I’m really fond of Warframe in its entirety, but I must say, the music is simply extraordinary and deserves special mention. It’s crucial to the game that they even created a Warframe around it. The musical prowess displayed by the team, particularly Matt Chalmers, leaves me amazed. Blending hits from various genres in such an impressive manner is truly mind-boggling. I was fortunate enough to have a chat with Matt Chalmers himself, as well as Erich Preston, who ensures the audio magic happens smoothly, prior to the first TennoConcert.
Let’s get started. If you could both introduce yourselves to our readers.
Matt: I’m Matthew Evan Chalmers, and I’m the composer for Warframe.
Erich: And Erich Preston, the audio lead for Warframe.
Warframe has gone through musical genres quicker than any other game that I’ve ever played. Do you actively try to tick all the boxes?
Erich: Normally, the direction of our next step is somewhat predictable, but we’ll definitely make an effort to take the music in as varied directions as possible. This is mainly because we enjoy experimenting and trying out new ideas. So it’s always an exciting test when we wonder what’s coming up next, and we respond, “Bring it on!” or “Challenge accepted.
What new approaches can we take now that differ from our previous ones? Over time, we can selectively choose appealing motifs derived from older tunes and infuse them into our current projects. Our passion lies in exploring various music genres, and this diversity is deliberate.
How can we change things up from before, and sometimes we reuse cool ideas from old songs to make our new work more interesting. We enjoy switching between different music styles, and it’s all part of our plan.
Where do you get your inspiration from? Do you listen to a lot of different music?
Matt: Absolutely, we’re dealing with a variety of topics. The specifics can vary based on updates, but our focus is on finding references that might not be immediately apparent. For instance, when it comes to the year 1999, we’ve delved into ’90s culture, but we aim to keep things somewhat contemporary. I wondered about what ’90s musicians are up to now and also about new music that carries a similar vibe from the ’90s. I’m trying to develop it further so it doesn’t come off as if it was written in the ’90s or something along those lines.
Erich: Sometimes, when the ideas aren’t immediately clear, it can be as simple as lying in bed one night, browsing idly, and suddenly stumbling upon something unusual. I find this an intriguing moment or feeling. It seems like we’ve been experimenting a lot by colliding things together. My preferred method for yielding interesting outcomes is to mix up elements that aren’t typically paired.
As a gamer, my top picks for favorite comments this year have been, “I can’t quite figure out the genre.” To which I often reply, “Me neither! It’s a unique blend of various elements that make it hard to categorize.
Is there any genre that you haven’t gone into yet that you want to incorporate?
Matt: There are definitely ones we haven’t gone into.
Over the last four years, we’ve delved into various genres extensively. It’s been quite a journey! A new direction I’m excited about exploring is one that stirs creativity from a visual perspective.
Matt: Ultimately, it all begins there. We’re not just experimenting blindly or haphazardly; we’re figuring out the story first, and then considering how wildly we can amplify the music. However, it must still function seamlessly within the game. Given my jazz background, I think it could be intriguing to incorporate that style at some point.
Erich finds it cool. He’s also been pondering over taiko groups and larger ensembles with a focus on percussion.
Like big band stuff?
Certainly, I agree! It also ties in with the concept of jazz, as there are numerous intriguing corners to delve into. Our enthusiasm lies in uncovering these hidden gems, exactly that’s the point.
Matt: As you mentioned earlier, we’ve dived into various projects on an individual basis. Delving deeper into punk and metal tunes sounds intriguing. It reminds me of 1999 when we experimented with multiple genres in a single track, and each had its unique niche. I believe there’s potential for further development in all these areas.
Have you got a favourite piece from Warframe across the years? Pick your favourite child
Erich: I don’t think I can, to be honest with you.
Matt: My favourite is always what I’m working on.
Erich: Yeah, that’s so true.
Matt: If I don’t feel right about it, there seems to be an issue. After playing and replaying it numerous times during writing and mixing, it’s now moving on to the next project. This composition is intriguing because I’m required to go back to previous work and repeat the process. It’s like, amazing, did I actually write that? Because it exists within the Warframe universe.
Erich: It seems like another decade ago.
Matt: Yes, indeed. It seems to progress rapidly. It almost feels as if it happened ages ago, even though a significant portion of it occurred less than a year back.
What about a favourite piece of music outside of Warframe?
Erich: I never have favourites
Matt: Yeah, I’m bad with favourites.
Erich: I believe it’s due to its variability. My preferred track seems to appear and disappear; it’s something that alters depending on what I’m currently listening to. I don’t like to resort to a simple explanation.
Matt: It’s tough for me to choose a favorite. I might name some tunes that resonate with me, but there isn’t a single track I could definitively call my top choice.
I suppose that comes with being in the industry; you have to absorb everything.
Erich: Yeah. You have to listen to everything and enjoy everything equally, I think.
Matt: I appreciate something in everything I encounter. Even if it’s not typically my kind of music, I think to myself, “What can I learn from this?” For instance, there might be an innovative production technique I haven’t tried before, which I’ll remember for later use if the opportunity arises. So essentially, I’m always adding new skills to my toolkit.
Recently, I’ve been playing a lot of classical tunes for my daughter during our car rides to school. In the mornings, we tune into a show on CBC Radio that we both enjoy. Interestingly, she’s developed a fondness for classical music as well. Our daily commute is made more enjoyable by this shared interest. It’s fascinating how music can unexpectedly enter our lives and subtly shape us according to its own rhythm.
The last big expansion was 1999, and obviously, music had a big focus on that. Are we expecting The Old Peace to carry on this music-first style, or is it in the background?
