The sound of a place where you don’t want to be. Perfect for dark jungle scenes.

Aokigahara

Here we go with a peaceful track using an instrument I've never used before, Kalimba. I also recorded some rhythm and melody lines with my ukulele, and used some previously field-recorded foley sounds of the Sicilian sea waves and birds to create the tropical atmosphere. Enjoy!

Motunui

Rhythm in charge

I took the Japanese Anime and Dorian Scale challenge today and created a soft - airy environment.

To the clouds

The music you need when you secretly enter your sister’s room.

Stealth Mode

I took the Guitarland challenge today and wrote a track using blues scale.

Guitarland

Re-Scoring for the game Journey. A little bit different approach than the original music, but still tried to find the right style for the game. The core idea of the music is to be 'loopable', so the player can spend as much time as they want on the level.

The Journey

My latest chilling ambient song for December. Perfect for studying or reading.

Grønland

Something bad is about to happen….you better run for your life!

Etna

The enemy is around the corner, will you run or fight?

Boss Fight

Digital Sea

Mama-Coco challenge; Traditional Mexican percussion (and probably a few more... :)

VGM#2

I took the "So Damn Hot" challenge today and wrote a quick desert tune. I could imagine this in a new wave - rather rhythmical - desert level.

VGM#4

Today I took the 'Heavier Things' challenge and wrote this motorider song, that (in my opinion) would fit in any hardcore racing game.

VGM#6

Tip #15: Listen to the music for some of the top 10 games or popular music albums, identify some common traits, and experiment with those elements.
For today's challenge, I've been inspired by the music of a beautiful co-operative game 'Unravel Two'.

VGM#15

This is my latest pirate theme for modern orchestra. Enjoy!

Pirate Theme

Chapter 1: jumps right in the middle of The Devil's Staircase where chromatic piano runs – with joining piano voices in canon -, sharp percussion hits and other accompanying solo instruments – flute, trombone - drives the listener into an orchestral nightmare. A minute later, some random chromatic pizzicato strings and idiophone percussion instruments take the lead from the piano, introducing the polyrhythm technique, similarly like in Ligeti’s Apparitions. 

After a short transition of granulized string glitches, we fall into Chapter 2, where dissonant synth hits – just like in Ligeti’s Artikulation - lead the listener into a dissonant female choral part which was written using micropolyphonic technique. The repeating synth reverb tail loop provides a comforting constant bed, while the legato choir and other synth hits drive us deeper in this sonic chaos of dissonance. The synth hits will soon transform the scene into the world of Athmosphères, where the passage of an evolving synth lead us to Chapter 3, with polyrhythmic synth pluck arguments in the background. 

Chapter 3 is the part where the real polyrhythmic elements shine. The hi-hat left and right surround play was created with the use of random number generator, which suggested the location of the midi notes to be played in random order. Using a spatializer, 360 degrees of surround manipulation was applied throughout the composition. Given the era Ligeti was living in, he could only experiment with a left-right surround technique, however, today’s technology makes it possible to use more complex surround elements, allowing today’s composers to experiment with the surround idea further. 

As the hi-hat disaster evolves with accompanied distorted dissonant pads, the piece reaches its Final Chapter, where the melody of the previous synth arpeggio continues to play on piano. This is probably the most absurd part of the composition where polyrhythmic piano accents being mixed with rhythmical, absurd and hysterical human voices – similarly like in Ligeti’s Aventures -. The last minute of the composition is about taking instrument fractures away piece by piece giving more and more space for the uprising radio static noise. For maximum experience, the use of stereo headphones is highly recommended.

Molverture - A tribute to György Ligeti

Snake Charmer is an indie minigame, made on the Bristol Fuse Jam 05-06 October, 2019.  Our main character - the snake - is on a mission to captivate the armadillo and take her on a date. Depending on how much coins the player collected, the snake can take the armadillo on a café date, a disco date or stay home which is the cheapest option. 
Initially, the main game was going to take place in an office environment, and a retro snake bonus level was also planned to be made.

Snake Charmer Menu Loop

Snake Charmer Retro Snake Minigame Chiptune

Snake Charmer End Credits Song

Snake Charmer Disco Date Scene

Snake Charmer Cafe Date Scene

Snake Charmer Home Date Scene - Original Love Theme

Snake Charmer is an indie minigame, made on the Bristol Fuse Jam 05-06 October, 2019. Our main character - the snake - is on a mission to captivate the armadillo and take her on a date. Depending on how much coins the player collected, the snake can take the armadillo on a café date, a disco date or stay home which is the cheapest option.
Initially, the main game was going to take place in an office environment, and a retro snake bonus level was also planned to be made.

Snake Charmer Office Level

A song with real - recorded instruments. 
Cello: George Healey
All other instruments and vocals were played and recorded by myself. 
Some additional orchestral strings and brass elements were created by using sample based plugins.

This War Is Ours!

Project Boost - Boss Fight Theme

Hi, I'm Mate and I write music for games, film and for fun. The songs I upload here are ideas for possible future game projects. 
Please visit my website for more info: www.matemoldovan.com
If you like what you hear and would like to get in touch, please email me on info@matemoldovan.com

Mate Moldovan

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