Will Phillips

Will Phillips

Latest Compositions

 

Warmonger

Warmonger

26th June, 2017



A short, dramatic music sample of the epic, orchestral genre that lends itself well to a war-based game setting.

Called Warmonger, the track was composed by Will Phillips as a demonstration; most notable is its use of a traditional electric guitar, played and recorded by the musician in a studio.

Will creates original, high quality music for games and film, combining traditional orchestral instrumentation with jazz/rock/latin/funk-influenced rhythms and harmonies.

To make use of his expertise in the development of your game projects, please write to us via the contact form attached to this page's sidebar, or by mailing team[at]highereg[dot]com.

For Honor: Viking vs Knight - Music Trailer

For Honor: Viking vs Knight - Music Trailer

6th June, 2017



Directed by indie filmmakers Forest Studios, For Honor: Viking vs Knight is a live action fan-short paying homage to Ubisoft's hack n' slash For Honor.

While the film itself attempts to depict the game's factions of Knights and Vikings in an epic fight to the death, Will's medieval-themed composition here serves as the action's first cue.

Comprised of traditional flute and open harmonies, the track also mixes more modern film-score elements with intent of producing epic orchestral music reminiscent of the time period.

While information on For Honor: Viking vs Knight can be found on Forest Studios' website hyperlinked above, here's six minutes of the live action short for your viewing pleasure.



As always, to task Will Phillips with creating similar music for your own games, simply e-mail us at team[at]highereg[dot]com.

Droid Death Dance | Death By Game Show

Droid Death Dance | Death By Game Show

17th May, 2017



More rhythm that melody, Droid Death Dance is designed to emulate the connected workings of droids bent on destroying the protagonist of Oointah Games' Death By Game Show.

'With the droids set out to destroy our hero U.H. Wutt, the track's rhythmic influence stems from the music prevalent in old cartoons which show the inner workings of a gear-filled factory.' explains Will.

Developed and released by Oointah Games in April, 2016, Death By Game Show deems itself a frenetic strategy game that has players war against an invasion of droids circa 26th century.

The game's soundtrack comprises of a total of seven tracks, each of which have been composed by Will to be bundled as separate DLC.

Droid Death Dance follows Bomber Blues, Wutt's Waltz, Welcome to the Show!, and Robotic Rhythm from the OST that have been shared on the musician's portfolio herein. Listen to them by scrolling right on this slider!

Will is also available to music composition requests and opportunities; to reach out, simply e-mail us at team[at]highereg[dot]com.

Presence of Evil | Dagger Kiss: Blood of The Stars OST

Presence of Evil | Dagger Kiss: Blood of The Stars OST

2nd May, 2017



With Presence of Evil, Will attempts to emulate the evil, dirge-like theme of Star Wars' Emperor Palpatine for Zareth, the antagonist of Dagger Kiss's upcoming second season.

Calling it the most menacing piece of music he's ever written, the artist explains --

'Originally, the melody was composed as a fairly straight forward, low male bass voice, but it just wasn't quite evil enough.'

'So after some experimentation, trying different instruments, I finally settled on simply lowering the voice an octave and the results were far better than I had expected!'


Besides previously contributing to the first season of the web series, Will continues to showcase his ongoing work on Blood of The Stars' OST herein. Catch prior compositions by scrolling right on this slider.

The musician is also available to music composition requests and opportunities; to reach out, simply use his Sub-Forum or e-mail us at team[at]highereg[dot]com.

Jam On Avenue One | Droid Towers

Jam On Avenue One | Droid Towers

10th April, 2017



From the soundtrack of Droid Towers, Jam On Avenue One is a light-hearted groove created with intent of keeping the player jamming along.

A free-to-play Android game modelled after the likes of '90s classic, SimTower, Droid Towers tasks players with building a skyscraper and keeping tenants happy.

'This being one such track, the music for the entire game is largely modelled after various Sim games.' adds Will.

One may visit Droid Towers on the App Store via the URL hyperlinked above.

Will Phillips meanwhile, continues to look for game projects to contribute to; should you deem his expertise worthy, please feel free to get in touch with any feedback, job or commission requests via the musician's Sub-Forum.

Bit #8

Bit #8

24th March, 2017



Written for the Learn to Adult podcast, Bit #8 is reminiscent of the fast-paced fighting and racing games of yesteryear.

'The host wanted something that sounded like a retro 8 or 16-bit game as an intro/outro for the podcast, and this was the result!' writes its composer, Will.

'I started with a saw wave synth melody, arpeggios, and 8-bit chip sounds. Then, since I was not actually restricted to 8 or 16-bits, I added some modern technology for effects.'

Will Phillips continues to look for game projects to contribute to; should you deem his expertise worthy, please feel free to get in touch with any feedback, job or commission requests via the musician's Sub-Forum.

Bread Puppies/Nomasaurus Rex Melody

Bread Puppies/Nomasaurus Rex Melody

10th March, 2017



An assortment of tunes from two of Bake450's games, Bread Puppies (sequel to the hit mobile game Bread Kittens) and Nomasaurus Rex (a dinosaur-themed puzzler), to which Will has previously contributed to in the form of original soundtracks.

With each game bringing unique elements to the table, the musician explains how the compilation emphasises on fun --

'Bread Puppies (0:00 - 1:40) makes use of playful flute and synth melodies along with jazzy piano and rhythm section,' he writes. 'Nomasaurus Rex (1:41 onwards) on the other hand, uses mostly pitched percussion instruments to encompass a prehistoric vibe in the music.'

Both games are currently available for purchase on the App Store, information on which may be found at Bake450's website.

Which of the tunes were your personal favourite though? Let us know on Will's Sub-Forum.

Alter Ego | Dagger Kiss: Blood Of The Stars OST

Alter Ego | Dagger Kiss: Blood Of The Stars OST

24th February, 2017



Taking on a much darker tone than Will's previously demonstrated compositions for Dagger Kiss's upcoming second season, Alter Ego is theme for one of its characters' former self.

Without giving too much away, the musician describes how the track's various nuances contribute to its intense imagery --

'The low piano hit sends the evil vibes right away before the strings, while winds provide a distant and haunting melody. The mysterious chord progression is arpeggiated by the harp at the beginning and end, lending the piece an overarching mystical feel.'

The track follows Pillar of Strength, a theme for series character Katia; Will has previously contributed to Dagger Kiss' first season in the form of a complete original soundtrack.

Listen to it by scrolling right on this slider.

As always, feedback and job/commission requests are welcome; please be sure to leave them on Will Phillips' Sub-Forum.

Pillar of Strength | Dagger Kiss: Blood Of The Stars OST

Pillar of Strength | Dagger Kiss: Blood Of The Stars OST

12th February, 2017



Will's second composition for Dagger Kiss's upcoming second season, is a theme for the series' character of Katia.

Katia, while not possessing any magic powers, works as a constant source of strength as she takes on her foes by means of fearlessness and mental prowess.

Characteristics that are articulated by Pillar of Strength, as the composer explains --

'The piece is bookended with a flowing oboe and string melody which takes on a feminine but strong quality. Horns and percussion take over to represent that strength, wit, and no-BS attitude that makes her a success on the battlefield.'

The track of course follows By Moonlight, a promo piece for Dagger Kiss: Blood Of The Stars, the first season of which Will has previously contributed to in the form of a complete original soundtrack.

Listen to it by scrolling right on this slider.

Feedback and job/commission requests are welcome; please be sure to leave them on Will Phillips' Sub-Forum.

By Moonlight | Dagger Kiss: Blood Of The Stars (Promo)

By Moonlight | Dagger Kiss: Blood Of The Stars (Promo)

27th January, 2017



Having previously scored the soundtrack to fantasy web-series, Dagger Kiss's first season, Will is now working on the series' second outing titled Blood of the Stars.

Titled By Moonlight, this orchestral piano piece comes straight from Season Two of Dagger Kiss -- highlighting the tenderness & underlying sadness that greets the protagonist on being reunited with a lost lover.

The musician also explains how the tune's interplay of the piano and strings speaks of troubles to come --

'The piano and strings trade the limelight as it transforms from peaceful arpeggiations to a quicker, more rhythmic motion. Light piano and strings finally close out the piece softly, but with no final resolution.'

Feedback and job/commission requests are welcome; please be sure to leave them on Will Phillips' Sub-Forum.

Kirkhopin' | In The Style of Grant Kirkhope

Kirkhopin' | In The Style of Grant Kirkhope

12th December, 2016



Written in the vein of British composer, Grant Kirkhope's work, Kirkhopin' is a playful melody sent in as a demo to the developers of an upcoming game project.

Will attributes the track's minimal instrumentation to the Kirkhope created soundtracks of titles of Donkey Kong 64 and Banjo Kazooie.

'A simple bouncy drum beat repeats underneath a lightly strummed guitar and xylophone.' he writes.

'Meanwhile the tuba honks out an "oom-pah" bass line below. The chorus gets a slight change of tune as the synth flute whistles a happy-go-lucky melody, then the track finishes out with the xylophone and flute tooting away in harmony.

The demo, which demanded that Will showcase his Kirkhope inspired style of music, has led to a successful partnership with the project's developers.

This will mark the first professional collaboration Higher Eclectic Ground has helped effect for Will Phillips; an official announcement is expected to be made by Spring 2017.

Will was last seen putting on his Bomber Blues previously; missed it? Scroll right on this slider!

Bomber Blues | Death by Game Show

Bomber Blues | Death by Game Show

2nd December, 2016



The final track on the Death By Game Show is every bit blues-y with a dash of New Orleans. Having aptly titled it Bomber Blues, Will explains how the track works --

'Bomber Blues starts out with a walking bass line with a simple, but playful melody. The real N'awlins feel however comes in with the accordion, as it infuses a swingy rhythmic ditty into the bridge.'

Developed and released by Oointah Games in April this year, Death By Game Show deems itself a frenetic strategy game that has players war against an invasion of droids circa 26th century.

The game's soundtrack comprises of a total of seven tracks, each of which have been composed by Will to be bundled as a separate DLC.

Wutt's Waltz, Welcome to the Show! & Robotic Rhythm are three other tracks from the OST that have been shared on WIll's portfolio herein. Listen to them by scrolling right on this slider!

Wutt's Waltz | Death by Game Show

Wutt's Waltz | Death by Game Show

18th October, 2016



Far less intense than the rest of the roster yet still maintaining a modicum of chaos throughout, Wutt's Waltz is listed fifth on Will's created OST for Oointah Games' Death By Game Show.

'This is the namesake track of U.H.Wutt, the main character of the game, as he's forced into a gauntlet of killer droids and corny puns. ' writes the musician.

Developed and released by Oointah Games in April this year, Death By Game Show deems itself a frenetic strategy game that has players war against an invasion of droids circa 26th century.

The game's soundtrack comprises of a total of seven tracks, each of which have been composed by Will to be bundled as a separate DLC.

Welcome to the Show! & Robotic Rhythm are two other tracks from the OST that have been shared on WIll's portfolio herein. Listen to them by scrolling right on this slider!

Project: Omega

Project: Omega

11th November, 2016



A conceptual tune developed to accompany the opening sequence of an RTS game, Project: Omega has Will make use of a blend of orchestral instrumentation and synthesizers to create a futuristic soundscape.

This is of course to complement the game's own futuristic, apocalyptic world, which the musician reveals is being created by a Netherlands based developer.

Missed Will's work on upcoming TV Series Remnant 13 in his previous portfolio update? Scroll right on this slider!

Teaser | Remnant 13

Teaser | Remnant 13

25th October, 2016



Set against the backdrop of a zombie apocalypse, Lindsay Productions' upcoming TV series of Remnant 13 is set to have Will Phillips at the helm of its soundtrack.

Although still in early production, the series' official teaser trailer not only offers one with an introduction to one of its primary characters, but also features one of the musician's early compositions.

In its explanation, he attributes its use of long, low, eerie strings to complementing the teaser's rainy backdrop --

'Plus the repeating piano phrase adds an element of rhythm as the music continuously builds throughout, all while the scene turns from eerie silence into a fight for survival.'

Welcome To The Show! | Death By Game Show

Welcome To The Show! | Death By Game Show

12th October, 2016



Listed first on the soundtrack backing Oointah Games' Death By Game Show, is Will Phillips' Welcome To The Show!

A lighthearted play of rhythms that evolves from a simple short note riff into a full-on tango, the track plays during the game's early stages when players are first introduced to its controls.

'At this point in the game there's barely any challenge, so this track is all about having fun,' writes Will.

