23rd May, 2015
The ulterior philosophies of NieR: Automata's dystopian setting have moved Reeves to 0001.
'I've come up with this subtle, precarious composition with a longing to soothe & captivate. ' he states.
The artist hopes for the track to be part of a larger EP, that he intends to publish if and when he reaches track 0006.
For now, 0001 is available for use in your games on a donation-basis as per the terms listed below; donations may be set at a rate of your choosing.
To get started, please e-mail us at team[at]highereg[dot]com. Also don't forget to scroll right on this slider for more of Reeves' work.
Thanks once more, Beeple.
1st May, 2017
Missile Destroyer takes the ambient classics that made the soundtrack experience of Halo: Combat Evolved memorable, and infuses them with motifs present in Reeves' recent work.
'After recently playing Halo Wars: Definite Edition, I was eager to try something that could fit the atmosphere of the series,' he explains.
'The result, I believe, is an undercurrent of ominous intensity and a relaxed glamorised tone.'
Missile Destroyer is also available for use in your games; however as per Reeves' newly updated terms as of May, 2017, the track may be availed of on a donations-basis as opposed to previously being free-of-charge.
All donations must be made to Van Reeves, with the amount being of the client/developer's choosing; to get started, please e-mail us at team[at]highereg[dot]com.
More information is provided in the updated terms below.
Reeves is also actively looking for new game projects to contribute original music and sounds to. Requests for the same may be left via his Sub-Forum or by mailing us at the aforementioned e-mail address.
12th April, 2017
Decelerate's cerebral, tense and atmospheric nature draws inspiration from the real-time strategy world of Homeworld: Deserts of Kharak.
As Van explains -- 'Having finished the most recent instalment of the Homeworld games, I've come up with a composition that pays homage to an experience that accommodates for a deliberate and methodical approach to gaming.'
Decelerate is now available for Creative-Commons use in your games as per the terms listed below; one is invited to leave a request for its audio file on the musician's Sub-Forum.
Note that besides composing royalty-free music on a regular basis, Reeves is also actively looking for new game projects to contribute original music and sounds to. Requests for the same may be left via the aforementioned sub-forum.
We thank Beeple for letting us use his art yet again. For more of Reeves' work, scroll right on this slider.
31st March, 2017
Impractical Son is the product of Reeves' recent endeavour into a more ambient musical direction.
Marrying orchestra and electronic music, as he puts it, the track 'is meant to be grand, spacey yet sombre and subtle. All while drawing great insight from space exploration. '
With Impractical Son's usage governed by the terms listed below, one is free to leave a request for the its audio file and/or any feedback, job or commission requests on the musician's Sub-Forum.
We thank Beeple for letting us use his art. For more of Reeves' work, scroll right on this slider.
14th March, 2017
'A heavy & driven track, distorted with and punctured by synths. As always, with Cyberpunk sensibilities.'
Featuring a Fairchild Republic A-10 Thunderbolt II on cover, Van's composition of No Chill is now available for use in your games and game projects.
With the track's usage governed by the terms listed below, one is free to leave a request for the its audio file and/or any feedback, job or commission requests on the musician's Sub-Forum.
Need more of Mr. Reeves' tunes? Scroll right on this slider!
Mobile Suit, Anti-Sheeple
21st February, 2017
'A machine designated to stand against the stream', is all Reeves has to offer in explanation of this latest feet-tapping audio mash.
Nevertheless with its usage governed by the terms listed below, one is free to leave a request for the track's audio file and/or any feedback on the musician's Sub-Forum.
Not the Van Reeves tune you're looking for? Scroll right on this slider!
11th February, 2017
With special regard to the notorious Order 66, Reeves' composition of Protocol 66 is now available for free-use in your games.
He writes --'I made this record like it's shrouded with the cold atmosphere of Doom. A bit of grit infused into a tech-thriller.'
With the track's usage governed by the terms listed below, one is free to leave a request for the its audio file and/or any feedback on the musician's Sub-Forum.
Not the Van Reeves tune you're looking for? Scroll right on this slider! Art by Sébastien DEL GROSSO.
30th January, 2017
'The archetype war-fighter of science fiction. Orbital dropped & ready to rock.'
Setting out to render his sci-fi fantasies with a tone of awe-inspiring vigor, Reeves calls his next The Space Marine.
With its usage governed by the terms listed below, one is free to leave a request for the track's audio file and/or any feedback on the musician's Sub-Forum.
Not the Van Reeves tune you're looking for? Scroll right on this slider!
City/Daytime | Abadon: Guardians Rise
19th December, 2016
Ummagumma Games' upcoming 2D co-op roguelite adventure, Abadon: Guardians Rise will feature the work of Van Reeves.
