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Thank you so much, and that is a very nice choice for a favorite tune! The Hidden Door itself is a rather weird track. It started initially with the opening drum pulse and a fair bit of eq manipulation. By changing the frequency domain makeup of the sound during each hit, it sounds as if the drum sound is being struck from different areas on the drum like a percussionist might hit a tom-tom in different places around the rim to activate different timbres. The other important composite sound at the beginning which eventually overwhelms the rest of the track is itself rather simple. That sound began initially as a sample from a bit of sound design I did for a different project. I shaped that sound a bit, attached an arpeggiator to the midi device and then experimented around with manipulating the arpeggiators makeup with one hand while playing the synth with the other. After that, I gated different sends behind certain frequency ranges and what you heard on the track emerged from that! As the piece developed from there, most of the composition turned into freezing midi to audio, and then manipulating it as needed without losing the core sound. 

Hope that helps explain the track, and I'm really glad you enjoyed the atmospheres within the score!

I intentionally wanted to keep tracks relatively abstract, but most of the names correlate to either a specific place/level or a part of the story. The order of the tracks themselves is the order that the player will encounter them within the world, with that said I imagine each actual track of the score would manifest as a grouping of small musical events that would be triggered in the game. In particular, I am a huge fan of the sound design in Inside, so I wanted the ambient score to feel like a collection of ambient events that might occur on trigger with player actions much like in that game. With regards to composition, I work primarily within Ableton Live supplemented by Max for Live for more exact digital signal manipulation. While each track is different, most tracks start from a place of organized improvisation.  I typically started with the track, figured out the sound world, made up some material then analyzed it, and let the form shape around that. I'm really glad you enjoyed the score, especially considering the genre of ambience/noise isn't your forte. Two of my primary inspirations in this realm are Oval's album Symstemisch, and Amon Tobin's album Fear in a Handful of Dust, if you enjoyed the score here, I'd greatly recommend them; thank you so much for your response!

Hey there Javier! This is CM Adams the composer/sound designer for New Terra. I've worked with generative music before, but due to time constraints, I decided to opt for a more meandering organic piece. The music itself is basically one long synth improvisation that came together through continued recording and rerecording with heavy post production to make it sound more complex and through composed. In general, the aim was to make something self referential and melodic but complex and layered enough to help with atmosphere since the game is mostly text.