Frank Klepacki

Infobox musical artist
Name = Frank Klepacki


Img_capt = Frank Klepacki, from his album "Morphscape"
Img_size =
Landscape = yes
Background = non_performing_personnel
Alias =
Born = birth date and age|mf=yes|1974|5|25
Origin = Las Vegas, Nevada, US
Instrument = Guitar, Synthesizer, drums
Genre = Industrial
EBM
Industrial metal
Post-grunge
Alternative rock
Electronic
Funk
Occupation = Video game music composer, Drummer
Years_active =
Label =
Associated_acts = I AM, Home Cookin', The Bitters, Mo Friction, Sly and the Family Stone
URL = [http://www.frankklepacki.com/ FrankKlepacki.com]
Notable_instruments =

Frank Klepacki (born May 25, 1974) is an American musician, video game music composer and sound director best known for his work on the "Command & Conquer" series. Having learned to play drums as a child, he joined Westwood Studios as a composer when he was only 17 years old. He scored several games there, including the "Lands of Lore" series, the "Dune" games, the "The Legend of Kyrandia" series, "Blade Runner", and the "Command & Conquer" series. His work in "" won two awards.

He lives in Las Vegas, where he has shaped a solo career and played and produced for several local bands.cite web | title=Yo, Cookie | year=2000 | month=March | url=http://www.lvlife.com/2000/03/702/story01.html | work= [http://www.lvlife.com/ Las Vegas Life] | accessdaymonth=28 August | accessyear=2006Dead link|date=October 2008] cite web | title=The Bitters | url=http://www.thebittersband.com/ | accessdaymonth=28 August | accessyear=2006] His personal and band work touches upon several genres, including orchestral, rock music, hip hop music, soul music, and funk. He has dubbed the style of music he writes as "Rocktronic".cite web | title=COMMENTARY: Creating Rocktronic | author=Frank Klepacki | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki.com] | accessdaymonth=22 April | accessyear=2007] His work has appeared in various media, including the Spike TV program "The Ultimate Fighter".

Klepacki is currently the audio director of Petroglyph games, where he scored '.cite web | title=MobyGames: Frank Klepacki Rap Sheet | url=http://www.mobygames.com/developer/sheet/view/developerId,1950/ | work= [http://www.mobygames.com/ MobyGames] | accessdaymonth=28 August | accessyear=2006] Frank Klepacki was contacted to score ', but was too busy with Petroglyph to take the project, and declined to mention the offer.cite web | title=News | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki.com] | accessdaymonth=5 June | accessyear=2006] Klepacki's most recent composing project is the soundtrack for "" by Sega and Petroglyph, available [http://www.petroglyphgames.com/forums/index.php?showtopic=7587&hl= here.] His most recent solo CD is entitled "Awakening of Aggression".

Early life and career

Frank Klepacki was raised by a family of musicians of Polish descent who played on the Las Vegas strip.cite web | title=Interview with Frank Klepacki | date=2006-06-30 | author=Jarret Keene | url=http://www.944.com/lasvegas/more.php?article=2808 | work= [http://www.944.com/ 944 Magazine] | accessdaymonth=27 July | accessyear=2006dead link|date=August 2007] He drew art as a hobby, but music prevailed in his early interests.cite web | title=Interview with Frank Klepacki | date=2003-12-21 | author=Mattias Lundin | url=http://www.gamingeye.com/pc/strategi/cc/artiklar/artikel.eye?type=interview&id=2476 | work= [http://www.gamingeye.com/ Gamingeye.com] | accessdaymonth=28 July | accessyear=2006] He received his first drumset at age 8 and began performing professionally by age 11.cite web | title=Interview with Frank Klepacki | year=2001 | author=Earl Green | url=http://www.thelogbook.com/music/i_frank.htm | work= [http://www.thelogbook.com/ The Logbook] | accessdaymonth=28 July | accessyear=2006Dead link|date=October 2008] Among his early influences were electronica bands and Heavy Metal groups, including Depeche Mode, Afrika Bambaataa, AC/DC, and Iron Maiden.cite web | title=COMMENTARY: What is a Morphscape? | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki.com] | accessdaymonth=28 July | accessyear=2006] Seeking to master guitar, bass, and keyboards, he formed local bands and created a demo tape of original material by age 17. His impetus for diversifying his instrumental abilities was "not being able to communicate with other band members on ideas...for original songs."cite web | title=The Frank Klepacki Interview | date=2007-04-02 | author=Banxy | url=http://www.twistedoutlook.com/frankklepackiinterview.php | work= [http://www.twistedoutlook.com/ Twisted Outlook] | accessdaymonth=22 April | accessyear=2007]

After learning to program BASIC on a Tandy 1000 and becoming interested in computer and video games, he applied for a job as a game tester at Westwood studios. He submitted his demo tape—described as "an acoustic guitar song with electric guitar leads and keyboard strings, and raining sound effects"—to the company's audio director.cite journal | last = Klepacki | first = Frank | title = Interview with Frank Klepacki | month=October | year=2007 | journal = Gameplay magazine | publisher = ITC Publishing] The growing company enlisted him as a composer for the NES port of "DragonStrike" and the computer game "Eye of the Beholder II". He later composed with MIDI sequencing for several other "Dungeons & Dragons" games.cite web | title=COMMENTARY: Behind the C&C Soundtrack | author=Frank Klepacki | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki.com] | accessdaymonth=27 July | accessyear=2006] In 1992, he helmed the audio of "Dune II", attempting to complement the music of the original "Dune".cite web | date=2006-09-17 | title=Good to the Last Note | author=Josh Horowitz | url=http://web.archive.org/web/20041106032042/www.avault.com/articles/getarticle.asp?name=lastnote&page=4 | work= [http://www.avault.com/ Adrenaline Vault] | accessdaymonth=27 July | accessyear=2006] He later noted that he pushed the sequencing program on his Amiga to the limit while scoring the game.cite web | date= 2006-03-21 | title=Gamers With Jobs Radio: Interview with Frank Klepacki | url=http://www.gamerswithjobs.com/taxonomy/term/318 | work= [http://www.gamerswithjobs.com/ Gamers with Jobs] | accessdaymonth=22 August | accessyear=2006] While working on "Disney's The Lion King" in 1994, he and the Westwood team were shown sketches of the unfinished feature film.cite web | title=Interview FAQ | author=Frank Klepacki | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki.com] | accessdaymonth=27 July | accessyear=2006] Film composer Hans Zimmer later praised Klepacki for reworking his scores.cite web | date=2006-01-22 | title=Interview with Star Wars: Empire At War Audio Director and composer Frank Klepacki | author=Music4Games staff | url=http://www.music4games.net/Features_Display.aspx?id=6 | work= [http://www.music4games.net/ Music4Games] | accessdaymonth=28 July | accessyear=2006] After finishing "The Legend of Kyrandia III", Frank Klepacki met with Westwood leaders to discuss the upcoming game "Command & Conquer"—the first in a series which would bring him wider fame and critical acclaim.

Command and Conquer series

In 1994, Frank Klepacki met with Westwood Studios developers to discuss the soundtrack of the company's next project—"Command & Conquer". To define the game's style, Klepacki listened to a number of bands, including Nine Inch Nails and Ministry. He combined various elements of this music and added his own touch to create a unique sound. With the company's recent shift to 22 kHz audio, Klepacki composed with an ASR-10 sampler, a Roland S760 sampler, a Roland JD 990 synth module, and an electric guitar. The first few songs he composed for "Command & Conquer" contained voice samples—including the notable pieces "Act on Instinct" and "No Mercy" (which featured wild declarations from "Bill & Ted's Bogus Journey"). The samples were later found to interfere with the game's spoken audio, and were replaced with versions lacking the voices, although the original versions (and several other unused pieces) can still be found on the DOS "C&C" and "Covert Operations" discs. Complete versions of the songs later appeared on the game's commercial soundtrack. He would continue to sample clips from film and other media throughout his career, using a quote from "The Brain from Planet Arous" in the "Yuri" song "Brainfreeze", for example. Klepacki next composed instrumental pieces for "Command & Conquer", drawing influences from orchestral, house, heavy metal, and hip hop music. For the credits, Klepacki wrote "Airstrike", featuring a hook later used in "" for the Global Defense Initiative. Conversely, the Brotherhood of Nod ending used the song "Destructible Times" written by Klepacki's local band, I AM. Developers requested the song because it "reflected the war aspect and bad-ass vibe of Nod's side." The "C&C" expansion pack "The Covert Operations" featured seven new ambient pieces, all of which were also included on the disc in high quality CD Audio format. Though the soundtrack was not released through retail, Westwood sold it by special order through its website and in game catalogues.Cite book | year=2000 | author=Westwood Studios | title=The Westwood Studios Catalog | publisher=Westwood Studios | language=English]

While working on "Covert Operations", Frank Klepacki composed "Hell March". Upon listening, director Brett Sperry insisted this song be used as the signature theme of "Command & Conquer: Red Alert." Originally intended for use with the Brotherhood of Nod, it features militaristic samples—including marching, industrial sounds, and a commander shouting what sounded like "We want war, wake up!"—but actually a German drill instructor shouting "Die Waffen – legt an!", roughly translated as "Ready weapons!". Klepacki initially scored "Red Alert" with sci-fi camp in mind, but early songs were shelved. He switched gears to write gritty pieces, prompting the "Red Alert" team to expand upon the style of "Command & Conquer".cite web | title=COMMENTARY: Behind the Red Alert Soundtrack | author=Frank Klepacki | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki.com] | accessdate=27 July | accessyear=2006] In preparing to compose, Klepacki acquired new sample libraries for unique and strange sounds. Particular creative moods would result in a few songs at a time. He first wrote heavy songs like "Workmen" and "Crush", then composed neutral, synthesizer-laden music, such as "Vector" and "Roll Out". Klepacki scored "Fogger" and "Mud", one of his personal favorites, before finishing with "Militant Force" and "Radio 2". He took breaks from working to make cameo appearances as a Soviet soldier killed by Joseph D. Kucan and an Allied commander in the cut scenes of "Red Alert". He previously appeared as a Nod soldier and the voice of the commando in "Command & Conquer" and would voice bit parts in future Westwood games.cite web | title=COMMENTARY: Frank's acting cameos | author=Frank Klepacki | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki.com] | accessdaymonth=28 July | accessyear=2006]

