Brian Gibson is a name a lot of our readers are already familiar with – as half of the legendary duo Lightning Bolt, he’s carved long-standing, monolithic slabs of noise rock with singular, uncompromising vision on albums like Hypermagic Mountain, Ride the Skies, Sonic Citadel, and many more.
It’s common knowledge that through these records, the Brians of Lightning Bolt swiftly attained mythical underground status, mentioned in the same conversations as Hella, Don Caballero, and Melt-Banana. But as longtime fans, we were actually shocked to find Gibson was also involved in the production of video games like Amplitude, Guitar Hero, and Rock Band.
If you can believe it, working on these titles as an artist at Harmonix technically serves as the first of two origin stories for Gibson in terms of development – in 2016, his first independent offering Thumper hit the shelves just in time for a new wave of curious VR gamers to become addicted to it’s mind-melting rhythmic speed runs.
(Potentially one of the hardest videos of the early 2010’s, Lightning Bolt live at TAICOCLUB in May, 2014)
Fast-forwarding to now, Gibson’s next project, Thrasher, is due in just a few weeks. Brian is still at the obvious core of the game’s design, but it’s a different production team. Thumper was Drool – Gibson paired with Marc Flury, a fellow Harmonix alum. Thrasher is Gibson paired with Mike Mandel, who has credits on Fuser and Fantasia: Music Evolved. Before you go there, no, the latter of the two was not a Disney / Halo mashup. Regardless, this time around, the team is going by Puddle.
Perhaps it’s worth noting that there’s a vague but obvious connection between the two teams and their names – is a puddle of drool primarily a puddle or drool itself? And while we’re at it, does one always go from thumping to thrashing? While those are questions better left to interpretation, we did have a chance to ask Gibson some questions that are hopefully more informative, like how the games are related, how they were challenged by VR, and the merit of pushing yourself into unfamiliar territory.
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FB: Thrasher appears to be related to your previous game, but it could also just be the next logical step forward for a developer that’s found their niche. Would you describe Thrasher as a sequel / spiritual successor to Thumper, or something else?
Brian: I see Thrasher as a spiritual successor to Thumper. I’m working with a different programmer, Mike Mandel, so it didnt feel appropriate to make a direct sequel. But I did want to expand on some of the art and music themes from Thumper while creating a completely different game. Thrasher is less dark and minimalist than Thumper both visually and sonically. I’m not entirely confident about this choice, because that brutal minimalism was a major strength in Thumper, but I’m glad I’ve explored new territory.
FB: Thumper’s OST took a somewhat abstract route, seemingly focused on the crossover between score and sound design. But Thrasher is way more complex and melodic – can we expect a similar interaction between the gameplay and the music?
Brian: Unlike Thumper, Thrasher isnt focused on direct interaction with the soundtrack. It’s a pure arcade action game that could just as easily be played without a soundtrack. Elements do move in time with the beat though. I’ve been making rhythm games for so long, it’s been refreshing to step away from that format.
(Noclip put out this short and sweet deep-dive into Thrasher’s spiritual predecessor Thumper)
FB: You used to work at Harmonix, but eventually went indie – what’s been the hardest part of that journey? What part has been the most rewarding?
Brian: It was hard in the beginning. Thumper was made during nights and weekends for about 6 years before I finally quit Harmonix. My commute was over an hour each way during that time. It seemed unlikely that Thumper might sustain a career in indie games, but I at least hoped it might bolster my resume and expand my skill set. The success of Thumper was unexpected and probably the best thing that’s happened to me professionally. Now I have no commute and much more creative freedom.
FB: What excites you the most about the possibilities of VR? What are some things you’d like to see achieved in VR from the perspective of a player?
Brian: I’m a bit cynical about VR in the near term. While I enjoy exploring it, the medium still has significant weaknesses. It’s still janky with issues like nausea to overcome. I like the philosophical questions it raises about simulated environments and identities. It provides a tangible glimpse of something that was once theoretical and sci fi. It raises big questions about the nature of reality for me, and questions about the future. But – VR has a long way to go.
(Thrasher shows off a vibrant, dynamic set of psychedelic visuals that we can’t wait to experience.)
FB: This begs the question – do you play video games in your spare time, or do you associate them with work?
Brian: I dont play video games, I never have time! But for me, making games is as enjoyable as playing them. Game development is like a puzzle – you start by committing to some basic premises like inputs, interactions, icons and narratives, then try to craft a good game from those elements. It’s pretty easy to arrive at a bad game after a few stray decisions, which makes it more rewarding when good things happen.
FB: Are you using the same kind of software for composition in Thrasher as you did for Thumper? Were there any vital plug-ins, virtual instruments, and/or gear overall to capture the Thrasher sound?
Brian: For both Thrasher and Thumper I used FL studio. Thrasher relied more on various virtual synths and arpeggiators. In Thumper I used drum sample packs, and french horn samples. My setup is minimal, and I sometimes feel I should be more creative with it. I use no hardware, preferring the flexibility of working entirely on my laptop. This allows me to work on the soundtrack even while on tour in the van, for instance.
FB: Are the musical inspirations of Thrasher and Thumper the same as the musical inspirations for Lightning Bolt?
Brian: It’s hard for me to pinpoint the inspirations for any of it. Thumper was probably more directly influenced by Lightning Bolt, as both aim to take an experience to an extreme. Thrasher isnt as intense; it’s more of a psychedelic odyssey. I guess I had to explore this new direction.
FB: Do ideas from Lightning Bolt ever bleed over into your production and video game scores?
Brian: The key lesson I’ve taken from lightning bolt is that it’s better to have one amazing sound, than multiple amazing sounds competing for attention. This is an ongoing music lesson that I’m still internalizing. When working on a laptop, it’s tough to resist the temptation to add layers. Lightning bolt is a constant reminder of how simple music can be. It also emphasizes the importance of performance. Where music emerges from spontaneous real-time decisions. I wish I could apply that lesson more to my soundtracks, but it’s difficult.
FB: You spent nearly 15 years working at the fairly successful company behind games like Amplitude, Guitar Hero, and Rock Band. It’s also been nearly ten years since you left – do you recall the industry being so competitive when you were working for Harmonix? Do you have any insight for struggling artists or developers who feel the pressures of buyouts and mass-layoffs?
Brian: The industry is vastly more competitive now than when I got started, and everything is much more expensive, making it harder to take risks. I think this situation will continue to get worse as AI matures. I hesitate to give advice because it implies that I could have navigated this environment better than others, which I don’t think is true. Anyways, my general approach has been to embrace the intrinsic joy of making art without the expectation of living off of it.
I’ve always lived as cheaply as possible, allowing me to work on multiple creative projects outside my main job. I have hours of “Barkley’s Barnyard Critters” animations I made over the years which I failed to make into a show on Adult Swim. I also made a children’s book that nobody wanted to publish. I have been in lots of bands and played in many empty rooms. It’s crucial to have the time to explore, if you want to find a niche that works for you. If it doesn’t pay off professionally at least you had fun in the process.
Check out the game’s official website here.
(Here’s hoping those Barnyard Critters see the light of day – and special thanks to Mike at Thrill Jockey for making this interview happen! Everyone else, thanks for reading! If you’re looking for more music, check out our Bandcamp compilations here. If you like us, or possibly even love us, donations are always appreciated at the Buy Me A Coffee page here, but if you’re in a generous mood you can also donate to folks here, here, and here that could probably use it more. Thanks again!)