.T.A.L.K.E.R. music, but the fact is that the “dark” music in spirit of Stalker and inspired by something like a visit to Chernobyl, I’m willing to compose only in the context of it ending up as part of some “positive” creative product. Despite all the dark atmosphere, S.T.A.L.K.E.R. or perhaps Fallout are those games from which the player gains the most powerful positive experience. That’s why you shouldn't expect albums in such dark styles from me. Only if unreleased tracks will accumulate to warrant an album…

I don’t understand composers and in general all the creative people, like writers, artists, filmmakers etc. who are older than 20 and keep admiring “negativity” like some 12-15 years old teenagers, and then dedicate all their lives to it. Perhaps it’s even stupider than “find your style”.

About working on other game projects

[GSC-Fan]: What difficulties do you have when working on music for strategy video games (Warfare, for example)? What are the specifics and differences between strategy’s soundtrack and shooter’s soundtrack?

[MoozE]: Strategy or shooter, it makes no difference. Difficulties may rise from other game features such as the setting or any technical limitation of the game engine or gameplay concept… But, thank God, I almost never experienced anything like that.

[GSC-Fan]: How did you get involved with the soundtracks for Borderlands? What was your part in that project? Have you worked hand in hand with Jesper Kyd?

[MoozE]: In April 2007, when I released my promo, I decided to write a letter to Jesper Kyd, just to ask him for his opinion about music and thank him for the inspiration, because I’ve always been inspired by his works, especially soundtracks for Hitman series and Messiah. I didn't really expect a reply, but to my surprise he soon wrote a pretty long letter in which he answered my questions and at the end he offered to work together, because he liked my music.

I didn’t work directly with the tracks for Borderlands, but I cooperated with Jesper Kyd as a session musician, I programmed drums. That is, I composed ethnic-cinematic drums and some ambient sounds for Jesper, which he used in his tracks.

About different things

[GSC-Fan]: Have you thought about moving away from music and doing something else?

[MoozE]: I have thoughts about doing something else without moving away from music :) I believe that a single universal creative energy which is used by composers, artists, writers, filmmakers, is at the core of all the creative processes, such as music, painting, literature etc. Each of us expresses it in a different form as a result of different technical processes we employ for different forms of art. That's why, for example, a good filmmaker, writer or composer may as well be not a bad artist or designer, if they understand correctly the nature of creative energy, have a desire, time and patience to study at least minimal technical features of the new art form they are pursuing. And then by increasing their level of theoretical and practical knowledge, accumulating experience, eventually if the will is there they can turn from a “not bad” into “really good” artist in the new field.

[GSC-Fan]: Do you find time for gaming, literature and cinema? Can you mention your favorite movies, books or games? How do you relax?

[MoozE]: I can’t really relax because I still haven’t found an alternative creative form to switch to which would be the best way to relax for me. And time for books, movies and games you can find even during working hours, because after 3-4 hours of continuous work you’ve got to take a break, at least for an hour.

Favorite games: Fallout 1-3, Planescape: Torment, Diablo 1-2, Thief: Deadly Shadows, M.A.X., Gothic series, Morrowind, Oblivion, Mass Effect, Master Of Orion 2, Carmageddon 1-2, Blood, Boiling Point: Road to Hell, A.I.M. 2: Clan Wars, Arcanum, all games from id Software, Salammbo, Disciples II, Strife, Jagged Alliance 2, Arx Fatalis, Titan Quest, Deus Ex: Invisible War, Anachronox…

Movies: Blade Runner, Baraka, Léon: The Professional, Apocalypse Now, Alien, The Lady from Shanghai, The Children’s Hour, 2001: A Space Odyssey, Grand Hotel, Gladiator, Kingdom of Heaven, The Lord of the Rings, La Dolce Vita, Taxi Driver, The Cider House Rules, Angel Heart, Vertigo, All About Eve, The Bad and the Beautiful, The Graduate…

Books: almost all of Philip K. Dіck, “Possession: A Romance” by A. S. Byatt, “The Idiot” by Fyodor Dostoevsky, “Fear and Loathing in Las Vegas” by Hunter S. Thompson (and a film adaptation too), “We” by Yevgeny Zamyatin, “Ask the Dust” by John Fante, “This Immortal” and “Lord of Light” by Roger Zelazny, “Lolita” by Vladimir Nabokov, “Rendezvous with Rama” and “The City and the Stars” by Arthur C. Clarke…

[GSC-Fan]: What do you think is the most significant achievement in your life? What goals do you pursue now?

[MoozE]: Probably, the main achievement should be considered is that I “found myself”. And you can speak about the goals after achieving them. Goals that are “in the process of being achieved” are personal.

[GSC-Fan]: What are your plans for the coming years?

[MoozE]: The usual, take over the world :)

[GSC-Fan]: Vladimir, is there anything you would like to tell your fans?

[MoozE]: Thank you all so much for the support, and please excuse me if I still didn’t reply to your letters. Of course, I could write something like “I haven’t got much time” (and it’s true), “I am forgetful” etc. but that is justification. So just excuse me! :)

Gratitude

The author thanks Maeda K. for help with English translation.

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[VVakba]

The goat

[Borahkreth]

Was just looking to infos about what he was doing nowadays, thanks for posting this !