Interview: Cody Carpenter on Terrifier: The ARTcade Game

Scarlet Moon is pleased to announce that we’ve teamed up with Selecta Play to make composer Cody Carpenter available to score the main theme to Terrifier: The ARTcade Game. This collaboration was just announced as a part of The Indie Horror Showcase last week, and we’ve asked Cody for a few moments of his time to answer some questions for fans.

On Being Asked to Contribute to Terrifier: The ARTcade Game

Being a fan of the beat-em-up genre, I was excited to work on the project that was a modern IP, but in a more old-school genre that I really enjoy. The screenshots and videos I saw all looked fun and vibrant.

On His Experience with the Terrifier Franchise

I was unfamiliar with the Terrifier series before, having not seen or heard of the films. After doing research for the project, I was interested to see the stylistic choices and musical direction that the movies, (more specifically the first movie), went in. The parallels between Terrifier and Halloween were also interesting to discover.

I think the franchise stands on its own merits as a modern horror property, taking influence from the past but also doing its own unique thing.

On His Process and Tools Used for the Main Theme

My first task was to familiarize myself with the Terrifier property, particularly the music and the main themes that were used. I was given direction as to what sort of feel and influences the theme should have. Things like Splatterhouse, Tales From the Crypt, Danny Elfman, Grant Kirkhope’s spooky tunes from the N64 Rare games, and of course the Terrifier themes themselves being among the various inspirations. I fleshed out the main theme/riff and worked out slightly different versions with different sounds, using a mish-mash of different plug-ins.

__

Terrifier: The ARTcase Game is planned for release on November 21, 2025 on PlayStation 5, Nintendo Switch, Microsoft Windows, Xbox Series X and Series S, and Steam. It is developed by RELEVO and produced and published by Selecta Play.

Learn More: https://www.terrifiertheartcadegame.com

Follow Selecta Play on Twitter, Instagram, YouTube, and Discord

UNICORN OVERLORD Orchestral Album ~Atlus × Vanillaware Works~ (BSPE-1240~1)

Hitoshi Sakimoto is celebrating his 40th career anniversary next year. To kick things off, Bassicape Records released 46 Sakimoto and Basiscape works up on streaming. We’ve compiled this handy aggregator to quickly find them, including three soundtracks that are being released for the first time. I start with this because one of the releases is the Unicorn Overlord Orchestral Album, which was released on CD last month in Japan. It includes a recording of a live performance, spanning two discs, and features amazing arrangements, including some by Scarlet Moon’s Osamu Kubota, as well as beautiful artwork of characters from the game and commentary in Japanese. It’s definitely a CD worth owning if you want a little more than what streaming can offer.

And the music? We wrote about the original soundtrack and acoustic album, so this is a wonderful new spin on familiar melodies. We can’t get enough of the main theme, which is weaved throughout and starts the album off with big horns and percussion in a grandiose and adventurous manner. There’s a lot of driving music with rolling snares and sweeping strings that highlight the game’s combat sections, all with brilliant melodies and orchestration, but it’s the variety of moods and sounds that struck me. From the sparse and melancholy swells of “Prologue -Dark Clouds- ~ -Beginning- Medley,” the regal fanfare of “Stage Clear,” and the incredible acoustic guitar and light strings of the reflective “Peaceful-Memory Medley” to the bustling and exotic “Drakenhold Stage -Drakenhold -Heir to the Dragonlands- Medley” and the twinkling waltz “Elheim Overworld (Day) – Elheim’s Theme Medley,” you really get a great taste of the world of Unicorn Overlord despite distilling four discs of OST material into two discs of orchestral performance. I love the ponderous “Galerius’ Theme – Baltro’s Theme Medley-,” the uplifting and sweet “Liveliness at the Dining Table,” the contemplative “Alain’s Theme” which drips with emotion, and the climactic and intense series of final battle themes that come towards the end of the album. The album closes with the healing choral elements of “Farde mal diavolo -Destroy Evil, then Come—, the reflective and stirring “Haades -Enthronement—” featuring a solo vocalist, and the uplifting and triumphant restatement of the main theme as heard in “Isle of Palevia.”

Basiscape has done a wonderful job continuing to give the Unicorn Overlord a spotlight. As mentioned, it’s now on streaming and can also be imported from Japan in CD format if desired.

