The battle for metal bands to get into gaming
Sean Long, the guitarist from the Sheffield-based metalcore band While She Sleeps, often finds himself fielding a curious question: “Why don’t you make music for video games?” Fans frequently suggest games they believe would align perfectly with the band’s sound. Long perceives a natural crossover between heavy music and gaming, both of which appeal to those who might feel like outsiders. “It’s not uncommon to feel like you don’t fit in with the majority,” he shared in an interview with BBC Newsbeat. “You tend to seek out ways to express yourself, especially if mainstream interests don’t resonate with you.”
Reflecting on his teenage years, Sean recalls late-night sessions spent in his bedroom, immersed in playing guitar. “You slip into another universe, finding yourself in an unconscious realm,” he explained. “That sense of escapism is very similar to what people seek in video games.” While he fantasizes about composing for a video game, he admits he’s unsure how to even begin.
Texas-based rock band Polyphia’s guitarist Scott LePage and bassist Clay Gober relate to Long’s sentiments. They describe themselves as “pretty avid gamers.” Clay enjoys titles from renowned directors like Hideo Kojima and Ken Levine, while Scott is a fan of the notoriously challenging Dark Souls series. “We were looking for a way to combine what we love with our music,” Scott said. Despite their successful bands boasting over two million monthly listeners collectively, all three artists confess they haven’t yet penetrated the gaming industry. The connection between music and gaming, they note, still lacks transparency and understanding.
Their big break came from an unexpected source: the indie hit Cult of the Lamb. This quirky 2022 game, which combines adorable cartoon characters with dark themes, was a success for developer Massive Monster and publisher Devolver Digital. They commissioned Scott, Clay, and Sean to produce a collection of heavy metal cover tracks for the game’s soundtrack. They collaborated with fellow musicians from bands like Killswitch Engage, Trivium, and Monuments on the six-track EP titled Cult of the Lamb: Hymns of the Unholy. Given the game’s unique themes, the collaboration felt like a natural fit. “I realize how crucial soundtracks are, especially in your formative years immersed in gaming,” said Sean. “They play a significant role in how you appreciate music as you grow up.”
Scott described this project as a chance to step outside his usual creative boundaries and experiment with a different style. “It’s broadened my writing process,” he shared. Both bands view this as a potential gateway to more opportunities in the gaming realm.
Another artist taking the plunge is Dan Tompkins, lead singer of the progressive metal band Tesseract. He has started developing a video game based on his band’s fifth album, War of Being. During the Covid-19 pandemic, Dan began live-streaming on Twitch and experimenting with virtual reality performances. This inspired him to collaborate with a programmer and concept artist, teaching himself to use the Unreal Engine to create an immersive game experience. Players navigate a world inspired by the album, unlocking sections of a song that they hear fully at the end. Following the release of an early access version, Dan found that the project has “snowballed,” significantly increasing the band’s following and connections within the gaming community. Tesseract has also recorded a track for the Wild West-themed shooter Soulslinger, and Dan believes collaborative efforts like these will become more common.
The intersection of video games and alternative music has a rich history, from classic titles like Doom to modern favorites like Tony Hawk’s Pro Skater and Guitar Hero. Now, gaming soundtracks are recognized by prestigious organizations like the Grammy Awards, and live performances of video game scores are gaining popularity. With rising touring costs and low streaming payouts, some bands see gaming as a viable way to support their music careers. While Scott acknowledges the financial benefits, he emphasizes the importance of pursuing projects for the right reasons. “If you’re only in it for the money, you might be missing the point,” he argues. Sean echoes this sentiment, stressing the necessity of leaving room for creatively fulfilling work while acknowledging that artists still have bills to pay: “Ensure there’s enough integral space for creating music you love.”
