Review Fix Exclusive: Philipp ‘Phrosty’ Armbruster Talks Soundtrack for ‘Luna: Shattered Heart Episode 1’

Review Fix chats with “Luna: Shattered Heart Episode 1” composer Philipp ‘Phrosty’ Armbruster, who discusses how he got involved with the project as well as his creative process with developer Dan Gillis and his favorite tracks in the Indie Adventure.

“Luna: Shattered Heart Episode 1” is set for an October release via Steam.

Review Fix: How did you get involved in the game?

Philipp ‘Phrosty’ Armbruster: I got a tweet from Dan asking me whether I would be available to join a game development project. We mailed back and forth a few times and he explained his concept to me, showed me some clips, and told me that he has been looking for a specific sound for a long time and felt that I would be the guy to deliver that. We quickly discussed budget, timeline and licensing, and I was thrilled to climb aboard.

Review Fix: Have you played it? What are your thoughts?

Armbruster: Dan provided me with his development version of the game right away. That is the version I was working with to compose the tracks. And when the project was done, of course I played the game as well. I love Dan’s ideas and concepts in his game, how much passion, time, and energy he has been pouring into it. I think the “Luna: Shattered Heart Episode 1” is a great start for building up an entire story over the next episodes.

Review Fix: How did the music come together?

Armbruster: I can’t answer this without mentioning how awesome Dan has been as a producer. He gave me all the creative freedom any composer could ever ask for and this is something that doesn’t happen on many projects.

The actual process was a bit like this: We sat down together and discussed the structure of the game in regards to the soundtracks, i.e. where do we need what kind of track to amplify or modify the atmosphere in the different sections of the game.

Then I sketched out a brief sample to demo the overall sound and mood, so Dan could give me early feedback. He loved what he heard (or at least that’s what he told me very convincingly) and I went on to complete the track. After that was done, we basically sat down again and decided on the next track. It was a very smooth process and it showed that Dan has lots of experience working creatively himself.

Review Fix: What’s your favorite track and why?

Armbruster: That’s a bit like asking “which of your children do you love most.” All the tracks have a different character, convey a different story, create a different atmosphere and mood. I couldn’t really say which is my favorite as I truly like them all in their own context.

However, if you were to ask me: “If you were forced to delete all but one track from that soundtrack,which would you keep?” I would still try to negotiate and wiggle myself out of this but eventually say: keep the “The Cave Of Despair” track (http://phrostylicious-productions.com/#cbp=projects/project7.html – 5th from the top). It is the most complex one in its harmonies, its structure, its melodies, its sound. It is also the one that “evolves” the most throughout its duration, so, I’m gonna go with that one.

Review Fix: What’s your creative process like?

Armbruster: At first I need to “get a feel” from the material I am to write music or soundfx for. So I sit down and play (game) or watch (film/trailer/cutscene) it. During this first time of exposing myself to the material I try to get as complete an impression as I can get; to consciously extract the entire emotional “cargo” of it. Sometimes this can be a bit tricky, as you have to emerge yourself enough to actually let the material affect you, but at the same time stay disconnected
enough to stay consciously aware of those emotions. But to me this is really the foundation for all that is to follow.

Now that I have this emotional impression, I basically brood over it for a while. Sometimes this takes merely a few moments, sometimes it takes a bit longer, but eventually, inside my head, “a sound emerges from it.” Then I quickly sit down and rifle through my sounds to find those that fit the sound I’m hearing inside my head. Eventually I end up with a handful of sounds that are – as I imagine it – like the color-palette of a painter: they are the basic building blocks with which I will go ahead and start composing the track.

And the rest is, as they say, dark sorcery…

Review Fix: How does this game make you feel? How would you describe the tone of the tunes you produced for it?

Armbruster: Dan has set the game up in such a way that each section of the game conveys a different mood and atmosphere:

There is the sense of despair (with some hope left still!) in the main cave, where the track tries to capture the inner world of our hero, who has just found himself in this predicament. This track focuses on Lithien’s emotions and thoughts. It is a complex and evolving track with may different facets to it. (“The Cave Of Despair”)

There is the shop with the jolly awkward lizard vendor, exuding a sense of friendly haggling and swindle, so the track is reminiscent of a pirate tavern, of sorts. It twinkles, stumbles drunkenly around, laughs at the dangers of the world outside, and throws the dice again for
surely a better outcome this time… (“The Haggling Lizard”)

Then there is the house, in which Dez tells Lithien about her own background a bit, which conveys an interesting mix of a sanctuary from the dangers outside but also tinged with the melancholy of things not quite right. Mellow piano chords with a slow cello melody on top and
subtle choir voices underline the decelerated moment that has an inward focus on Dez’ emotions. (“Shelter From The Darkness”)

Then there is the cave out the back of the house, which has a mystical atmosphere to it, so the track here is a soundscape with soundfx woven into layers of sounds. (“Specks Of Dark”)

There is the big fight that has our two heroes battle a seemingly overwhelming enemy, which per definition is a moment of exhilaration and adrenaline; so the track drums out energy, tension, and excitement. (“Fight Or Die”)

Last but not least the (hopefully rarely experienced) moment where Lithien succumbs to his wounds and dies; but even then all hope is not lost. An elegiac track, that features some ethereal sounds and deep foundation as our hero lingers in the ineffable space between the two realms of life and death. (“Glancing Into The Void”)

And of course there is the moment before the game starts where the music tries to convey a sense of Lithien’s tribal heritage and the trials and tribulations ahead of him now. The track is a firework of primal percussion patterns with a haunting voice heard through the haze of an ecstatic chase. (“Forgotten Rites Of Old Days”)

Review Fix: How do you want the soundtrack to be remembered?

Armbruster: As with any project, I hope that people who have played the game will feel that the soundtrack really enhanced their experience, added depth and substance to the game, and maybe would even like to listen to the tracks all by themselves.

And on this note I’d like to mention, that the soundtrack has been released as an album for those who wish to have DRM-free mp3s of the tracks, support my work and/or express their appreciation for it.

Check out a trailer for the game below: