Music

This is a collection of the music I've written and recorded over the years.

 
 


"Little Potato" Soundtrack – Preview Tracks

"Little Potato" is the award winning autobiographical doc that tells the story of Wes Hurley's journey growing up gay in the Soviet Union, his mother's struggles to create a better life for them both, and their eventual escape to America via her becoming a mail-order bride.

Wes came to me with a daring musical vision: he wanted a lush electronic landscape.

The Little Potato Soundtrack is now available through AppleMusic or wherever you listen to music.

Recorded at home in Seattle.

For music nerds, here are the tools I used: Native Instruments Komplete Kontrol S88 and Komplete Ultimate, Pianoteq 5, Macintosh and Logic Pro X. 

 

Obduction: The Soundtrack – 2016

Recorded at home in Spokane and Seattle.

Tools: Native Instruments Komplete Kontrol S88 and Komplete Ultimate, Pianoteq 5, miscellaneous software synths, Teenage Engineering OP-1, voice, harmonica, Macintosh and Logic Pro X. 

 

Obduction Redacted – 2016

Creating the music for Obduction was a process: a one step back, two step forward sort of thing. So these pieces are representative of what happens when music sounds good on its own but, within the context of a video game, it doesn't present the correct motivation or mood for a player.

Tools: Native Instruments Komplete Kontrol S88 and Komplete Ultimate, Pianoteq 5, Teenage Engineering OP-1, Macintosh and Logic Pro X. 

 

Supreme Star Menace and Friends – 2015

John Williams is beyond brilliant but, as an experiment, I wanted to see what Star Wars would have sounded like with a less traditional styling of music. I wrote "Supreme Star Menace" to accompany the council scene in A New Hope.

Tools: Komplete Ultimate, Pianoteq 4, Macintosh and Logic Pro X.

 

The Immortal Augustus Gladstone: The Soundtrack – 2013

I took a very musical approach to the creation this film from the earliest stages. I regret we could not include all the wonderful third party pieces we used in the film in this soundtrack! 

Recorded in my garage-office in Spokane.

Tools: Native Insturments Komplete, Pianoteq 4, miscellaneous software synths, electric guitar, Teenage Engineering OP-1, Macintosh and Logic Pro X. 

 

 

Ambo – 1000 Years and One Day - 2005

Written and Performed by Robyn Miller and Keith Moore

Vocals by Keith, Production by Robyn

Sometime in the late 1990's, Keith Moore, a good friend and I began a "conversation" in poetry. I'd send him a poem, he'd send me a poem. This dialog went on for many dozens of poems, until the exchange finally seemed to wind itself up on it's own accord. When complete, we felt an obligation to do something with it. We choose about eight of the poems and began forming them into this album.

Tools and instruments: Korg Triton Rack, Korg Oasys PCI, Yamaha VL-1, miscellaneous software synths, a small arsenal of guitars and basses, electric cello, harmonica, mandolin, shakers and percussion,  Macintosh and ProTools. 

 

Ambo – Day Two - B-Sides - 2005

Written and Performed by Robyn Miller

Vocals by Keith, Production by Robyn

Keith and I argued over whether or not these two finished pieces felt right for the completed album. I think because I had written and recorded them, he kindly conceded, and we removed the pieces from the LP. This B-sides compilation is the result.

 

Riven: The Soundtrack – 1997

During the production of Riven, I had to occasionally sneak away from creating and directing the game, to an unused (empty) corner of our newly constructed Cyan building, where I would find a bit of time to work on the soundtrack.

At this point, I can't conceive imagining a world like Riven without also imagining it's ambient soundtrack and its sonic aesthetic. I feel Riven is our best example of how all this came together for us in a game.

Tools: Korg Trinity, Yamaha VL-1, Master Tracks Pro (DAW), Macintosh

Myst: The Soundtrack – 1993

We wanted nothing distracting the player from their experience in Myst: no avatar, no inventory, no dying, no control keys – we were out to mimic the experiences of a real world. It was essential to not break any suspension of disbelief. 

At the time, this approach impacted our view about a soundtrack – we felt a soundtrack was one of those false distractions that would break the spell.

Fortunately we didn't work in a vacuum...

Broderbund, our American distributor really wanted us to give music a try, and when they presented the idea of hiring an outside composer, we balked and wrote a test piece, if for no other reason, to prove to them how wrong they were – music wouldn't work!

We were wrong. :-/

Tools: Proteus MPS+, MoTU Performer, Macintosh