Mass Effect 3
Space Marine
Tron: Evolution
M.A.G
Mass Effect 2: Arrival
Borderlands
Prototype
Mass Effect 2: Kasumi
Hellgate
Quake 3 Arena
Dark Messiah
Borderlands 2
Mass Effect 3: Citadel
Mass Effect 3: Leviathan
Mass Effect 3: Omega
Borderlands 2
Mass Effect 3
Warhammer 40k: Space Marine
Mass Effect 2: Arrival
Mass Effect 2: Kasumi
TRON: Evolution
MAG
Mortal Kombat 9
Borderlands
Prototype
The Agency
Mortal Kombat vs DC
GI Joe
Haze
Beowulf
Stuntman 2
Splinter Cell 4
Dark Messiah
Elements
Starcraft 2 Trailer
Stranglehold
Hellgate: London
TMNT
God of War 2
God of War
Clive Barker's Jericho
Dark Messiah
Spyhunter
Battlezone PSP
Marvel UA
Tomorrow Never Dies
Unreal Tournament
Terminator: ROTM
Quake 3 Arena & TA
Quake 2
Quake 2 Mission packs
BT: "Communicate"
Narcan remix
"The Great Escape"
Stardiver remix
"Superfablous"
Rawshaker mixTaxidoll: "Look at What You Get"
Subsumed mix
Deepsky: "Ghost"
Ghost in the machine remix
Pitty Sing:
"Bleeding Hearts"
WBN: " Show me love"
Methodical mix
Lopressor mix
Bloc Party:
"She's Hearing Voices"
Aphagia mix
Destiny's Child:
"Lose Your Breath"
Kymatized mix
Gwen Stefani
"What You Waiting For"
Sterilized mix
Toksin: "Digital Divine"
Y4K:Nubreed
Aftershock rmx
Summer Channel
"Soulmate"
Rockstar Syndrome
Toksin feat. Danny B:
"Greed"
Mute Math: "Chaos"
Equilibrium mix
Celldweller:
"So long sentiment"
Anhodenia mix
Sample CD's
Noize loops
Toxic Textures.
Writing music for games has been a passion of mine for over 15 years now. I am amazed how far we've have come since: From the humble beginnings of midi and trackers to todays larger then life, huge Orchestral scores,
the landscape or soundscape if you will, has changed dramatically. The harsh, digital sounds of Tron, the symphonic epic canvas of Space Marines, the vast
analog sequences of Mass Effect, the raw percussive rhythm's of Borderlands; it's sounds may be diverse yet they share the same principle: To give each game it's own voice, it's own identity. The Process of achieving
this goal is never easy. I'm not interested in doing something the same way over again. I feel the need to always reinvent myself. Not an easy task but ultimately,
the challenge to top each soundtrack is what has kept me going all these years. I am an architect of sound because much of the art and science behind architecture can be applied to music. We shape and mold sound to
create sound scapes that define gameplay, give emotional support to its stories and because without it, the experience would never be complete.
Sascha Dikiciyan (aka "Sonic Mayhem") is one of the most distinctive and prolific music composers in interactive entertainment, renowned for his cutting-edge electronic sounds and hybrid scores for blockbuster franchises such as Mass Effect, Tron, Quake series and Borderlands. Drawing upon his heavy electronic music roots in Berlin and Hollywood, Sascha's original scores feature epic synth sound- soundscapes, raw electronic beats and musical sound design mixed.
Sascha moved from Berlin to Los
Angeles in 1993, where he studied at Hollywood's famous Musicians Institute as well as UCLA's
prestigious School of Music. In 1997, Sascha's unique electronic/industrial sounds caught the attention of
pioneering game developer id Software, who approached him to compose music for the award-winning
Quake II, following Trent Reznor's work on the original Quake. Sascha's musical identity as "Sonic
Mayhem" was born and has since become one of the leading, progressive voices in music for games,
scoring various genres including Tron: Evolution, M.A.G., Terminator: Rise of the Machines and
James Bond 007: Tomorrow Never Dies. In 2005, Sascha’s hybrid of cinematic orchestra with
electronica/musical sound design has garnered industry acclaim for its versatility and pushing the boundaries of music in games.
Titles include: Mass Effect 3 and most of its DLC’s, Tron:Evolution, Warhammer 40,000 :
Space Marine, Mass Effect 2 : Arrival, Mass Effect 2: Kasumi's Stolen Memory, Mortal
Kombat, Borderlands, Prototype, Splinter Cell 4, Hellgate: London, Dark Messiah. Building
upon his expertise, BioWare/EA's upcoming sci-fi masterpiece Mass Effect 3 is inspired by the retro-
futurist sounds of Tangerine Dream and Vangelis: "I wanted to pay homage to the great '80s sci-fi
sound of the first game while moving the music forward, delivering a sound that matches ME3's cinematic
quality."
IIn addition to creating multi-faceted soundtracks, Sascha will release his long-awaited sometimes in 2013. “Doomsday” will see a return to the original sound of Sonic Mayhem, merged with some up to date cinematic elements that he is well known for. In anticipation of it’s release, Sascha produced a teaser video for “Doomsday” which features some of the forthcoming music.. You can see the teaser right here: www.sonicmayhem.com/ep
Sascha currently resides in Los Angeles and is represented by Four Bars Intertainment.
TheVerge
Doomsday' album Teaser
"The four-minute film is a retro-futuristic preview of Doomsday's music — a sonic mix that is equal parts disquieting, jarring, and eerily tranquil."
MTV
The DJ has a Robot
"The video was gives Sonic Mayhem's distinctly chaotic sounds an appropriately grimy and industrial backdrop."
TheVerge
Sonic Mayhem’s favorite iPad music apps
"this list should provide you with an extremely wide variety of tools for making your own masterpiece."
Moogmusic feature
Momentum
"All of the Synth sounds you hear are from the Devine Expansion Pack presets via Animoog."
Representation: Bob Rice (Four Bars Intertainment)
Email : bobrice@fourbarsintertainment.com
Tel: (707) 929-3611
Contact Sascha Directly:
Email: sascha@sonicmayhem.com
Social Media:
