During this year’s bustling Game Awards, one game truly caught my attention: Den of Wolves. Sure, the idea of a new first-person heist game from the Payday 2 creators is enough to get anyone excited, but for me, it was the heart-thumping, relentless music that left a lasting impression. Sitting in the Peacock Theatre, I could actually feel my seat vibrating to the beats.
Being a drum and bass enthusiast myself, I eagerly took the opportunity to chat with Simon Viklund about the music in Den of Wolves. We had previously spoken before the game’s initial reveal last year, but with gameplay now available, I was keen to dive deeper into what makes a heist game come alive with music. I also hoped to learn more about Jamie Christopherson, the composer of Metal Gear Rising: Revengeance, and his role in the project.
Now, what’s the deal with the music style in Den of Wolves? It doesn’t fit neatly into dubstep or drum and bass categories. Fortunately, Viklund was happy to break down the unique musical essence, illustrating with animated hand movements and a few sound effects for emphasis.
Viklund explained, “Both tracks we’ve premiered—last year’s reveal and the recent TGA trailer—are set at 150 BPM. Last year’s piece had more of a hip-hop vibe with its half-time structure, while the TGA trailer leaned toward techno. I’m dabbling in different ideas. I call it the ‘other mid-tempo.’ While typical mid-tempo ranges around 100-110 BPM, similar to what you hear in Cyberpunk, and dubstep hits between 120-130 BPM, Den of Wolves fits into a kind of no-man’s land at 150-160 BPM. You have to surpass 170 to enter the drum and bass territory, so it’s a unique niche.”
Not all of Den of Wolves’ music will fit this pattern, Viklund clarified. “I enjoy exploring rhythmic, almost trance-like beats. The melodies aren’t the focus; it’s more about getting lost in the groove.”
Thinking about Cyberpunk’s groundbreaking soundtrack, I wondered if Den of Wolves’ corporate dystopia offered a similar musical canvas. The short answer from Viklund was a resounding yes.
“Absolutely,” he affirmed. “It pushes me to create something intriguing. I can’t venture too far into the avant-garde or futuristic predictions—music from 2097 would be too alien. The music must resonate with what’s perceived as badass today. That’s why there’s a blend of hip-hop, trap elements with brass hits, and drum and bass. It imbues just the right amount of edge.”
This focus supports the ultimate goal: crafting a soundtrack that makes players feel “f*ckin badass,” in Viklund’s words.
“We want them to feel cool and adventurous,” he elaborated. “The music reflects that street-smart sensibility. Even if our game isn’t overtly about taking down corporations, it’s about survival and maybe bending the rules. You’re not just doing jobs for corporations—you’re a rogue looking out for number one.”
And what about Jamie Christopherson’s involvement? Last year, the news of his contribution to Den of Wolves’ soundtrack sent waves of excitement through fans of his renowned work on Metal Gear Rising: Revengeance. Viklund confirms Christopherson has composed music for the game, but it seems there are plans for more collaboration, particularly focusing on his forte.
“I requested atmospheric pieces from him, which were incredible,” Viklund noted. “But honestly, it didn’t fully showcase his strengths. His music set things in motion but didn’t utilize what makes Jamie exceptional. Thus, we’re keen to continue working with him. We’ve kept in touch, and he’s eager to contribute more. We genuinely need his high-energy compositions like those from Metal Gear Rising.”
With no definitive release date beyond a vague 202X hint, we’re left wondering when we might experience the full soundtrack. Until then, we can enjoy the teaser track featured in the most recent gameplay trailer, which is available on Spotify. So, while we wait, we can keep the rhythm of that unique mid-tempo echoing around us.