Interview: Elsie Soundtrack with Eric Benaim

Scarlet Moon recently partnered with composer Eric Benaim on the incredible Elsie Original Game Soundtrack. It features a blend of genres drawing on everything from Japanese fusion to Latin influences from Benaim’s native Venezuela. We were able to ask Eric questions about his direction, the tools used, and some of his favorite moments to share with listeners as they jam out to this amazing score.

Read the full interview below.

Continue reading Interview: Elsie Soundtrack with Eric Benaim

Interview: Daniel Simmons on Mineko’s Night Market

Scarlet Moon released the Mineko’s Night Market soundtrack featuring a beautiful traditional Japanese-style score by Daniel Simmons. Given the wide array of live performers and a guest arrangement from Hiroki Kikuta, we wanted to have a chat with Daniel about the creative process that went into crafting the soundtrack. Get a behind-the-scenes look at the soundtrack including some of Daniel’s struggles and how writing this music helped him through a difficult time.

Continue reading Interview: Daniel Simmons on Mineko’s Night Market

piano realms: azure with David Peacock (Interview)

We recently had the pleasure of working with arranger David Peacock on the piano realms: azure album, a piano arrangement project paying tribute to water and water levels from across videogames. We wanted to take the opportunity to ask David a few questions about the album and his work in the videogame piano arrangement space. Feel free to listen to and learn more about piano realms: azure here.

On Which Tracks to Include and Potential Future Volumes

It was important to include tracks from games that I had already experienced and not try to force ones in just because they fit the concept, so there are probably a lot of water levels I didn’t consider or ignored because I had never played their game. I also had to be a little selective to not including too many pieces from specific composers (two tracks by Yasunori Mitsuda and three by Koji Kondo made it on the album as it is!) so maybe a Vol. 2 would be a great chance to add some of those, haha.

On Surprises Encountered While Arranging the Album

There’s always some sort of surprise translating what I imagine in my head onto the page because it never comes out exactly the way I think. There were some arrangements where I had an idea that I wanted to execute—and did get there eventually, but it took a lot more effort than I imagined it would. For instance, “Delfino Plaza” was quickly finished as a concept but required a lot of detail, making it feel as if meticulously drawing individual grains of sand. For “Cascades,” I knew I wanted to contrast this delicate, tiny voice with a huge, constant wall of sound that doesn’t decay the way a piano typically would, and that took a bit of reworking to get right.

On the Beloved “Aquatic Ambience”

Starting on this track, it was more freeing knowing that it had been arranged and covered so many different ways before; I’ve even arranged it for other instruments myself before! In this case, I explored a few different emotions and moods using the melodies to figure out how I wanted to transform the music; like as if being dragged through a rushing current, or laying on the water’s surface under the moonlight. Taking some of the most memorable parts and exploring how they can be reinterpreted helped solidify the sound and arrangement as it is now. I do think the videogame music police would have come for me if I had not included “Aquatic Ambience.”

On Arranging Game Music for Piano

I think if you love game music and the piano and you enjoy expressing it that way, then try it! There is such a range of style and approach within the game music piano scene from those who perform exact recreations, to genre-bending variations and mashups. For me, it definitely started from a place of passion as I had grown up experiencing game music, and then the early days of arrangements of game music, and seeing how the musicians creatively reinterpreted the original themes—occasionally noticing when elements of classical piano repertoire were deliberately injected into the arrangement, seeing this as an homage or sendup. I am fortunate that in the art form of games there is a long history of celebrating the music through arrangement and live performances, that I’m excited to continue to contribute to.

__

About David Peacock

David Peacock is a composer, arranger, and pianist specializing in video game music. His work bridges classical and contemporary styles, reimagining iconic game soundtracks with depth and artistry.

He has collaborated with renowned composers including Lena Raine, Jason Graves, Berlinist, Austin Wintory, Gareth Coker, and Disasterpeace, and his arrangements for Hollow Knight Piano CollectionsOri and the Blind Forest, and Undertale Piano Collections have been performed worldwide. His music has been featured by the London Philharmonia, Video Games Live, Videri String Quartet, and WDR Funkhausorchester, among others.

Based in Seattle, David continues to explore the intersection of interactive and orchestral music, crafting compelling arrangements and original works that resonate with both musicians and fans alike.

Listen to piano realms: azure: https://lnk.to/azurepiano
Learn more about David Peacock: https://www.daviddpeacock.com
Follow David Peacock: Instagram and YouTube

Battle Champs Original Soundtrack (BSPE-1231)

Battle Champs is the English title for Cygames’s Little Noah, a new mobile RPG centered around leveling up your champ, building a base, and defeating your opponents. Hitoshi Sakimoto has taken up music duties, providing the iconic high fantasy sound he has become known for, and Basiscape Records has released the soundtrack on digital platforms. What sets Battle Champs apart in the context of Sakimoto’s past works are its playful nature and ethnic flair, which fits nicely with its vibrant visual style. Even the battle themes are upbeat and playful!

