itch.io

Even though Tashia was frustrated with not finding her clues in a timely fashion she continued her persistence with searching for them. 

It was coming down to the wire within the two hour share deadline and bam! The final one came through.

With jubilation, Tashia was able to piece her clues together and discover a listening party!

In celebration of the game release + soundtrack on June 2nd 2026, there will be a listening party exclusively on Bandcamp

RSVP HERE - https://chasebethea.bandcamp.com/live/duppy-detective-tashia-original-soundtrack...

Happy Wednesday, Devs

With the upcoming release June 2nd, I was interviewed by Wallace of Exalclaw about the "Caribbean Noir" music I made for for the video game soundtrack, which led to a good conversation about bringing Caribbean culture and history to video games generally.

Tune in til' the tune end!

Hi Developers,

I am featured in a new podcast interview! In this episode, the host , Joe , asks me about my background in music, my endeavors to try and make video game soundtracks out of the sounds I feel that video games are missing, the importance of testing your music in context during the game development cycle, and more.

Thanks to Joe for booking me for Pixel Symphonic. He really dives into the video game catalog that I’ve done from the soundtracks from "/reality> " to "Sunken Stones".

He even loves the award winning soundtrack “On the Peril of Parrots". It really means a lot that he is interested in the power of the right game music and it allows us to know that there’s something beyond it and how it fits for the context of the game.

Tune in til' the tune end!

Game Jams be Game Jamming 

Normally people get amped when they get hired for a project. However, for me, participating in game jams was enough to get me excited. 

When I scored “Reclaim Earth” and indited “Challenge Accepted”, it was purposefully intended to create a sound world that felt desolate. In addition, I wanted to conflate a sonic identity reminiscent of Turok N64 and Doom 64 in conjunction with the “FPS (First Person Shooter)” game jam. 

Thank you to the programmer for the belief and value in my work as he paid me from his own adolescent pockets just to write more music after the jam ended. This is true appreciation.

I am thrilled to also see that people can enjoy the soundtrack from start to finish even though it’s only an EP. 

"Despite its small size, this is a well packed OST. All first tracks in the playlist are a blast to listen to, marrying extremely well with the game it (came) from. Even without having played it (game), it's well worth a listen."

Tune in til’ the tune end!

https://chasebethea.bandcamp.com/track/challenge-accepted

In the video game industry most of us love the feeling of nostalgia especially when it comes to video games. 

When I was hired to score the video game, “Akema’s Home”, the developer wanted that feeling of Super Mario 3 Advance. 

Title screens set the tone for how the game will begin. As a video game composer, I believe it’s imperative to establish the theme for the player to subconsciously know what it’s affiliated to. This is what I call sonic identity. 

https://chasebethea.bandcamp.com/track/akemas-home-main-theme-title-screen

Since being a video game composer. I’ve always tried to write boss music differently from the traditional way it’s been heard before.

When it came to Ball facing this boss, in the video game, "Super Happy Fun Block", I approached it based on the camera movement of the game in a slightly unconventional game design manner.

Since the sound palette of the previous pieces I indited was calm and adventurous , I felt that I should not increase the tempo like most boss music does. Instead, I give hints of danger with the orchestration / texture and rhythmic movement. 

Recapitulation:

-Sound palette Instruments stay the same

-Rhythmic movement advances

-Orchestration/texture exhibits brooding mood.

https://chasebethea.bandcamp.com/track/ambient-showdown

You know how Ball is trying to stop the Scientist from stealing the moon and star pieces? No? Oh that what betides in this section of the game.

With the puzzles being the most difficult, the game music is supposed to relax the player https://chasebethea.bandcamp.com/track/experiments

Hi Devs,

I'd like to share some more playlist considerations to build more listeners. Listening is free :)

This one is from the "Aground Original Soundtrack" For those who do not know it was my first award winning soundtrack in the industry. I was nominated for another game soundtrack, "I Can't Escape: Darkness" (above post).

The most played track is "Primitive Technology Underground".

• YouTube

• Bandcamp

There are over 4 million players worldwide of this game and still growing since the demo inception and players REALLY liked this track. 

My goal was to make the track sound like you were digging with your tools by using a specific rhythmic pattern. The dev team gave me the music direction for an Industrial-age technology that played in the science island town of the game. 

Again if you like any or all the tracks, please add them to your playlist.

Thank you kindly in advance for listening.