Indeed, Reeves is currently providing his cinematic, ambient and heavy-metal infused Synthwave sensibilities towards furnishing the preliminary soundtrack and audio base of the game's upcoming demo.
In commemoration of the same, he debuts a look at City/Daytime, a theme created for the game's City level.
'The tune has two variations, one for the City's day and night settings,' he writes. 'The Day time track heard here is more of a dance track by design; faster tempo, pronounced synth work and prominent drum elements.'
Yet another snippet of Van's compositions for the game can be heard in its official teaser launched earlier this month, featuring Abadon's title theme as composed by him.
‘The title theme is all energy with hints of arcade-like sounds,’ he adds.
This is the second collaboration Higher Eclectic Ground has helped effect for Reeves, having previously enabled his contributions to the OST of Rainbite Games' Slick: Ruff Justice.
For more information on Abadon: Guardians Rise itself, grab the official release issued by Higher Eclectic Ground.
Unlike the rest of Van's showcased work herein, City/Day is not available for public use due to its being exclusive to Abadon: Guardians Rise. And yet if you arrived here in search of a Mr. Reeves tune for your own game project, scroll right on this slider!
The Death of Version One
28th November, 2016
The Death of Version One is not just an attempt at deviation from his usual flavor of music, but an expression of Van's general disdain for stagnation.
Originally titled Indoctrination, the track will also be featured on the E.P the artist is currently working towards. Not much has been revealed of the album, except for its previously showcased titular track of P.G. System Malfunction heard below.
Van now hopes to launch the E.P. before the end of 2016. The Death of Version One meanwhile is now available for use in your own projects; to do so in accordance with Reeves' listed terms, leave a request for the audio file in the comments below.
Looking for more? Scroll right on this slider!
10th November, 2016
An allusion to the action of tapping its magazine, operating its action and attempting to repeat fire of a firearm in the event on a malfunction.
Tap-Rack-Bang may now be used in your work as per Van's listed terms; simply leave a request for the audio file in the comments below.
This isn't the first time Van's spoken of malfunctions musically. Scroll right on this slider to catch last week's P.G System Malfunction!
Artwork by Pertubator
P.G System Malfunction
31st October, 2016
Subject to change, P.G System Malfunction was originally intended to serve as the titular track to a personal E.P Mr. Reeves is currently working upon.
While the premise of the E.P per se is yet to be decided, the musician attributes the track's intensity to his fear of malfunctioning machinery.
P.G System Malfunction is now available for use in your own projects; to do so in accordance with Reeves' listed terms, leave a request for the audio file in the comments below.
Looking for more? Scroll right on this slider!
X-Men: The Animated Series Intro
13th October, 2016
Little would one expect Reeves to list the introductory theme to Marvel's X-Men: The Animated Series among the prime inspirations behind his synthesis of Outrun, Heavy Metal, Industrial and Electronic music.
And yet he does; so much so, that the musician had even developed his own Synth-infused rendition of it back in 2015.
'Being born out of the 90's, there's plenty of nostalgia associated with this one for me personally,' he writes.
'It's been recreated from scratch and a stoke of industrial grime, not sampled from its original counterpart.'
Make use of it in your games by leaving Reeves a request for the audio file in the comments below.
4th October, 2016
'The angst-ridden motif was the prevailing theme in many of my older works. Anger is a powerful driver; channel it into a medium, I think it works best there.'
This composition of Toxic bases itself in a time when Reeves' craft was heavily driven by spite, the musician reveals.
It has now been made available for use in your games; all requests for the same, as per the terms listed below, must be left within the comments section.
Leader of The Cult
26th September, 2016
'Dimly lit candles; Cue hooded figures levitating out from the dark of an abandoned cathedral. '
Arising out of twisted screenplays harboured by the musician's imagination, the synth-pounding of Leader of The cult is yet another testament to Reeves' inseparable fascination with both music and film.
As is with the rest of his work showcased herein, one is free to use this latest composition in their work in accordance with the terms listed below.
All requests for the same must be left in the comments section.
Notice From Senpai
14th September, 2016
To assume Notice From Senpai has anything to do with Anime would be a fallacy. As Reeves sums it up --
'At the surface, the song oozes of a dark, cold atmosphere pulsating of 90's cyberpunk. It is a thriller track born from an affinity of bleeding-edge espionage novels and a tribute to technological achievements.'
One is now free to make use of the track in their own projects as per the terms listed below. All requests for the same must be left in the comments section.
Technician | Project Autonomous Region
27th August, 2016
Inspiration for Van's next track under Project Autonomous Region stemmed from a friend seeking a Jazz-infused composition.
'I lost myself in one of those weird Youtube videos and the next thing I knew was that I was listening to Jazz!' he writes.
'And in part, it was a composition request that I was very much interested in doing -- an ambient, jazz-fusion jam with electronic flavors. I had fun.'
