Umbra

If anyone has proven that there isn't a finality to the type of innovation and learning that can be made through composition it's Jon. His determination and drive are one of the most compelling aspects of his scores, truly permeating every aspect of its creation. From those early '90s RPGs to the electrifying voice that trembles beneath his scores today, what Jon has been able to achieve with his career is astounding. As a fairly new composer in the industry, it has been absolutely magical to see how his albums evolve from one game to the next. I just had to know if there were any albums that stood out as truly inspirational to him over the years:

“There are so many - I always circle back to the two scores that convinced me to leave my shitty job and try to get into games full-time, those were Amon Tobin's score for SPLINTER CELL: CHAOS THEORY, and Rich Vreeland (Disaterpeace)’s score for FEZ. They were so unique sounding to me at the time. Tobin's score for CHAOS THEORY was so experimental and electronic - I thought to myself that if someone is allowing him to do a score like that for such a big game, I think I have a shot at trying my luck. Same went for FEZ - it was a moment where I realized how independent gaming was changing, and that it was a bit more accessible. That was when I decided to leave my job and go back to school to get some training.”

Mercenary Blues

There it is, that drive I was talking about before. The determination it took for Jon to jump into the unknown and fully immerse himself into the next chapter of his life emboldens the foothold his compositions have, not only as musical experiences but as a manifestation of who Jon is as a person. Pushing past those misconceptions of himself and truly embracing what he wanted to become is something that not only resonates in his music but how he treats his fans and loved ones alike. Both Chaos Theory and FEZ have a profound implication when applied to the understanding of Jon's path within the games industry. The fact that they encapsulate that electronic and dynamic sound that Jon so lovingly captures in his own compositions says a lot about their foothold in Jon's psyche. FEZ has always been a favorite album of mine, and I think it truly was a portal into what indie game soundtracks could be back in 2011 and what they would become in the future. Jon is no stranger to indie game development at this point and helping craft soundtracks within that space is something that has come naturally to him over the years. Working closely with Harebrained Schemes, Jon has single-handedly scored an entirely new generation of fantasy games that are defined through his music as an extension of their stories. As the unofficial resident composer for Harebrained Schemes I asked Jon what it was like working so intimately with such a talented development studio so early on in his gaming music career:

"I feel immensely lucky that they keep asking me back! Yes, I'm still freelance and take on other projects, but it's very cool to feel like I have a family at Harebrained Schemes. We have a very rare creative symbiosis going on - they know exactly how to present musical problems for me to solve, and they have developed a real trust in my instincts and I with them."

Past as Prologue

This symbiotic relationship that Harebrained Schemes developed with Jon is one of the defining aspects of these projects in my opinion. This marriage between the game and it's music elevates these experiences beyond just what is viewed on the screen. Jon always finds this serendipitous way to transcend the medium in which his music inhabits and that is why I think BattleTech is his best album to date.