Amos Roddy’s Musical Journey in the World of Minecraft
The enchanting soundtrack of Minecraft has woven itself into the fabric of memories for a generation raised on this iconic video game. Characterized by its ethereal pianos, echoing chimes, and gentle flutes, the ambient music has become a hallmark of modern gaming. The latest update, released on June 17, introduces an expanded soundtrack featuring six new tracks by Portland-based musician Amos Roddy.
At 40, Roddy has been crafting video game soundtracks for over a decade, having begun his journey at the age of 29. His lifelong passion for music found a unique outlet in video games, where he discovered the magic of interactive artistry. “Games have this magic; you can create a piece of art and interact with it in ways no other medium allows you to,” he reflects.
Roddy’s minimalist and atmospheric style has graced indie titles such as Kingdom, Citizen Sleeper, and Cloud Gardens. Interestingly, his musical approach aligns closely with that of German composer Daniel Rosenfeld, known as C418, who originally composed the soundtrack for Minecraft. In 2020, Mojang Studios, the developer behind Minecraft, began seeking contributions from various musicians, eventually reaching out to Roddy. “When I received the email, I was taken aback. Who gets an email from Minecraft? It was a delightful surprise,” he shares.
Initially contacted in November, Roddy faced a tight deadline, having only three weeks to produce six tracks. Five of these ambient pieces seamlessly integrate into the gameplay, while one track—a ravelike composition—can be discovered through an in-game music disk. “I aimed to keep it simple,” Roddy explains. “It’s challenging to write for Minecraft without wanting to impress, given its monumental status. However, I believe the game benefits from minimal and restrained tracks.” His compositions, while echoing the original score, showcase his distinctive flair.
Over the past decade, Roddy has honed a unique process for writing video game scores, allowing the instruments to guide his creativity rather than relying on preconceived notions. “I don’t hear music in my head,” he admits. “I react to sounds, taking notes until something resonates with me. It feels like following a thread.” For Minecraft, he employed this method, crafting most of the tracks within just a few days and with minimal input from Mojang. He began with a piano, aiming to encapsulate the emotions he experienced during his initial gameplay. “I tried to keep them light and emotive,” he says, pondering, “What does the sunset feel like?”
One track, titled “Tears,” was inspired by a specific gameplay element. In Minecraft, players can earn music disks by defeating certain monsters in unique ways. Roddy’s composition is obtained by defeating a Ghast, a ghostly creature that launches fireballs. He envisioned “Tears” as a celebration of Ghasts, incorporating elements of phonk music—a genre blending trap, jazz, and funk. Although he initially intended to use the in-game Ghast sound effect, he found it unsuitable for sampling and opted to create his own sound using a cello instead.
Despite the vast reach of Minecraft, Roddy approached the project with the same dedication he applies to all his work. His consistent quality and distinctive style naturally aligned with the game’s aesthetic. Looking ahead, he is set to compose the soundtrack for an indie game titled BALL x PIT, which promises a more operatic and dynamic sound while still adhering to his established creative process. “In a musical sense, Minecraft parallels indie games, so it feels quite similar,” he concludes. “It’s just me and a studio in our backyard, that’s about it.”