Right from the whimsical bells and harp and sweeping strings of “Introducing: Battle Champs,” you know that you’re hearing the music of Hitoshi Sakimoto. Listeners can consider “The Airship” to be a key theme, always contemplative, but growing more mature in its arrangement over the course of “Level 1,” “Level 2,” and “Level 3.” The battle themes also stand out for not being your typical RPG battle theme… instead, they are energetic and fun, sporting exotic instrumentation and percussion as in “Destroy it All!,” and my favorite track, “Now, Everybody!” with its ascending build and high-energy percussion. Your typical RPG trappings do appear with the adventurous rolling march, “Guild Battle,” the uplifting fanfare, “Now That’s What I Call a Victory!,” the epic and tumultuous “Winborne Dragon,” the stirring and emotional “Ooh, I Can’t Believe It!,” the solemn and deliberate, “Let’s Talk Strategy,” and the melancholy and somber “Oof, Ouch… Pull it Together!” The album ends with a series of moodier tracks, touching on everything from lumbering danger and outright terror to a searing desert theme to close things out.

If you want to hear Hitoshi Sakimoto’s latest, check out the Battle Champs Original Soundtrack on iTunes.

Artist Interview: Shinji Hosoe and SuperSweep Team

Are you familiar with legendary composer Shinji Hosoe and his studio, SuperSweep? Hosoe-san has worked on key franchises across his decades of experience, making a name for himself as a master of electronic music and shmup titles in the early days, and establishing the sounds for franchises such as Zero Escape, Ridge Racer, and Street Fighter EX. He’s a sought after arranger, having worked on arrange albums for Nintendo (Dr. Mario, Metroid Fusion), Mega Man, Ragnarok Online, Phantasy Star, and more. He also serves the game music community through SuperSweep Records, continuing to publish game music on CD format in Japan.

Read his full biography, credits list, and hear some sample music on his Scarlet Moon Artists page. Check below for an interview with Hosoe-san about his style, inspirations, and collaboration with Scarlet Moon.

Continue reading Artist Interview: Shinji Hosoe and SuperSweep Team

Artist Interview: Hiroki Kikuta

While Hiroki Kikuta is best known for his SNES-era scores to Secret of Mana and Trials of Mana, he’s also been an indie game developer himself, and worked on productions big and small, from his time doing a lot of eroge titles and original works up through his partnership with Scarlet Moon where he’s constantly in demand to contribute to indie RPGs. His biggest titles recently include Indivisible, Trinity Trigger, Infinity Knights: Xross, and Visions of Mana.

Read his full biography, credits list, and hear some sample music on his Scarlet Moon Artists page. Check below for an interview with Hiroki Kikuta about his style, inspirations, and collaboration with Scarlet Moon.

Continue reading Artist Interview: Hiroki Kikuta

Artist Interview: Peter Reid Jones

We’ve had the pleasure of working with Peter Reid Jones hot off his work on the RWBY animated series. Since that time, we’ve worked on over a dozen indie game titles and counting. We admire Peter’s versatility, enthusiasm, and can-do attitude. Hear his incredible work in RWBY: Arrowfell, Evil Tonight, Dark Deception, and many more.

Read his full biography, credits list, and hear some sample music on his Scarlet Moon Artists page. Check below for an interview with Peter Reid Jones about his style, inspirations, and collaboration with Scarlet Moon.

Continue reading Artist Interview: Peter Reid Jones

Artist Interview: Ken “coda” Snyder

Ken “coda” Snyder is definitely our retro music extraordinaire, making a name for himself in the chiptune scene. He is versatile, however, writing music in a variety of retro and modern formats, touching on everything from pop and electronic to rock and more. His biggest works in the indie game space include his FM score to Read Only Memories: Neurodiver and his upbeat electronic contributions to the Drive Ahead! series. He’s also a popular arranger, having contributed remixes to Shovel Knight, Fez, and Duke Nukem 3D.

Read his full biography, credits list, and hear some sample music on his Scarlet Moon Artists page. Check below for an interview with coda about his style, inspirations, and collaboration with Scarlet Moon.

Continue reading Artist Interview: Ken “coda” Snyder

Scarlet Moon / Blog