Javier Belmer

Welcome! This track is part of a compilation of my works for a game jam I took part in July of 2023, hosted by Madrid in Game. To play the game: indijuegos.itch.io/madrid-legacy "You, an android from the future, must embark on a time travelling journey across the city of Madrid and stop an evil force known as "The Crunch"​ from getting to power, zooming through generations of game development." It is unusual for a composer to attend these events, as they're usually intended for developers and visual artists, however, I've personally found much use and benefit in part-taking in them. Not only are they a highly pragmatic way to demonstrate your skills, compositional prowess, and resourcefulness in a short amount of time, but they're also a great way to connect with other people from different departments and industries outside of your immediate field of vision (and maybe make some new friends along the way). Such was the case with this particular Jam, which not only supplied me with a hungry batch of new teammates for whom I had the pleasure to showcase my work, but it also gave me the excuse to create a new, satisfactory, and colourfully varied list of soundscapes and jingles for everyone to enjoy. I hope you have as much fun listening to them as I had creating them! To everyone who took part in the event, my thanks and hats off to you!

Welcome! This track is part of a compilation of my works for a game jam I took part in July of 2023, hosted by Madrid In Game. To play the game: https://artexmk.itch.io/plaga "In times of the Black Death, you, a plague doctor, must traverse the harsh landscape of 1348 Madrid and treat a number of patients in dire need of your aid, if you have any hopes of escaping." It is unusual for a composer to attend these events, as they're usually intended for developers and visual artists, however, I've personally found much use and benefit in part-taking in them. Not only are they a highly pragmatic way to demonstrate your skills, compositional prowess, and resourcefulness in a short amount of time, but they're also a great way to connect with other people from different departments and industries outside of your immediate field of vision (and maybe make some new friends along the way). Such was the case with this particular Jam, which not only supplied me with a hungry batch of new teammates for whom I had the pleasure to showcase my work, but it also gave me the excuse to create a new, satisfactory, and colourfully varied list of soundscapes and jingles for everyone to enjoy. I hope you have as much fun listening to them as I had creating them! To everyone who took part in the event, my thanks and hats off to you!

Welcome! This track is part of a compilation of my works for a game jam I took part in July of 2023, hosted by Madrid In Game. To play the game: https://artexmk.itch.io/plaga "In times of the Black Death, you, a plague doctor, must traverse the harsh landscape of 1348 Madrid and treat a number of patients in dire need of your aid, if you have any hopes of escaping." It is unusual for a composer to attend these events, as they're usually intended for developers and visual artists, however, I've personally found much use and benefit in part-taking in them. Not only are they a highly pragmatic way to demonstrate your skills, compositional prowess, and resourcefulness in a short amount of time, but they're also a great way to connect with other people from different departments and industries outside of your immediate field of vision (and maybe make some new friends along the way). Such was the case with this particular Jam, which not only supplied me with a hungry batch of new teammates for whom I had the pleasure to showcase my work, but it also gave me the excuse to create a new, satisfactory, and colourfully varied list of soundscapes and jingles for everyone to enjoy. I hope you have as much fun listening to them as I had creating them! To everyone who took part in the event, my thanks and hats off to you!

Welcome! This track is part of a compilation of my works for a game jam I took part in July of 2023, hosted by Madrid In Game. To play the game: https://artexmk.itch.io/plaga "In times of the Black Death, you, a plague doctor, must traverse the harsh landscape of 1348 Madrid and treat a number of patients in dire need of your aid, if you have any hopes of escaping." It is unusual for a composer to attend these events, as they're usually intended for developers and visual artists, however, I've personally found much use and benefit in part-taking in them. Not only are they a highly pragmatic way to demonstrate your skills, compositional prowess, and resourcefulness in a short amount of time, but they're also a great way to connect with other people from different departments and industries outside of your immediate field of vision (and maybe make some new friends along the way). Such was the case with this particular Jam, which not only supplied me with a hungry batch of new teammates for whom I had the pleasure to showcase my work, but it also gave me the excuse to create a new, satisfactory, and colourfully varied list of soundscapes and jingles for everyone to enjoy. I hope you have as much fun listening to them as I had creating them! To everyone who took part in the event, my thanks and hats off to you!