Hi Devs,

I'd like to share some more playlist considerations to build listeners. Listening is free :)

Since, it's spooky season, here is the nominated soundtrack, "I Can't Escape: Darkness".  The most played track is "Tree of Peace".

• YouTube

• Spotify

• Bandcamp

Here is the original soundtrack, " I Can't Escape". (Fun Fact: Markiplier played this game)

• YouTube

• Bandcamp

Again if you like any or all the tracks, please add them to your playlist.

Thank you kindly in advance for listening.

Never would I ever have thought that my video game music would be featured on National Video Games Day. It's been featured before on the radio before but not on this day where we appreciate gaming. Well, that is what is happening right now! I'm being celebrated by Classical Music Indy !

Over HALF the stream is dedicated to my exclusive interview and game music from my portfolio which is a little over two hours! The interview portion starts at 

• 12am EST, 11pm CST, 9pm PST

• 8am EST, 7am CST, 5am PST

• 4pm EST, 3pm CST, 1pm PST 

Daily until September 18th!

Here is the link. Remember to click on "local classical" to listen:

https://classicalmusicindy.org/cmi-streaming/#/

Join me in playing some of video games and listening to the radio stream.

BIG LOVE to Classical Music Indy! Tune in til' the tune end!

Hey Devs,

Are you looking for some game music to work to? I wanted to share some of my previous game soundtrack with you. If you dig it, add it to your playlist and share with your friends too.

Like the Final Fantasy VII Menu theme arppegios? This one may feel nostalgic for you then.

YouTube

Spotify

Bandcamp

I was recently invited as the inaugural guest on the new podcast Pixelated Harmony, and it was a real honour to kick off their series.

In this episode, I dive into:

• Behind-the-scenes stories on creating dynamic game scores
• How music shapes narrative design and emotional impact
• The cultural relevance of game music today
• Some of my current projects and future plans

If you’re curious about how game audio comes together—or just want to hear a deep-dive from inside the industry, give it a listen.

Ah-hoy hoy!

Set sail on an unique musical odyssey. I’m excited to invite you to a special listening party for the Sunken Stones Original Soundtrack — the rich, AUTHENTIC pirate themed score I composed to bring this unique puzzle adventure to life.

Join the Crew

During this listening party, you’ll get an exclusive first listen to the complete Sunken Stones Original Soundtrack. I’ll share behind-the-scenes stories about the creative process the video game composer mindset, the inspirations behind the Caribbean pirate themes, and how traditional orchestration meets modern production to craft truly immersive game music. As well as:

• Live discussion about the artistic and technical balance behind the soundtrack
• Insights into the composition and mixing techniques that shaped each piece
• An open Q&A where you can ask your own questions about the music or game development
• Early access to purchase the soundtrack and limited-edition music scores

Date & Time:

July 17th - 7:00pm PST / 9:00 PM CST

Location:
Sam Lord's Castle

RSVP here

My latest appearance on the "Whatcha Doing" podcast is live! I share the creative challenges and triumphs of composing for video games—beyond the boundaries of genre and expectations.

In this episode, I discuss the irony of trying not to sound like my own Aground soundtrack, while still capturing its spirit. I open up about the assumptions some people have that I only compose in one style and how that misconception pushes me to prove otherwise. I share how projects like Stardander: School for Witches and Aground Zero showcase dynamic musical styles and thematic depth, all while keeping a consistent fingerprint of emotional storytelling.

I also touch on some real behind-the-scenes truths such as my evolving relationship with game developers, the mental load of waiting on unreleased projects and why I prioritize rest as part of the creative process.

In addition, a playful question you’ll want to weigh in on: Is Aground better than Minecraft? (No spoilers here.)

Whether you’re a game music fan, developer, or just curious about the process, this episode pulls back the curtain on the highs and lows of this unique art form.

Listen now and let me know what you think -

I recently had the pleasure of being a special guest on the Coder Convos podcast!

In this episode, I discuss my odyssey to the audience of Coder Convos as a video game composer, how I approach scoring for different genres, mindsets I have matured to in my career and my latest, Aground Zero Original Soundtrack release. In addition, I share tips for game developers looking to collaborate —whether you're building your first prototype or polishing your next release.

If you're a developer that is curious about what goes on a professional level and behind the scenes then, you'll like it.

Watch here:

Happy Developing!

