Eric Britt Music

Underspace - Revive (Original Game Soundtrack by Eric Britt)

In October I decided to overhaul the orchestration of our main theme. After months spent drafting several orchestrations, I’m proud to introduce Revive, the new main theme for Underspace. Revive contains the same melody you’d hum as the original, but in an entirely different setting. With the new palette of instruments, it is among the most distinct themes in the soundtrack. 

@underspacegame - Development

Fhedden Overture - Behind the Underspace Soundtrack

Behind the Underspace Soundtrack is a series where I showcase the scores of the background music for @underspacegame. Here’s a zoomed in excerpt of the music for Fhedden. 

Fhedden is a highly radioactive region of space home to the mass grave of an unknown species and terrifying blackholes hide in various nebulas.

Vauldwin Overture - Behind the Underspace Soundtrack

Installment 3 of the series where I share the making of the Underspace Original Game Soundtrack. “Vauldwin is a society ruled by precedent and bloodline, even if they’re an advanced intergalactic race. Elegance and propriety are as vital to them as air and water.” 

@underspacegame - Gameplay and development

Finale - Behind the Underspace Soundtrack

Second in the series where I give a look behind the score of the Underspace soundtrack. I zoomed in on all applicable instruments for this section of Finale, the last piece in the soundtrack. 

Macrovari Overture - Behind the Underspace Soundtrack

Metropolis -  (by Eric Britt)

This is my new piece, Metropolis. In the composition I aim to emulate a bustling, futuristic and sometimes dark city. Having been written a month after the completion of my @underspacegame soundtrack, it sounds different than all the music written during that period of time. The result is wonderful.

Side note: You really get that futuristic metropolis vibe around 0:35.

Wind Waltz - (by Eric Britt)

This is a live performance of a waltz I composed for two flutes and clarinet. It errs on the side of simplicity, with a returning motif. My previous compositions at the time were inspired by film scores. I concentrated on more traditional elements when writing Wind Waltz.

5% of the Dream - (by Eric Britt)

In the spring of 2016, I had a dream where I heard four measures of music. This was the initial basis of the composition. During the writing process it underwent a transformation as I livened up the motif in with a variety of compositional techniques.

Underspace - Original Game Soundtrack by Eric Britt

Here are a few tracks from my original score for @underspacegame​. The main theme is being overhauled, so it’s not included in this list. Don’t worry! The new main theme will be out in a few weeks.

I started scoring Underspace in early July. It was my first soundtrack for a full-fledged video game, so I approached it with that mindset. The result? Fitting action packed lead themes tailored to the gameplay, as expected. 

The first 50% of completed game music was written on the basis of a life listening to video game and film music. My vast exposure to soundtracks served me well for the first 50% of the work I had done.

About a month in, my approach to writing the music of Underspace went in a new direction. 

It all started with a composition we know as Vauldwin Overture, which was the first publicly released track from the game. Because it was written in a concert hall style, I didn’t think it would be suitable for the game, but I sent it to the lead developer anyway. To my surprise, he thought it would fit really well in the game.

After Vauldwin was released, my film score mentality that I had drawn to write the first half of the soundtrack was quickly matched with an approach to music for concert hall. 

The soundtrack really started getting good after that. I was professionally trained for five years to write for concert hall, so it only made sense to utilize all the skills I had built from writing traditional classical music for the game. 

It wasn’t a matter of choosing one approach over the other, but rather the marriage of film scores and music for concert hall. After Vauldwin, the remaining 50% of the soundtrack was written under that hybrid approach.

Underspace - Finale (Original Game Soundtrack by Eric Britt)

That’s a wrap! The Underspace Soundtrack is complete. This week I finished off the hour-long score that was months in the making. 

The Finale of the Underspace Soundtrack is the result of countless hours of composing, polishing and mixing. More time and thought was put into Finale than any other track in the game. Considering it’s the final work in the soundtrack, I had to make it count. The finished product is mesmerizing.

You can expect to hear the remainder of the soundtrack when @underspacegame​ makes its debut. Until then, feel free to listen to the current releases of the score by clicking the link below.

Underspace Soundtrack Selections

I’ve been working on the Final Overture for Underspace over the last few days. Earlier today I had pretty much perfected the thing, or so I had assumed

Then a miracle happened.

Having written sketches for the overture weeks in advance, I had material I had forgotten about. Then I accidentally unmuted an unused sketch, and it was exactly what I needed.

Now the Final Overture’s structure and textures outdo those of the initial vision I had for it. It will be released tomorrow, and I’m incredibly excited to share the last Overture of Underspace with you all.