Developed and released by Oointah Games in April this year, Death By Game Show deems itself a frenetic strategy game that has players war against an invasion of droids circa 26th century.

The game's soundtrack comprises of a total of seven tracks, each of which have been composed by Will to be bundled as a separate DLC.

Welcome To The Show is the second composition from the game to be showcased on his portfolio herein, the first being Robotic Rhythm -- a combination of drums, bass, guitar, piano, and strings that was also used in the game's primary trailer.

Star Trek: Alien Domain | Galaxy Level Menu Theme

Star Trek: Alien Domain | Galaxy Level Menu Theme

1st October, 2016



Another of Will's compositions for Game Samba, Hang Ten Interactive and CBS Studios' online multiplayer strategy game Star Trek: Alien Domain, is this ambient theme used within its Galaxy Level navigation menu map.

Minimal yet eerie, the musician explains that its goal lies in emulating human travels through the uncharted voids of space while being enveloped in constant fear of conflict.

'This was accomplished by creating a progression which alternates between high and low voices,' he writes.

'The chords continue steadily, but give a lot of space in the middle, much like one imagines the composition of a galaxy; a few celestial bodies, with lots of space between them. '

Looming beneath it all, one finds, is an ominous bass-line rendered heart beat.

This is Will's second composition from Star Trek: Alien Domain to be featured on his portfolio herein; the first being the following theme that accompanies the game's introductory cut-scene.

Ready, Set, Go - Super Meme Kart

Ready, Set, Go - Super Meme Kart

19th September, 2016



Departing from the usual blend of serious, ominous orchestral music that populates Will's portfolio, Ready, Set, Go is a concept track originally developed for Bake450 Studios' Super Meme Kart.

A mobile racing game, Super Meme Kart intersperses Mario Kart-styled gameplay with characters derived from popular internet memes; complementing its emphasis of fun with just a touch of urgency of course, are the track's playful synth melodies and poppy drums.

'It's always a joy to have an opportunity to work on music built purely around playful but exciting game-play,' Will writes. 'Definitely a nice departure from creating dramatic orchestral pieces; always a blast to create.'

The Underground - Exile Online

The Underground - Exile Online

1st September, 2016



Exile Gaming Studio's upcoming MMO Exile Online is a cyberpunk tale of mankind's trials with political and social tribulations of the far future.

Combining both synthetic and orchestral elements, The Underground is Will's eerily ambient composition for the same.

While the track itself may or may not make it into the final build, the musician explains how his vision for the track was that of conjuring a cave-like environment for the listener.

' In an effort to match the environment of a large cavernous space, I decided to keep the music out of the forefront; I avoided using instruments that are typically settled into the mid-range.', he writes.

'The low droning synths give the track a dark looming feel but also provide a musical foothold -- while the high pizzicato strings emulate drops of water trickling down from the ceiling.

The whole product of these various elements, the musician aspires, is imagery of wide open spaces and looming uncertainty.

Star Trek: Alien Domain (Federation Intro)

Star Trek: Alien Domain (Federation Intro)

24th August, 2016



Amid Will's compositional work on Game Samba, Hang Ten Interactive and CBS Studios' online multiplayer strategy game Star Trek: Alien Domain, is the theme that accompanies its introductory cut-scene.

With the track wholly written and produced by the musician, the video it plays upon serves as a prologue for the Starfleet team -- bringing players up to speed with the events of the game that precede their arrival.

Interestingly, Will's composition also features a segment of Star Trek: The Next Generation's popular musical theme at its end.

Robotic Rhythm | Death By Game Show

16th August, 2016



Developed and released by Oointah Games in April this year, Death By Game Show deems itself a frenetic strategy game that has players war against an invasion of droids circa 26th century.

The game's soundtrack comprises of a total of seven tracks, each of which have been composed by Will to be bundled as a separate DLC.

Among these is Robotic Rhythm, a combination of drums, bass, guitar, piano, and strings that was also used in the game's primary trailer.

In explaining its basis in robotic, rhythmic motif and how each instrument works together in building up towards a composite rhythm, the musician reveals --

'Originally I had written it all for synths, then decided to try out a more organic instrumentation. After a few tweaks, it really worked out for the better.'

'While the entire soundtrack consists of 7 tracks throughout the game, you can hear 2 of these 7 tracks on my soundcloud page.'