In this episode of the Gamerheads podcast, host Roger Reichardt welcomes me back and we discuss my extensive career in game music, including his experiences with live performances, the challenges of composing under pressure, and the emotional journey of conducting my own pieces. I also reflect on the evolution of my creative process, the importance of enjoying the music, and the balance between professionalism and personal satisfaction in my work.

In addition, I share the intricacies of composing music for video games, emphasizing the importance of creativity, curiosity, and understanding game design, potential impact of AI on music composition and the need for composers to maintain a human touch in their work. 

https://open.spotify.com/show/1FntKnmaH3dN5PSeN2SbIX

https://podcasts.apple.com/us/podcast/dialog-tree-interviews-creators-within-video-game-industry/id1186106962?uo=4

I have released a new single from the AGROUND ZERO OST! In celebration of Bandcamp Friday!

The new piece is called "Alchemization of Energy"

I will be doing a mini dev-blog about how this track came about but for now enjoy the new release!

https://bandcamp.com/EmbeddedPlayer/album=1124482586/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/track=822754506/transparent=true/

Be sure to play the AGROUND Zero on Steam! New Update coming next Tuesday!

https://store.steampowered.com/widget/1795570/

Recently, I was featured as a podcast guest for Beyond the Threshold with the host Sidney Evans in this episode I discuss:

- My early experiences as a video game composer with music experimentation that set the stage for my career.

- The significance of chance encounters and internships that led to my first paid gig in the video games industry.

- Insights into the technical aspects of my work, from using capture cards for streaming to creating game music demos like this one.

- The broader challenges I faced as an Caribbean American in the audio industry and the widespread undervaluation of audio work.

To hear the full episode tune in wherever you listen to podcasts or at

https://www.soundbysid.com/pod/chasebethea

I hope you enjoy!

Happy Halloween!🎃 Please add & share the "I Can't Escape Darkness OST" to your Horror game playlist🙏

• Spotify
• YouTube
• Tidal
• Apple Music
• Amazon Music
• Bandcamp

Hi Devs,

I'm doing some research and I am hoping to get some constructive feedback. 

I am curious. What are some of the hiccups, setbacks, and/or fears for some of you, who do not create or want to create game music, have when you have a budget and are looking to hire a composer? 

I am not looking for cheeky answers. I genuinely want to know and I am looking to have a productive conversation. Please kindly do not reply if you do not have something helpful to contribute.

Thank you kindly in advance for your response.

Sai, You’re alive!!!! Great devlog! I appreciated seeing the slowdowns and anti-lessons. It’s crazy to see how far you have come with the project and it’s good to know you’re still working on it. Great points the productivity / time . Working on something a little bit a day does help but persistence is the key element. I look forward to seeing the next devlog. Happy developing.

P.S. Please answer your emails even if you have to automate the brief reply :)

Welcome to Music Dev Log #2 for Aground Zero. If you missed the first blog, you can find it here.

As I mentioned before, I really enjoy some devlogs and do not feel that music is highlighted or valued as much in games anymore. So, I'm doing these to change that instead of complaining.

I'm starting the music design for Orbit which I have titled “Over the the Earth”.

Typically before writing a note, I need to think of what the music title will be. This will eliminate having to re-name a folder or software files later and keeps the process copacetic.

It used to be difficult to try and come up with names but for inspiration, I found that perusing through game magazines spark cognitive wheels. (Rest in Peace Game Informer)

For this piece, the reference is “Mass Effect” - Main Theme. (Everyone loses their freaking minds here) I know how popular the game is. However, it was mentioned on the audio asset list (which EVERY game developer should be using) that they wanted something “orchestra and epic”. (Example of Audio Asset list below)

So, as a solid communicator, I wanted to double check to ensure I did not miss anything and I explained that, the piece isn't "epic "(i.e. BIG HUGE and BOMBASTIC). It's very relaxed and there are not many orchestral instruments (if any) in this reference theme. The piece has a synth drone and some light choirs with other synth elements. So, I inquired if this is the right reference for Orbit track and if it was the tempo, pace and mood they were thinking.

The project lead confirmed that it was the right reference for the general tempo and mood. However, they would like me to to experiment with more orchestral instruments (because they felt like orchestral instruments always go well in space) The project lead went on to explain that the track should definitely be more relaxed - as they don't have a lot of action planned in Orbit right now. In Aground Zero, the player gets to build a spaceship and space station and look down on the planet Earth. Lastly they explained that by “epic”, they meant something awe-inspiring, not tense/action packed. Note: Music in the video below is not the new music! It is from the original Aground Soundtrack.