Speaker: We aim to constantly innovate when it comes to music, ensuring that while it complements gameplay, there will be distinct highlights within the music and songs that can be appreciated independently of the game. This focus will remain consistent as we move forward with our projects. Rest assured, the musical direction will differ significantly from 1999, but this change is deliberate and driven by a deep appreciation for what we do.
When you are composing, do you try to inspire specific emotions in the audience?
Matt: In a game, my role is to intensify the overall enjoyment or impact of any given situation. For instance, if it’s a moving scene, I aspire for the music to amplify those emotions. Essentially, I aim to enhance the experience without introducing elements that contradict the intended emotion in that specific moment. Since gaming can be deeply personal and subjective, many players may have unique experiences while playing or listening.
The music for Jade Shadows resonated deeply with many listeners because the story was so emotionally charged, and everyone brings their own life experiences to the table. My intention isn’t to make anyone feel a certain way, but rather I hope you find enjoyment in it, as that’s what I feel behind it.
For me, it’s all about enjoying ourselves. We’re fortunate enough to be in a position where we can express creativity, share aspects of our lives, and things that bring us joy or even make us emotional, with you all and the game players. When we create, what’s most crucial is to develop engaging experiences based on our own experiences, hoping they resonate with others. This connection is something I always keep in mind.
Let’s talk about your tenures with Digital Extremes. I know Eric has been here for ten years, and Matt for around two or three
Matt: Yes, I commenced working on scriptwriting for Keith Power during the revision of The New War. That marked my initial encounter with Warframe. I then dabbled in music and gradually took on more responsibilities. My first major update was Duviri, though I was still working under Keith’s supervision for that. It wasn’t until Wisp Prime, which was a trailer we produced shortly after Duviri, that Keith said, “You’re ready to go solo.” That was in May of 2023, and it has been more than two years since then.
When you look at Digital Extremes from the outside, they seem to give the creative staff a lot of freedom in terms of development. Is this how it is behind the scenes?
Erich: It’s an amazing realization of a long-held dream, yet it’s equally overwhelming. It’s astonishing in its scope. At times, it feels like an overabundance of freedom. We have the liberty to pursue whatever we desire, but it must be done exceptionally well and relevantly tied to our project’s subject matter.
Experiencing it is akin to being alone in the vast ocean. It offers opportunities for discovery and enjoyment, yet it needs to be spectacular, fitting, and functional all at once. It’s equal parts awe-inspiring and nerve-wracking.
Matt: For decades, the bar has always been set incredibly high, and when we think we’ve surpassed ourselves, it seems like we have to start all over again, aiming even higher. It’s an ongoing pursuit of excellence. However, this particular project has been a game-changer for me in terms of my career.
As a cinephile at heart, I never envisioned myself immersed in the realm of video games. My dreams were set on the silver screen, but as I delve deeper into the film industry, I find myself drawn to the allure of the video game world instead. The games are nothing short of spectacular, and every moment spent within them is a testament to their excellence.
I may not be an employee of DE, but let me tell you, the people there are truly extraordinary. Their passion and dedication to their craft are unmatched, making my experience with their work nothing short of exceptional.
I haven’t encountered anyone on my team who isn’t incredibly impressive, innovative, and optimistic. Working here is simply fantastic, and it motivates me to continually improve and set higher standards for myself.
Erich: It seems like the general perception of the company from the outside aligns quite well with its reality from within.
Matt: Unless they’re assuming bad things.
As a loyal fan, I can say that this community feels intimate, grassroots, and brimming with individuals eager to create something extraordinary. In fact, it has kept me engaged for an entire decade! The reasons are clear – it’s simply a remarkable environment where I feel at home. Consequently, my intention is to continue being part of this fantastic journey.
Do either of you play much of the Warframe yourselves, or are you both too busy creating it?
Erich: During updates, I spend quite a lot of time playing because I’m on the hunt for audio elements. I’m assessing the mix, so I’m going through it with that perspective in mind. As for simply having the chance to sit down and play, not as often as I’d prefer, but I’ve just acquired a Steam Deck. Now, I can finally relax in bed at night and play a bit more, which is fantastic.
Matt: I’ve had enough fun with the game to get a good feel for it. I often find myself pondering about Warframe and its music, so when I’m not doing that, I need some distance from the Warframe universe. My job doesn’t demand too much computer time either.
Erich functions as my music producer primarily. He listens to the tunes I create, evaluating whether they suit the game. If an issue arises, he offers suggestions such as “it’s good, but we need to adjust this part because it clashes with the dialogue”. It’s comforting to have someone so deeply engaged in the process, and I find it appealing that from afar in Neverland, I can ponder ideas like, “what if we try this instead?
Certainly!
Erich: That’s fantastic! I really like it. The perspective is terrific, and it’s even more impressive because of the unique touch you’ve added to it.
We have the first TennoConcert this year. How are the nerves?
Matt: I think it’s just excitement at this point. I’m ready to do it.
Erich: I want to see what these guys have put together.
Hey there! After grinding through three consecutive practice sessions these past days, I can confidently say we’ve hit the sweet spot of readiness. Bring it on! Tonight’s the night for our final run-through. I’m buzzing with anticipation to take the stage and make it count, to transform this rehearsed performance into a true gaming experience. Let’s rock this show!
Switching from my office to a concert is going to be fantastic! I’ve been seated at my desk for some time now.
With all the tracks in Warframes’ history, how do you pick what gets into the TennoConcert?
Matt: In the end, we chose what songs we’d play at the concert, focusing mainly on music. With an array of classic instrumentals, battle themes, and ambient pieces, it called for a professional orchestra to execute them properly.
1999 seemed more suitable for a compact band setup, so we could manage with a smaller ensemble instead of a full 40-piece orchestra. Therefore, we decided to perform a selection of tunes from that era, along with some timeless Warframe hits.
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2025-07-24 16:50