As introduced on the 12th of August this year, Autonomous Region is a name given to the otherwise Synthwave musician's attempts to pursue a more cinematic, ambient voice.
This is but his second attempt, with Struggle that was showcased on the same date being his very first. One is now free to use Technician in their own projects & games in accordance with the terms listed below.
All requests for the track's files must be left in the comments.
Visuals from the archives of Beeple.
While Netflix's Stranger Things might not necessarily fall within a genre of Van's domain, the musician admits to already being swept away by the TV Series' introductory credits.
'It's this ominous atmosphere of the intro -- wide and deep sounding synths everywhere', he writes.
'And I said, I know it's been done to death at this point but I'm still going to put my spin on it; a track that had a similar mysterious and wide-sounding mood -- very much like an introduction sequence in itself.'
Weird can now be made use of in commercial/hobby game projects as per Van's terms, by making a request for its audio file via the comments below.
Struggle | Project Autonomous Region
12th August, 2016
Van Reeves announces Project Autonomous Region; an all new musical effort by the otherwise Synthwave/Retrowave/Outrun oriented composer that intends to highlight a more cinematic and ambient voice.
With its name inspired by Philippines' Autonomous Region in Muslim Mindanao, the project is a lot more experimental than his Mr. Reeves Synthwave/Outrun banner; yet even so the artist has already fictionalised its lore to help guide his pursuit for a more mature, sinister yet melancholic -- even peaceful -- tone.
'The Autonomous Region I've fictionalised is an isolated Jungle inhabited by synthetic animals -- robots if you must,' he writes. The entire region is supposedly an exercise in a wide field of emerging technologies set on the scale of an immense jungle.'
His first musical addition to PAR then is Struggle; High-level, grand, dramatized & thrilling -- much like films, as he describes it.
The track itself has not yet been made available on either of Reeves' channels just yet due to its experimental nature; one can however still make a request for its audio file for use in their own commercial/non-commercial projects in the comments below.
Visuals from the archives of Beeple.
The Siege of Neo Seoul
The 2012 indie film-adaptation of David Mitchell's post-apocalyptic novel Cloud Atlas brought to life Neo Seoul; a futuristic, dystopian rendition of the South Korean city.
For Van this only served as inspiration. He explains --'When that (Neo Seoul) happened, me being an enthusiast of all things Cyberpunk had a sort of light bulb moment.'
'It's always been Japan and Tokyo specifically that gets the cyberpunk treatment (Neo Tokyo, Tokyo Underground, Megatokyo, Tokyo- III). But what about other parts of the world?'
'Deus ex created a futuristic Chicago, Blade runner did a 2019 Los Angeles and Robocop -- Detroit City. Then there was Hong Kong in Shadow Runners and New York in Escape From New York; Neo Seoul was this latest addition to that fictional cyberpunk world.'
Deciding to contribute to Neo Seoul's Cyberpunk lore in his own musical way, the artist devised 'The Seige of Neo Seoul' -- titling it so purely out of purposes of intrigue.
The track also derives from the work of John Carpenter circa the 1970's and 80's. Requests for its audio file can now be made via the comments section in accordance with Van's terms below.
Growing up, Van was besotted with 1982 sci-fi mecha anime TV series Macross (later adapted as the first part of Robotech in the U.S).
Funnily though, the musician recalls never watching an entire episode until much later in his life; when living in a household of other Macross fanatics would cause him to rediscover the series and come 'full circle' as he puts it.
It is that rekindled fascination he encapsulates into Lightning Blue; 'It's about finally finding that nostalgic glimpse of one's own past,' he explains. 'Beneath the imagery of impossible aerial dog fights -- between these aerodynamic vehicles that dominate the skies.'
'An Aha! moment for me, Especially with my current pseudo-retro project and Macross being made back in 1982. So I did what I always do: Kit-bash those two things into this Frankenstein of a song, and 'Lightning Blue' became what it is.'
Requests for the audio file can be left via the comments below; be sure to read the musician's terms before doing so.
Considering his previous wave of retro-wave compositions exhausted, Van Reeve's contemporary music research has led him to the classic metal work of Judas Priest, Motörhead's late Lemmy Kilmister and the like.
'The inspiration it brought me is of the Middle-finger-up-to-the-pepper-spraying-authority-juvenile-kind', he admits. It is their speed and ferocity that's moved the musician to contemplate a heavy-metal/retrowave fusion, which now exists in the form of Tearing Expectations.
Operating as a self-taught, underground electronic musician out of Manila, Phillipines since as early as 2008, Van Reeves’s independent solo act sees him combining his passion for strategy, stealth and narrative packed role-playing games with that for still and motion pictures to create retrospective, heavy-metal infused music.