Whew! What a relief. I am glad I confirmed and asked. If I just went off trying to make something like Lorne Balfe or Henry Jackman, I would have been way off! However, this will bode to be interesting as all the previous pieces of Aground Zero, including pieces from the original Aground soundtrack, do not have any orchestral instruments at all. Yay for the project lead wanting me to experiment. As a video game composer, this is the coolest thing you could ask for but cohesion is one of the practices maintained for game projects. The focus is to seamlessly blend the music with the other artforms (story, mechanics and graphics) as well as maintain a subconscious momentum for the player to not pull them out of the experience.

And so, we begin building an orchestral palette on top of the sound palette that I have already established five tracks into the game.

Custom music matters. Don't underestimate it.

Until then, the Aground Zero Original Soundtrack is available for pre-order.

And don't forget to play the game! New Demos are updated almost bi-monthly. Beta Multi-player is now available! https://store.steampowered.com/app/1795570/Aground_Zero/

Follow on Spotify and add some of my work to your VGM Playlist - https://open.spotify.com/artist/4mU9ci0mlYOPZIHHdRqs2g?si=oBuGpqa3Rp6AWjGPHAxUHQ

License tracks for your game - https://chasebethea.gumroad.com/

Thanks for reading. Keep it here for the next one.

Happy Developing

Welcome to my first Aground Zero Dev Log on how I designed the latest track of Floor 5 - Communications (for video game Aground Zero)

I really enjoy some devlogs and do not feel that music is highlighted or valued as much in games anymore.

My direction for this piece was that it should be reminiscent of “The Blue Marble”  from the Aground Deluxe Original Soundtrack

https://chasebethea.bandcamp.com/track/the-blue-marble-2

The hardest thing I’ve been learning the past several years as a video game composer is to write better than myself. However, many walks have opened my mind to ideas when I listen to music I composed before on those walks.

It was in those moments that I discovered the quickest and easier way to incorporate the “Blue Marble” was to

1. Use music stems of my previous works

2. Use the same synth, if I could, with the MIDI information so that I could transpose the melody quickly.

Once I did this it became a lot easier to have a building block. That’s what you hear here (Watch both videos to compare)

It wasn’t until (2:00) [Listen here---->https://chasebethea.bandcamp.com/track/up-with-down-without] that I discovered the theme is related to communications. Since this is the focus of the area it seemed fitting. There are nuances of communication within the piece and I felt this was brilliant.

Players would appreciate the multiple musical layers of things happening. The callback to the bombardment mixed with the sounds of communication.

Every sound especially around (0:25 - 0:47) [https://chasebethea.bandcamp.com/track/up-with-down-without] exhibits a sonic theme of continuous devastation with the booming drums and the synth texture rhythms. Literally every synth edition movement is a communication reference to the scenes and tasks in the game.

View video below to see the meteor falling and how I got the inspiration to correlate to the booming drums

Although I had some revisions, I took a week to break away in between each revision to cleanse my ears to be sure I would achieve the fervor the player would feel. I was asked to increase the tempo, which is a composing technique that almost always works, but I did something else too. I thought I would have to add more sounds to give the feeling of euphoria and to be transpicuous. I did not think I could make it more exciting.

My belief was that by this (1:54) [https://chasebethea.bandcamp.com/track/up-with-down-without] the track was already in a happy place even though it was a slower tempo. The player just spent several floors deep and who knows how many hours battling wyrms, bots  bats and who knows what else. You can hear this at this (timestamp) it just takes some optimism .

So for this by 3:10 [https://chasebethea.bandcamp.com/track/up-with-down-without] for the freedom feeling after the tempo was revised I played three happy chords but I got stuck.

Then, I decided what if I took a little bit of the drums from the previous places of the track to remind the player of other sections of the music. Even though it's dynamic and tied to specific player actions, more on that later.

However, this then led me to tying the opening synth to the beginning so that when it loops there is some cohesion. Finally by this time I felt a proper groove and designed a transition that would glue it together. It’s still unconventional but in juxtaposition it definitely feels like Aground sonically which I think the player will appreciate most.

Player cohesion is very important even if it’s subtle. It’s a subconscious puzzle that occurs and if anything feels off the immersion is broken. These are not normal loops that most game developers throw in, these are meticulously designed cognizant music pieces that are structured for the player to comfortably enjoy for hours as they craft, deconstruct and more importantly progress in the game. Cohesively even with the dynamic sections the Floor 5 music piece does this regardless but also functions as game mechanic in a metastatic form.

