Metro: Exodus - Race Against Fate
Oleksii Omelchuk
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Browse piano sheets by Oleksii Omelchuk on Zen Virtual Piano. Alexey Omelchuk was born and raised in Ukraine, where he finished music school as an external student in a year and a half, with a plain classical guitar education. He began as a radio DJ, then worked as a concert sound engineer and as a manager for some Ukrainian performers. The studio 4A Games, formed by developers from GSC, invited him to write the music for its first game, Metro 2033. A career that passed through radio, concert sound engineering and artist management before the 4A Games invitation may suggest that he came to game composition by way of practical work with sound and performers. In a Steam community post he says it all started with Alexander (2004): he sent some tracks to be looked over and, to his surprise and joy, some of them were taken for the game. He also says GSC raised him as a game composer, and that he is grateful to the people there. He also says that new ideas, thoughts and melodies come to him away from the studio more often than at it, and that his main idea was probably to make the dark ambient more musical. He recalls that about seventeen years ago Dmitry Kuzmenko, then Audio Lead at 4A Games, introduced him to Andriy Prokhorov. His remark that GSC raised him as a game composer, together with the fact that 4A Games was formed by developers from GSC, may point to a link between his first game work and his place on Metro 2033. Writing on the Metro games, he says he thinks best with a guitar in his hands, and that in those games the guitar became the voice of Metro itself. For Exodus he chose the cimbalom as the lead instrument and an orchestra for the main accompaniment, but, as he puts it, the guitar remained. He says he wrote Exodus āin free flightā while Dmitry synced those emotions with the game events. Dmitry Kuzmenko appearing both as the person who introduced him to Prokhorov and as the one who synced his Exodus music to the game may hint at a collaborator who mattered at more than one point. A classical guitar education, and a guitar kept in the Exodus score, may suggest an instrument with a recurring role in the Metro games and Exodus music discussed here. He says a melody formed the basis of many compositions, including Race Against Fate. Among the instruments he owns, he lists two ukuleles, a dombra, a bouzouki, a dozen sopilkas, vargans and various percussion. The site gamemusic.net calls the Exodus album a well balanced mix of somber string themes, piano letters, dark ambient, minimal combat music, brass and ethnic touches. His own list of instruments, set beside an album that gamemusic.net says mixes strings, brass and ethnic touches, may point to a wide palette of sounds in his music.
Browse piano sheets by Oleksii Omelchuk on Zen Virtual Piano.
Alexey Omelchuk was born and raised in Ukraine, where he finished music school as an external student in a year and a half, with a plain classical guitar education. He began as a radio DJ, then worked as a concert sound engineer and as a manager for some Ukrainian performers. The studio 4A Games, formed by developers from GSC, invited him to write the music for its first game, Metro 2033. A career that passed through radio, concert sound engineering and artist management before the 4A Games invitation may suggest that he came to game composition by way of practical work with sound and performers.
In a Steam community post he says it all started with Alexander (2004): he sent some tracks to be looked over and, to his surprise and joy, some of them were taken for the game. He also says GSC raised him as a game composer, and that he is grateful to the people there. He also says that new ideas, thoughts and melodies come to him away from the studio more often than at it, and that his main idea was probably to make the dark ambient more musical. He recalls that about seventeen years ago Dmitry Kuzmenko, then Audio Lead at 4A Games, introduced him to Andriy Prokhorov. His remark that GSC raised him as a game composer, together with the fact that 4A Games was formed by developers from GSC, may point to a link between his first game work and his place on Metro 2033.
Writing on the Metro games, he says he thinks best with a guitar in his hands, and that in those games the guitar became the voice of Metro itself. For Exodus he chose the cimbalom as the lead instrument and an orchestra for the main accompaniment, but, as he puts it, the guitar remained. He says he wrote Exodus āin free flightā while Dmitry synced those emotions with the game events. Dmitry Kuzmenko appearing both as the person who introduced him to Prokhorov and as the one who synced his Exodus music to the game may hint at a collaborator who mattered at more than one point. A classical guitar education, and a guitar kept in the Exodus score, may suggest an instrument with a recurring role in the Metro games and Exodus music discussed here.
He says a melody formed the basis of many compositions, including Race Against Fate. Among the instruments he owns, he lists two ukuleles, a dombra, a bouzouki, a dozen sopilkas, vargans and various percussion. The site gamemusic.net calls the Exodus album a well balanced mix of somber string themes, piano letters, dark ambient, minimal combat music, brass and ethnic touches. His own list of instruments, set beside an album that gamemusic.net says mixes strings, brass and ethnic touches, may point to a wide palette of sounds in his music.
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Common questions
Alexey Omelchuk is a Ukrainian composer who began as a radio DJ and then worked as a concert sound engineer and as a manager for some Ukrainian performers.
He was born and raised in Ukraine, and finished music school as an external student in a year and a half, with a plain classical guitar education.
The studio 4A Games, formed by developers from GSC, invited him to write the music for its first game, Metro 2033.
He says he chose the cimbalom as the lead instrument and an orchestra for the main accompaniment, but the guitar remained.