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It’s with some regret that our first meeting is one of tears, but you see, the Commander… he’s not doing so well.  He’s not ill, no smallpox, no inflammation of the lower intestine, no sudden life-threatening thyroid condition, but… he’s disappearing.  I knew he would eventually, but we got on so well together, why believe anything so contrary?  He bought us a house, put down Gladiolas. It’s been years since those churlish Reapers stopped delivering their shoddily made penny-saver circulars, but he still churns his stirabout nervously every morning, goes lumbering to bed throwing off his steel greaves, breath clouding his helmet visor. Still though, there was time each day for popcorn, terrible jazz standards and bocce.  Why leave?  So yes, the Commander is not doing well; but what’s more, I’m doing much worse. Because in a very short order, I will complete Mass Effect 3, and my friend Shepard will be gone. His many heavy, ingot armors left to rust and house harmless spiders and junebugs… Who will drive his Normandy?  I will be alone.


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I will always remember how we met. It was his music…. it’s what made me take notice in the first place.  The man knows his way around a Moog. It’s the dead of space but to Shepard, it’s channeling the Banana Wind of a young Jimmy Buffet gone positively cast iron! Wardrobe changes, sashaying amongst the curtains… He’s tender, lyrical, positively Macbethian. It was a show not to be missed. The guy can irritate.  He’s cheap, socially inept; he got out of paying last month’s rent.  But I joined him, we traveled, battled… time went on.

mass-effect1We’ll need your Moog.

I will miss his cad wordplay, his tongue always finding new, deadpan ways to express his disappointment in you.  But he still wants you along for the latter acts, the cabaret numbers.  I will lament the absence of his sophomoric poetry and his contemptible taste in leggings.  It was upon reaching the ingress of Mass Effect 3’s intro screen (the one where we find the Reapers have taken to riding Earth bareback) that it hit me. This last hampered leg of our legato world tour would be one accompanied by tombs: mine, his. We might even dig them together. So as the images onscreen strained to make small talk, pleading me to ‘Press Start,’ the minutes slipped to an hour. I sat there staring, unwilling to make hay. The stagnant constriction of lumps in my throat, my hands clamped around joystick, it was absolute paralysis.

I have waited this long to play Mass Effect 3 for no other reason than to delay bidding the Commander farewell. All the minerals we have collected together, all the bumpy rides in his moon-roving carriage — I have dragged him away, soused and mid-monologue, from so many neon terrestrial taverns just as they send round the hammer.  Shepard likes his drink. This is it! I might amble myself out his way again so we can reminisce, but we will never be closer than we are right now.  It’s going to turn through my head for a long time, I will cry… but then I will remember Shepard owes me money, and I’ll think to myself: Death is kind…It’s the relationship we have….

Mass Effect orbit


Having fallen in love only 4 times in his life Geno counts Double Dragon as his second and truest love. He has worked in 
record retail since 2000 and believes David Hayter to be the one true Solid Snake. Currently, he is putting together a band which
only perform songs from Street Fighter 3rd Strike.

It’s easy to talk about games, isn’t it?  If I ask you to tell me about one of your favorite games, I’m sure you would. I could ask about your favorite characters, scenes, stories, sound effects, actors, genres, artists, developers… and music.

That’s pretty much why I’m here – to talk about music in games.  I’m told I can write about games in general, but I’m here to tell you, I’ll mostly be talking about music.

I’d say music could make or break a game, but that’s not always true, since we tend to have the option to turn it off during gameplay.  And yeah, I’ve done that before; hasn’t everyone?

What I usually end up doing, though, is turning down slightly the effects and the speech, and crank up the tunes.  Unless it’s Dead Space, which should only be played with all lights on and all sound off.

To be fair, there’s something special about game audio in general.  The reason Dead Space is so terrifying stems from the relationship between the sound in the environment and the music Jason Graves wrote.

The marriage (if you will) of string chords with headshots in BioShock Infinite is a remarkable design element.

Music has always been a part of games, which will never change. So, LET’S TALK.


Emily Reese is an on-air host for Classical Minnesota Public Radio. She is also the host and producer for Top Score, Classical MPR’s podcast about video game soundtracks, and created MPR’s Listening to Learn series. She earned an undergrad certificate in music education and jazz studies from the University of Colorado — Boulder, and a masters degree in music theory from the University of Nebraska, Lincoln. Emily lives in Twin Cities with her cats Atticus, June Bug and Lee, and loves gaming, with or without friends.


Remember Me

Classically trained multimedia composer Olivier Deriviere (Alone In The Dark, Of Orcs And Men), whose distinctive soundtracks have been recognized by Billboard and The New York Times, has crafted a unique, electronically manipulated live symphonic score for the upcoming action adventure video game Remember Me developed by Dontnod Entertainment and published by Capcom. Deriviere’s dynamic emotional score is intricately woven throughout Remember Me‘s innovative ‘memory remix’ gameplay experience and immersive futurist story set in Neo-Paris where personal memories are digitized, bought, sold and traded. Remember Me will launch on PlayStation 3, Xbox 360 and PC in North America on June 4 and across Europe on June 7, 2013.

Remember Me is a 3rd person action adventure where players take on the role of Nilin, a former elite memory hunter with the ability to break into people’s minds and steal or even alter their memories. The authorities, fearful of her knowledge and capabilities have arrested Nilin and wiped her memory clean. After her escape from prison, Nilin sets out on a mission to recover her identity, helped by her last and only friend. This search for her past leads to her being hunted by the very people that created this surveillance society. During the course of the story, Nilin will start remembering who she was and re-learning all the fighting moves that made her one of the world’s leading memory hunters.