Welcome! This track is part of a compilation of my works for a game jam I took part in July of 2023, hosted by Madrid in Game. To play the game: https://liminal-games.itch.io/dirdam "Madrid has been split into the two twisted realms known as Dementia and Manía. Solve the puzzles, travel between worlds and get home safe!" It is unusual for a composer to attend these events, as they're usually intended for developers and visual artists, however, I've personally found much use and benefit in part-taking in them. Not only are they a highly pragmatic way to demonstrate your skills, compositional prowess, and resourcefulness in a short amount of time, but they're also a great way to connect with other people from different departments and industries outside of your immediate field of vision (and maybe make some new friends along the way). Such was the case with this particular Jam, which not only supplied me with a hungry batch of new teammates for whom I had the pleasure to showcase my work, but it also gave me the excuse to create a new, satisfactory, and colourfully varied list of soundscapes and jingles for everyone to enjoy. I hope you have as much fun listening to them as I had creating them! To everyone who took part in the event, my thanks and hats off to you!

Welcome! This track is part of a compilation of my works for a game jam I took part in July of 2023, hosted by Madrid in Game. To play the game: https://indijuegos.itch.io/madrid-legacy "You, an android from the future, must embark on a time travelling journey across the city of Madrid and stop an evil force known as "The Crunch"​ from getting to power, zooming through generations of game development." It is unusual for a composer to attend these events, as they're usually intended for developers and visual artists, however, I've personally found much use and benefit in part-taking in them. Not only are they a highly pragmatic way to demonstrate your skills, compositional prowess, and resourcefulness in a short amount of time, but they're also a great way to connect with other people from different departments and industries outside of your immediate field of vision (and maybe make some new friends along the way). Such was the case with this particular Jam, which not only supplied me with a hungry batch of new teammates for whom I had the pleasure to showcase my work, but it also gave me the excuse to create a new, satisfactory, and colourfully varied list of soundscapes and jingles for everyone to enjoy. I hope you have as much fun listening to them as I had creating them! To everyone who took part in the event, my thanks and hats off to you!

Welcome! This track is part of a compilation of my works for a game jam I took part in July of 2023, hosted by Madrid In Game. To play the game: https://ie-karma.itch.io/biojam "A team of molecular biologists have caused a ruckus in the Manzanares river of Madrid. Discover what happened to the ducks and survive!" It is unusual for a composer to attend these events, as they're usually intended for developers and visual artists, however, I've personally found much use and benefit in part-taking in them. Not only are they a highly pragmatic way to demonstrate your skills, compositional prowess, and resourcefulness in a short amount of time, but they're also a great way to connect with other people from different departments and industries outside of your immediate field of vision (and maybe make some new friends along the way). Such was the case with this particular Jam, which not only supplied me with a hungry batch of new teammates for whom I had the pleasure to showcase my work, but it also gave me the excuse to create a new, satisfactory, and colourfully varied list of soundscapes and jingles for everyone to enjoy. I hope you have as much fun listening to them as I had creating them! To everyone who took part in the event, my thanks and hats off to you!

Welcome! This track is part of a compilation of my works for a game jam I took part in July of 2023, hosted by Madrid In Game. To play the game: https://delpi33.itch.io/todo-por-madrid "Make sure the money needed to support technological and artistic upgrowth reaches its destination. Watch out for the political signs, they're everywhere and hard to avoid!" It is unusual for a composer to attend these events, as they're usually intended for developers and visual artists, however, I've personally found much use and benefit in part-taking in them. Not only are they a highly pragmatic way to demonstrate your skills, compositional prowess, and resourcefulness in a short amount of time, but they're also a great way to connect with other people from different departments and industries outside of your immediate field of vision (and maybe make some new friends along the way). Such was the case with this particular Jam, which not only supplied me with a hungry batch of new teammates for whom I had the pleasure to showcase my work, but it also gave me the excuse to create a new, satisfactory, and colourfully varied list of soundscapes and jingles for everyone to enjoy. I hope you have as much fun listening to them as I had creating them! To everyone who took part in the event, my thanks and hats off to you!

Welcome! This track is part of a compilation of my works for a game jam I took part in July of 2023, hosted by Madrid In Game. To play the game: https://luismom619.itch.io/madrix "Deliver the goods to the appropriate local "cat" in Madrid before time runs out!" It is unusual for a composer to attend these events, as they're usually intended for developers and visual artists, however, I've personally found much use and benefit in part-taking in them. Not only are they a highly pragmatic way to demonstrate your skills, compositional prowess, and resourcefulness in a short amount of time, but they're also a great way to connect with other people from different departments and industries outside of your immediate field of vision (and maybe make some new friends along the way). Such was the case with this particular Jam, which not only supplied me with a hungry batch of new teammates for whom I had the pleasure to showcase my work, but it also gave me the excuse to create a new, satisfactory, and colourfully varied list of soundscapes and jingles for everyone to enjoy. I hope you have as much fun listening to them as I had creating them! To everyone who took part in the event, my thanks and hats off to you!