With his speciality being Electronic background music that often dabbles in Synthwave, Reeves’ compositions are all mixed in-the-box in the absence of any Analog hardware. While being open to several other electronic music genres, he also enjoys sound design and Foley.
Work Process & Software Used
Heavily based on trial and error, Reeves’ work process has him sitting in solitude before a Computer for an unspecified amount hours and days as he searches for an apt musical realisation of the concept provided. Never resting until the right composition is reached, he often goes so far as to scrap entire musical pieces in favour of starting from scratch if an element does not meet his standards and vision.
Given his background of a live performer, Reeves choice of Digital Audio Workstation is Ableton Live that comes supplemented with the use of standard speakers and generic over-ear headphones. Other software used include Addictive Drums, Dune 2 and Dark Zebra.
Working on a donations-basis, Reeves prefers that clients compensate him for his services at a rate of their choosing whether this be in the form of immediate per-asset payments or revenue shares. Similarly all compositions showcased on Reeves’ Higher Eclectic Space here or on his Soundcloud, are available for purchase/use at a rate of the client’s choosing.
Terms & Conditions
Given Reeves’ rather unpredictable routine as an on-call live performer for Clubs, Bars, Productions and the like, along with his relative lack of experience as a wholly independent performer, his terms regarding collaborations with teams and individuals in need of his music talent for their gaming projects are as follows.
- Van Reeves functions on a Donation basis only, meaning clients may compensate for his services at any rate of their choosing; all donations towards his work must be made only after a given assignment is completed, with instructions on how to do so being provided by the musician. Contact Reeves via the Sub-Forum linked below or team[at]highereg[dot]com for additional details.
- In the case of revenue share agreements, the musician may choose to either reject the same in favour of immediate payments or split compensation between the two as per preference.
- Usage rights and exclusivity of Reeves’ created music is negotiated on a case-by-case basis. All usage must be credited in the form of mentioning ‘The Mr. Reeves Project‘ within in-game credits or by even directly linking to his Soundcloud and Higher Eclectic pages.
- Reeves finds that creating music under restrictive time conditions is detrimental to the quality, integrity and vision of his work. To this end, he prefers that collaborative opportunities provide him with an abundance of time to perform allotted tasks.
- It is preferred that Reeves be requested to compose music only for underdeveloped concepts and themes that allow him to compose personal renditions of a given subject rather than replicate a pre-established composition.
- Collaboration requests from both commercial and hobby game projects are welcome. In either case, Reeves prefers that both parties develop an acquaintance with each other’s vision before discussing the task at hand.
His terms regarding the tracks showcased both here and on his Soundcloud profile are as follows.
- Unless specified otherwise, all showcased tracks are available for use in gaming projects on a donation-basis; clients may donate any amount of their choosing, while all requests for the audio file must be made via the Sub-Forum linked below or by mailing team[at]highereg[dot]com.
- Usage of showcased tracks falls is governed by the Creative Commons — Attribution 4.0 license; their use must be credited by mentioning ‘The Mr.Reeves Project’ within all material utilising the track.
Notable Clients & References
- Rainbite Games — Slick: Ruff Justice, OST.
- Ummagumma Games — Abadon: Guardians Rise, OST.
- Conor McKenna — CyberThreat, Composition ‘No Chill’ Contributed.
- Anime In Northwest Ohio — Animarathon XV: Operation Ohio, Composition ‘No Chill’ Contributed.
Additional references provided on request.
Van Reeves credits his free-roaming artistic genes to his father. The first artist of both his and his family’s generation, Reeves Senior’s talents lay in Pastel and Canvas based scenic renditions which — through the benevolence of patrons — has since moved to a more digital medium à la Wacom tablets and the like.
As he confides though, Reeves never inherited a liking nor patience for the brush. Having grown up as an introverted member of the millennial generation with only Video Games and Film to fallback on, the Filipino believes he forced himself into music as a means of expression — learning all that he could in the absence of a teacher.
Before he knew it, he’d acquired a taste for the underground music scene; a niche audience, lack of prejudice, governance and social expectations provides him with the liberty to act upon what he desires — an aspect he considers paramount.
In search of a change of pace, Reeves once considered acting upon his affinity for cinematic music that got him into the field in the first place. With John Williams, Hans Zimmer and more recently, Ramin Djawadi as inspirations however, he quickly drew to the conclusion that the Cinematic Music market was one too crowded with the ones he looked up to.
This then led him to composing for Video Games as he does now, never mind the competition and growing crowd within the industry that is rivalled only by that of film anyway. He has never considered his work a service and yet compassionate patrons continue to keep him afloat. His favourite games are those with intricately crafted lore (Fallout, Star Wars, Starcraft and Warhammer 40K being the most prominent), while Audio books, Films, historical documentaries and fitness keep him fascinated just the same.