The Legend of Valt

9th August, 2016

Penned by one Charles Anderson, Project: Trinity is an upcoming trilogy of visual novels set in an alternate, futuristic universe with technology not too far from our own.

Centred on three human/bio-weapon hybrids named Valt, Aerea and Seire, the action/adventure based three-part saga will follow conflicts both external and pertinent to their selves as their true purposes are unravelled.

With the project yet to arrive on Kickstarter, Will's contribution to it comes in the form of a theme for its upcoming trailer.

Titled 'The Legend of Valt', said track attempts to match protagonist Valt's characteristics of strength and repressed urgency while maintaining slightly feminine undertones throughout.

As Will explains -- 'The solo flute, in this case, seemed fitting as a representative of Valt's outer voice; the undercurrent of quick strings and percussion meanwhile, give the listener a true sense of strength and urgency layered below the surface.'

The artist further delves into his desire to have the track transition from almost nothing to 'full-power'; it's ethereal rhythmic intro soon gives way to melody which serves as an introduction to the character and theme.

This progresses into the middle portion of the track with its blaring horns, acting almost as fanfare for her, before the flute takes over in re-introduction of the core melody.

'Here is where we begin rebuilding into the final moment, which teases the listener into witnessing Valt at her full potential,' describes Will. 'Just as the tension is fully built, the thundering notes fade out into the distance, and a final chord seeps in with the flute perched on top to bring the piece to its final resolution.'

The full track is can now be heard via the video (coupled with concept art) attached herewith. Be sure to leave your feedback in the comments or subscribe to receive alerts from Will's growing portfolio via the form in the sidebar.

Demo Reel | 2015 - 2016

24th July, 2016

Attached here is a montage of collaborations between musician Will Phillips and various other game developers, film directors and artists between the years of 2015 and 2016.

Kicking it off is one of the seven tracks that populate the Phillips-composed OST backing Oointah Games' unique twist on Tower Defense and Strategy, Death By Game Show.

'The game itself is a playful take on the tower defense genre,' recalls Will. 'So the music was designed to replicate that feel with a combination of drum set and bass laying down grooves with rhythmic guitar and strings layered on top. '

This transitions into his work on Star Trek: Alien Domain, hinting only just at the Star Trek: The Next Generation theme. 'The third track of the montage was written as an accompaniment to the 3D rendering Yellow Box by Jérémie Brunet,' he continues.

'It features an undercurrent of articulated sweeping string arpeggios while brass plays an elongated melody over top to create the aural illusion of wide open space as the view point continually pans outward.'

The reel then moves to briefly illustrates his work outside the gaming realm on projects such as the Web Series of Dagger Kiss, a conceptual middle-eastern themed film and The Cure -- an Australian short narrating the events that ensue after a bumbling group friends decide to outrun a zombie apocalypse.

With the musician's composed soundtrack mimicking popular mainstream Zombie movies, the montage finally rests at Project Omega, a conceptual tune composed for a Real-Time Combat game.

'The game itself is set in a futuristic, apocalyptic world, and the music is designed to reflect that by combining hard-hitting orchestral sounds with futuristic synthetic elements,' Phillips explains.

'The piece, and montage, come to a close with a build up into a big final hit, which fades as the growling synth decrescendos to a close.'

Be sure to browse through the various layers behind the musician's provided services as an independent musician affiliated to the Network, and get in touch by leaving him a note in the comments below.

 

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With a work record that spans the writing and production of film scores, accompaniment pieces, jingles/stingers, along with the arrangement of musical pieces for various academic and performance ensembles rooted in a plethora of genres, Louisville, Kentucky based independent Music composer/producer Will Phillips’ contributions to the independent gaming industry have covered both PC and handheld games thus far.

His goal lies in creating high quality, original music for Video Game related media while also meeting the needs of developers and collaborators to create fully immersive environments.

Genres/Specialities 

Phillips’ music tends to be an amalgamation of orchestral instrumentation with jazz/rock/latin/funk-influenced rhythms and harmonies. He also enjoys working with synthesizers and traditional instruments, often combining the two to meet his needs.

Work Process & Software Used

While discussing collaborations, Phillips first seeks to attain sufficient data pertaining to a game namely its genre, game-play and artistic direction before delving into all relevant and necessary information related to his role as a musician within the same.

Once he finds that the work at hand falls within his domain, a negotiation of rates and deadlines is established with the collaborator — in written agreement if necessary. Composition then begins around the given concept, with the musician sending out incomplete versions of tracks at various stages of their development to gather both critique and direction from the collaborator in ensuring that every one’s on the same page.

This continues as all tracks move towards completion, following which they are rendered in full quality, desired bit rate and file type before being sent to the employer after approval of the same. All of this takes place 1-2 weeks ahead of deadline, with the remaining time used up in any necessary revisions.

Phillips’ Digital Audio Workstation software comprises of Cubase, FL Studio, several VST/VSTi libraries, their host platforms and synthesizers. With his commonly used VST platforms being EastWest and Kontakt, he is also capable of learning new VST’s and synthesizers should it be required by the task at hand.

Also available is access to a professional recording studio, high quality hardware and live recording equipment, although the use of Dynamic Integration Middleware such as FMOD, Wwise, and Elias for that purpose involves coverage of their licensing fees by employers.

Rates 

All rates are negotiable and are subject to the following aspects of a project –

  • Tempo
  • Artistic Style
  • Instrumentation
  • Project Budget & Potential

Since highly anticipated titles with large budgets will naturally have greater requirements from him, Phillips will set his rates accordingly to keep up with the increased time demand. Payment may be either provided up-front, per track completion, weekly/monthly, post-production, or split up however best suits the employer.

On the other hand, in situations wherein the developer cannot meet the requested payment or if the musician finds that a game has a high potential for success — he might ask for payment to be split between up-front provisions and revenue shares.

Revenue share agreements in the case of low-budget projects are made if at least 50% of the requested payment is payable upfront.

Terms & Conditions
  • Will Phillips might require access to material from the actual game — in the form of alpha/beta version playability, gameplay snippets, images, videos, character bios or even short descriptions — to aid in apt compositions.
  • If he is required to score a cutscene/video, he prefers to be provided with the video itself or at least a rough cut to build his work around.
  • Short term contracts that require the musician to compose a maximum of 1-3 tracks do not necessarily require a written agreement that is signed by both parties. However in case of contracts that demand a greater number of compositions, a written agreement is preferred to ensure both parties are responsible for following through with the agreed-upon terms
Notable Clients & References

Having begun composing semi-professionally around 2010 to eventually transition into a full-fledged career based in music compositions and production, Phillips has composed the scores to a multitude of games, independent films, web series, animated shorts, novel accompaniment pieces, and other media work.

A few of his previous clients and their games he contributed to include —

More references provided on request.

Bio

Will_Trumpet_croppedCiting the role of music in his life to be nothing less than major, Will Phillips has been playing the trumpet since 11 years old — with him still performing with several groups based within the Kentucky area of USA.

His main locally and regionally performing group is currently a 4-piece rock/funk band called Home Grown Head, while the musician also haunts other jazz, rock, jam, and country bands, either playing an integral or background role in each.

He credits his love for games and film to picking up music composition in both fields, which he now desires to expand further into the world of film, AAA games, and performance ensembles.

He also relishes swimming, fishing and other water based activities.

On Higher Eclectic Ground

Will Phillips has been a member of the Higher Eclectic Network since July, 2016, providing his multi-genre, music composition services towards the development of independent games via the latter.

Besides the expertise and professionalism that he brings to the table, working with the artist via Higher Eclectic Ground procures added benefits such as —

  • Relentless, complementary press and social media coverage of those games to which Higher Eclectic’s freelance talent has contributed and worked upon. Have a trailer launch, alpha/beta test or crowdfunding campaign coming up? The Network will issue a press announcement on your behalf across its various channels.
  • Mediation. With The Network monitoring correspondence and progress of all jobs, steps are taken to ensure proper legal procedures are followed and that both parties uphold their ends of the agreement in a timely, professional manner.
  • Constant support. With Higher Eclectic Ground routinely following the progress of various games its talent has worked upon, it also attempts to service any other freelance personnel needs that might arise during the games’ development.

And more. To get started then, simply use the contact form attached to this page’s sidebar telling us about your game project and how you believe Will Phillips could contribute, or mail us at team[at]highereg[dot]com.

Available
Louisville, Kentucky, USA
Orchestral based multi-genre
Negotiable Rates, Revenue Shares