NWARRIORS, here's the music composed for NWARE's latest announcement trailer. 
It's always a treat to be working with these guys, and I look forward to many more future projects and collaborations. If you want to check out the trailer itself, feel free to do so via the following link: www.youtube.com/watch?v=Vet_ylRtlDI Click here to learn more about NWARE: https://playnware.com Hope you enjoy listening to it as much as I did working on it!

Playtest the game here: https://rahelgamma.itch.io/gravity-drifter "Gravity Drifter is a small game that tells the story of Solo, who finds himself in a twisted world. After a cataclysmic event, parts of this world have been turned upside down and can now be seen in the sky filled with clouds. With the help of whirlwinds, Solo can switch between the two sides and thus search the world for clues to the origin of this devastating event. Aided only by a sheep, Solo's only hope of doing something about the chaos is to find the source." :::::::::::::::::::::::::::::::::::::::: Due to the nature of being two worlds within the game, duality was essential to explore as a theme. It made sense to use a grand piano as the lead instrument for a game that dabbles in both surrealism and tranquility, as it has a natural dreamlike and therapeutic quality, but also with the ability to be incredibly versatile and rich with fantastical wonder. It’s also an instrument that people latch onto more easily, and so the environment, while foreign at first to the player, feels more inviting. My concept was to play with that duality by using different keys, playing styles, and overall moods, in one world only the black keys and in the other the white keys of the piano, with some slight overlap in tones, which is why I went with D Ionian and Db Mixolydian. A friend pointed out that while writing the chords for the menu music, on one hand used fifths and on the other 4ths. That realisation set the stage for the musical numbers of the two worlds: - The first world one would have a constant arpeggiated pattern made up of fifths that would serve as the conduit for the main melody and mood, like a summer dawn that’s just starting to rise and warm up the landscape. It’s more earthy and grounded, as if you can smell the meadows.
 - The second world would have series of repeated chords and patterns in a less arpeggiated manner and more stationary, using fourths this time to cramp up the sonic space, like swimming in clouds, it’s a bit colder, a bit sadder or contemplative than the first world.
 - The menu music was to be a clear blend of the two, and to highlight this dichotomy. As such, four chords were used, each two belonging to their respective world, with some arpeggiated rolls and flutters for colouration and texture. It would serve as the curtain presentation, so the music is still, timeless, content, tranquil, positive but pensive, as if not knowing where to go yet, no action as yet been taken and as such leaving the decision to the player.
 - The portals would share the same music, being merely adjusted in pitch for its respective world. To help contrast against the world music, the fundamental tone would maintain a constant sound throughout the loop, all the while using sixths and thirds in the chords to distinguish from the fifths or fourths of its musical environment. It's reminiscent of the timeless nature of the menu music, as it's an element of the game that is dependant on the player's action, or in this case, proximity to the portal.
 - Naturally, sound design was implemented to enhance some those surreal and dreamlike qualities. Some were created with the grand piano as the source, and manipulated enough to distinguish it from the lead performer.

