This is the title music I wrote for Quantic Dream's upcoming blockbuster game for PS4, Detroit: Become Human. When I asked David Cage what the game is about he said "Detroit est un jeu about hope and struggle - a robot trying to achieve ésprit which is naturally impossible for a robot". I replied "merci, that is all I need" and instantly started working on the title music. It was obvious that synthetic organs were the sound of the game as the organ captures humanity while the synthesizer is technology, a dissonance which expresses perfectly the nature of the protagonist. And this melody came into my head the moment I put my fingers on the keys: a melody both happy and sad which tells a story of redemption and suffering, struggle and hope - hope of achieving humanity at the end of the road. When I showed the piece to David (or Dave, as I like to call him) he just went silent, sat down, nodded and covered his eyes to hide his tears (Dave is a very sensitive man). It was that moment that I knew I had done good and went off to work on my other big project, the next Assassin's Creed (not Syndicate, the next one slated for 2016).

Day of Human (Detroit Title Theme)

This is a medley of all the music I made for ハンマー少年, a 1983 platform game which was never released outside of Japan. It was the first game by Hideo Kojima and the precursor to Metroid. Sadly I had made too much music for the game and Hideo could make only two screens plus one boss screen with the remaining disk space but on these three screens it gave the player an amount of freedom never seen in a game before. Hammer-Oid (as Hideo translated it into English)had an incredible story with many characters and emotions so I created emotional music that is in contrast to the action-laden gameplay. It is much more primitive than the music I make today but in some way it remains my magnum opus.

Hammer-Oid (ハンマー少年) Medley

In 1973 I was born in Austria to Russian parents. My family was poor and did not own anything except a doghouse as well as a grand piano which barely fit into our humble home. My father could barely provide for our family, being a comedian in a country whose understanding of humour ends at "knock knock" jokes. Naturally I started a career as a street musician at young age, taking my grand doghouse with me as far as my legs could carry me, which is Cologne because I had no means of transporting a grand piano across the Rhine. There I soon earned enough Deutschmarks to afford an Atari ST and took my first steps with electronic music and made a livelihood of developing unauthorized ports of arcade games. Luckily I struck a deal with German publisher Schrampf GmbH who bought my game Fury Feet and hired me as a composer for all their other games. That's when I decided that I want to dedicate my life to composing music for games but as I was very ambitious I decided to get an education at the best music academies in the World first. So after studying composition and orchestration at the Université de Rutgerue as well as the Stanford Académie des artes, graduating from both of them magna cum laude, I moved to Finland, with its booming video game industry, from where I have been composing soundtracks for games for thirty years by now, including major block busters from the biggest publishers in the world.

Francois de Gulyevich