Olivier Deriviere’s interactive musical score for Remember Me features live orchestra that has been digitally processed and manipulated with multiple layers and effects to create a futuristic – but entirely organic and acoustic – musical palette which reflects Nilin’s memory loss and the reconstruction of her memories throughout the game.

Described by critics as “Cinematic and magnificent” (GameTrailers), “Fantastic and evocative” (IGN) and “One of the best soundtracks…this generation” (Destructoid), Deriviere’s score dynamically reacts to the player’s moves during gameplay and contains hidden messages about the story. Preview samples of the music are available on SoundCloud.

The score was recorded with the Philharmonia Orchestra at Air Studios in London by GRAMMY® award-winning score engineer John Kurlander and mastered at Universal Mastering Studios in Los Angeles.

Olivier Deriviere has previously scored numerous animation, film and video game soundtracks including the critically acclaimed interactive scores for Alone In The Dark, Of Orcs and Men and the Obscure video game series. Deriviere works with renowned recording studios, world-class engineers and performers, as well as employing the latest software and custom library sounds. An alumnus of Berklee College of Music (Jazz & Film Scoring) and the National Conservatory in Nice, France (Composition and Orchestration), Deriviere has recorded for games with the GRAMMY® award-winning choir The Mystery of Bulgarian Voices, The Boston Cello Quartet, The Boston String Quartet, The Children Choir of the National Opera of Paris and The Philharmonia Orchestra in London. His music has also been performed by the Cannes Symphony Orchestra, Monte Carlo String Quartet, and Utrecht Metropolitan Orchestra and Choir (“Games In Concert”). For more information on Olivier Deriviere, visit

For more information on Remember Me, visit

Company of Heroes 2

Internationally celebrated composer Cris Velasco provides the original score for Relic Entertainment, Inc.’s Company of Heroes™ 2, the sequel to the highest rated strategy game of all time*.

Velasco is one of the most sought-after composers in the medium, best known for his award-winning music featured in the God of War and Mass Effect franchises. Recorded with world-class orchestra musicians and choir from the Czech Republic, Slovakia, Austria and Hungary, Velasco’s score for Company of Heroes 2 majestically captures the solemn heroism and human tragedy of the Eastern Front conflict during World War II. Company of Heroes 2 is scheduled to be released for PC on 25th June 2013.

Company of Heroes 2 moves the battle away from the common Western Front focus of World War II and refocuses on some of history’s most brutal and devastating conflicts on the Eastern Front, challenging players to take command of the iconic Red Army and repel the Nazi invaders from the very gates of Moscow.

“Cris Velasco’s score perfectly captures the heroism and tragedy that we set out to portray in Company of Heroes 2,” said Relic Entertainment Audio Director David Renn. “Cris worked tirelessly to provide us with rich and compelling music that is unlike any game soundtrack I have ever heard. From the depths of the Russian winter to the epic scale of Eastern Front battles, the score supports the game in a truly cinematic way and we couldn’t be happier with the result.”

“I approached this score from the very beginning as more of a ‘Symphony for the Eastern Front’ rather than a typical game score,” said Cris Velasco. “The music sets out to convey the horror of war and the determination of the Russian soldiers.”

Previously a BAFTA nominee and winner of “Best Original Score” at the Academy of Interactive Arts and Sciences Achievement Awards (God of War), Cris Velasco’s music was recently honored with NBC News’ “Best Video Game Music of 2012″, GameTrailers’ “Best Soundtrack of the Year”, IGN’s “People’s Choice Award – Best Overall Music” (Mass Effect 3), and nominated for “Outstanding Achievement in Music Composition” at the 16th Annual D.I.C.E. Awards. Velasco’s upcoming score for Company of Heroes 2 is highlighted among the “Most Anticipated Video Game Soundtracks of 2013″ by Forbes.

Company of Heroes™ 2 will be available for PC in June 2013. For more information check

To celebrate the launch of our new site, is offering its customers a 15% discount off our entire catalog through the month of March!  When checking out, simply enter the promo code sumthing15 to receive your discount.  Also be sure to sign up for our newsletter to receive discounts in the future…. unless you prefer to pay full price.

Sumthing New

Hello and welcome! Sumthing Else Music Works is proud to present the all-new butt-kicking, name-taking!

For those of you who aren’t familiar with Sumthing, we are the leading record label and provider of video game soundtracks. Founded by legendary songwriter, musician and record producer Nile Rodgers, Sumthing has been bringing in-game music to video game fans for over a decade. With the launch of our new site, Sumthing looks to optimize its digital delivery system with a fun, sleek shopping experience. Click here to browse the deepest and most thorough offering of game soundtracks available.

But stick around! is more than just a store. In the months to come, will be rolling out a bevy of new features, including our Insider Blog (it’ll be right here, bookmark it!), which will highlight the latest news, giveaways and interviews in game music. For now, we invite you to check out our Composer Pages, to keep tabs on your favorite video game composers through their bios, discographies and live Twitter feeds. We have similar profiles for game Publishers and Developers – a hub for live updates on your most anticipated titles of both games and soundtracks, and a great way to stay informed!

The Sumthing staff is just like you: We love gaming and we love music! Our goal is to provide the most exciting game music site on the internet – and to achieve this, we need your help. We hope to build a strong rapport with our fans and would love to hear what you’d like to see on the site. We feel is as much yours as it is ours, so drop us a line at the Contact Us section to join the discussion. We’d also appreciate reports of any technical problems you may come across as we jump off the starting blocks. Also, we appreciate being called awesome.

Thanks guys! And happy browsing!

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