Playtest the game here: https://rahelgamma.itch.io/gravity-drifter "Gravity Drifter is a small game that tells the story of Solo, who finds himself in a twisted world. After a cataclysmic event, parts of this world have been turned upside down and can now be seen in the sky filled with clouds. With the help of whirlwinds, Solo can switch between the two sides and thus search the world for clues to the origin of this devastating event. Aided only by a sheep, Solo's only hope of doing something about the chaos is to find the source." :::::::::::::::::::::::::::::::::::::::: Due to the nature of being two worlds within the game, duality was essential to explore as a theme. It made sense to use a grand piano as the lead instrument for a game that dabbles in both surrealism and tranquility, as it has a natural dreamlike and therapeutic quality, but also with the ability to be incredibly versatile and rich with fantastical wonder. It’s also an instrument that people latch onto more easily, and so the environment, while foreign at first to the player, feels more inviting. My concept was to play with that duality by using different keys, playing styles, and overall moods, in one world only the black keys and in the other the white keys of the piano, with some slight overlap in tones, which is why I went with D Ionian and Db Mixolydian. A friend pointed out that while writing the chords for the menu music, on one hand used fifths and on the other 4ths. That realisation set the stage for the musical numbers of the two worlds: - The first world one would have a constant arpeggiated pattern made up of fifths that would serve as the conduit for the main melody and mood, like a summer dawn that’s just starting to rise and warm up the landscape. It’s more earthy and grounded, as if you can smell the meadows.
 - The second world would have series of repeated chords and patterns in a less arpeggiated manner and more stationary, using fourths this time to cramp up the sonic space, like swimming in clouds, it’s a bit colder, a bit sadder or contemplative than the first world.
 - The menu music was to be a clear blend of the two, and to highlight this dichotomy. As such, four chords were used, each two belonging to their respective world, with some arpeggiated rolls and flutters for colouration and texture. It would serve as the curtain presentation, so the music is still, timeless, content, tranquil, positive but pensive, as if not knowing where to go yet, no action as yet been taken and as such leaving the decision to the player.
 - The portals would share the same music, being merely adjusted in pitch for its respective world. To help contrast against the world music, the fundamental tone would maintain a constant sound throughout the loop, all the while using sixths and thirds in the chords to distinguish from the fifths or fourths of its musical environment. It's reminiscent of the timeless nature of the menu music, as it's an element of the game that is dependant on the player's action, or in this case, proximity to the portal.
 - Naturally, sound design was implemented to enhance some those surreal and dreamlike qualities. Some were created with the grand piano as the source, and manipulated enough to distinguish it from the lead performer.

Playtest the game here: https://rahelgamma.itch.io/gravity-drifter "Gravity Drifter is a small game that tells the story of Solo, who finds himself in a twisted world. After a cataclysmic event, parts of this world have been turned upside down and can now be seen in the sky filled with clouds. With the help of whirlwinds, Solo can switch between the two sides and thus search the world for clues to the origin of this devastating event. Aided only by a sheep, Solo's only hope of doing something about the chaos is to find the source." :::::::::::::::::::::::::::::::::::::::: Due to the nature of being two worlds within the game, duality was essential to explore as a theme. It made sense to use a grand piano as the lead instrument for a game that dabbles in both surrealism and tranquility, as it has a natural dreamlike and therapeutic quality, but also with the ability to be incredibly versatile and rich with fantastical wonder. It’s also an instrument that people latch onto more easily, and so the environment, while foreign at first to the player, feels more inviting. My concept was to play with that duality by using different keys, playing styles, and overall moods, in one world only the black keys and in the other the white keys of the piano, with some slight overlap in tones, which is why I went with D Ionian and Db Mixolydian. A friend pointed out that while writing the chords for the menu music, on one hand used fifths and on the other 4ths. That realisation set the stage for the musical numbers of the two worlds: - The first world one would have a constant arpeggiated pattern made up of fifths that would serve as the conduit for the main melody and mood, like a summer dawn that’s just starting to rise and warm up the landscape. It’s more earthy and grounded, as if you can smell the meadows.
 - The second world would have series of repeated chords and patterns in a less arpeggiated manner and more stationary, using fourths this time to cramp up the sonic space, like swimming in clouds, it’s a bit colder, a bit sadder or contemplative than the first world.
 - The menu music was to be a clear blend of the two, and to highlight this dichotomy. As such, four chords were used, each two belonging to their respective world, with some arpeggiated rolls and flutters for colouration and texture. It would serve as the curtain presentation, so the music is still, timeless, content, tranquil, positive but pensive, as if not knowing where to go yet, no action as yet been taken and as such leaving the decision to the player.
 - The portals would share the same music, being merely adjusted in pitch for its respective world. To help contrast against the world music, the fundamental tone would maintain a constant sound throughout the loop, all the while using sixths and thirds in the chords to distinguish from the fifths or fourths of its musical environment. It's reminiscent of the timeless nature of the menu music, as it's an element of the game that is dependant on the player's action, or in this case, proximity to the portal.
 - Naturally, sound design was implemented to enhance some those surreal and dreamlike qualities. Some were created with the grand piano as the source, and manipulated enough to distinguish it from the lead performer.

The result of a 72 hour online Game Jam, appropriately titled 'Mini Jam', hosted by Itch.io. Based on the jam's theme of 'power', Before Blackout is a game about an explorer lost in the dark caverns, protecting their equipment from an oncoming swarm of enemies. The goal is to survive as long as possible, either by refueling the main generator, or by engaging in combat with the creatures. This is game is developed by Callumsb7 If you wish to play the game, click on the tab 'Buy', or go to the following link: https://callumsb7.itch.io/before-blackout The music can be heard while playing the game. Hope you enjoy!