Custom music matters. Don’t underestimate it.

Until then, the Aground Zero Original Soundtrack is available for pre-order

https://chasebethea.bandcamp.com/album/aground-zero-original-soundtrack

Follow on Spotify and add some of my work to your VGM Playlist - https://open.spotify.com/artist/4mU9ci0mlYOPZIHHdRqs2g?si=oBuGpqa3Rp6AWjGPHAxUHQ

License tracks for your game

Thanks for reading. Keep it here for the next one.

Happy Developing

Happy Friday, Devs

I’m sorry if there was confusion or my thread was too long aka tl:dr but I’m only accepting paying clients for feedback at the moment. 

If you want to work together, want to and can pay and are able and comfortable negotiate we can discuss fee rates that work within your means. 

If you want experienced help you have to pay for it. Just like you want people to pay for your game for the time you put in. It's a really simple concept.If you choose not to invest in yourselves others will not invest in you.

Let's level up! Happy Developing!

Thank you for emailing and sharing. I have replied.

Typically, video games but I am open to doing table top as well.

Thank you for sharing your game. However, this does not answer my question.

Happy Friday, Devs

When offered to help devs before there was a myriad of responses.

Once I offered services the responses dropped 90% 

So, I'm curious to know, can someone share what is the fear? I'm trying to understands the mindset/hesitation.

Happy Monday, Devs!

If you're still on the fence for my offer don't be. I have your best interest at hand. I want you to succeed and I am in it to uncover problems that you can solve for your future game player audience can enjoy. The people I have helped in this thread have at the least engaged with me and you can read their gratitude for the things I uncovered for them. I hope to help more of you too.

Happy Developing!

Great! I am glad that you received it. You're very welcome.

Weird indeed. I tried sending it again just now.

This email here - leonardo@plotkids.com

Awesome! Wishing you some great sales ahead :)

Hi,

Having play-tested your game before, I think the price could be dropped by $1.00. You're up against a market that is very competitive where some developers charge the same and has slightly better art and smoother game mechanics. Video games are very visual so if you are not capturing people with graphics first then, you are mostly at a disadvantage and game players are mostly very cheap and there is a business mindset disconnect. Most developers do not want to invest in proper assets or contractors but want game players to invest in their game.

It's not always about the amount of levels or content, it is about the presentation. Your game has to look fun for people to want to give their money and unfortunately they will not know the fun until they play it.

I believe with some better art assets and some more polish, this game could be priced at $5.00. I deeply believe games should be priced higher to keep the value of art sustained but I will keep it relative to your question at hand.

I hope this helps.

Thank you kindly for the reply. Yea, I have done scores for tabletop games before. Players have enjoyed it. If you're interested, let me know. I have some cool ideas.

Happy Monday, Devs!

I have finished my third round of helping some developers with feedback for their game. I am now available for work. Here is a recap of my Skills.

[Skills] 

I have done QA / play-testing for Disney, Naughty Dog and Warner Bros for several years as a contractor. I’ve also done QA for many small indies.

[Qualifications]

 I have shipped over 20 games thus far and have consulted with many indie teams. In addition, I own over 800 physical copies of retro games and I'm steadily playing through the library. I have been playing games since I was six years old so, I know a lot of about design and can offer some valuable feedback to improve your game.

[Quote Range]
$50 - 150 flat-rate (depends on the length of the demo or the game - inquire for more details)

[What You Get]

• Video Feedback 
• Live Call Video Feedback (Only offered at the $100 - $150 tier)
• Feedback from an 13 year industry expert
• Read what other developers found valuable above. I am sure you will find it to be the same for your game. (I am happy to provide video examples of what I did for other devs)

I have a few slots open. If anyone else is serious about their game, see this as an investment and are in need for feedback especially if you did not attend GDC, PAX East, SXSW, Summer Game Fest but are looking gear up for PAX West, Game Con Canada, GamesCom, reach out.

Contact Method - Email me : lilcj2r@netzero.com (I will reply within 24 hours)

Hi, I finished the feedback and tried to send you an email today but it said it was not delivered.

You're very welcome. I am happy that I was able to provide the proper and solid feedback you were looking for.

Hi, received and replied. Thank you kindly.

Thank you for reaching out. I replied to your email.