After completing "Red Alert", he took a short break to review his work. He concluded that some songs could be enhanced, but "Red Alert" had already gone gold, precluding new versions. These remixes later appeared on the unsuccessful "Command & Conquer: Sole Survivor". "Red Alert"'s soundtrack was voted best video game soundtrack of 1996 by "PC Gamer" and "Gameslice "magazines, defeating Trent Reznor's score for "Quake". Reviewers called it "fun to listen to" and "second to none."cite web | author=Vince Broady | date=1996-11-26 | title=Review of Red Alert | url=http://www.gamespot.com/pc/strategy/commandconquerredalert/review.html | work= [http://www.gamespot.com/ GameSpot] | accessdaymonth=23 August | accessyear=2006] cite web | date=2002-12-29 | title=Review of Red Alert | url=http://darkzero.co.uk/v4/games/review/12 | work= [http://wwww.darkzero.co.uk/ DarkZero] | accessdaymonth=23 August | accessyear=2006] As of 2005, "Red Alert" was listed in the "Guinness Book of World Records" for selling several million units, bringing Klepacki his widest audience.Cite book | year=2005 | editor=Claire Folkard | title=The Guinness Book of World Records | publisher=Bantam Books | language=English | id=0553588109 ] He wrote additional music for the game's expansion packs, "Counterstrike" and "Aftermath". He attributed the success of "Red Alert" to an infusion of modern styles not found in other games.cite web | title=Frank Klepacki Podcast | url=http://www.petroglyphgames.com/news/index.php?id=60&year=2006 | 'work= [http://www.petroglyphgames.com/ Petroglyph Games] | accessdaymonth=28 July | accessyear=2006] It has been confirmed Frank Klepacki will be working with EA Los Angeles with the soundtrack for "". [cite web |url=http://planetcnc.gamespy.com/fullstory.php?id=151801 |title=Red Alert 3's Music: Frank is In! |date=2008-06-19 |author=HeXetic |publisher=PlanetCnC |accessdate=2008-06-20 ]

Later Westwood games

In 1997, Frank Klepacki scored a "Blade Runner" adaptation and in 1998 composed for "Dune 2000". He attempted to update the music from "Dune II" into "this non-blip stuff." "Dune 2000" was panned by critics, though Klepacki's score was praised for adhering to the traditional "Dune" style.cite web | author=Ron Dulin | date=1997-12-03 | title=Review of Dune 2000 | url=http://www.gamespot.com/pc/adventure/bladerunner/review.html | work= [http://www.gamespot.com/ GameSpot] | accessdaymonth=23 August | accessyear=2006] He composed for ' with Jarrid Mendelson—with whom he would later collaborate on '. He began by writing "Stomp", an energetic rock piece intended to recreate the effect of "Hell March" for the new game.cite web | author=Frank Klepacki | date=2007-05-15 | title=COMMENTARY: Tiberian Sun | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ FrankKlepacki.com] | accessdaymonth=4 June | accessyear=2007] Coincidentally, one of the trailers for Command and Conquer 3 featured 'Stomp' as the soundtrack. Westwood instead wanted "Tiberian Sun" to feature darker, more moody music, and "Stomp" was shelved in favor of the current sound. Bereft of ideas due to the stark change in direction, Klepacki asked Mendelson to collaborate; he regards tracks they both worked on as the best. "Tiberian Sun" ultimately featured dark, ambient techno music and ambient space music suited to the game's post-apocalyptic and futuristic setting.cite web | title=Review of Command & Conquer: Tiberian Sun | author=The Logbook staff | url=http://www.thelogbook.com/music/command-and-conquer-tiberian-sun/ | work= [http://www.thelogbook.com/ The Logbook] | accessdaymonth=28 July | accessyear=2006Dead link|date=October 2008] Klepacki cited the piece "Mad Rap" as his favorite. An avid "Star Wars" fan, he enjoyed scoring cut scenes featuring James Earl Jones, the voice of Darth Vader. The scenes also allowed him to integrate the "Airstrike" and "No Mercy" themes into the game's score despite the aforementioned shift. With the expansion pack "Firestorm", he attempted to "set things right" by writing more upbeat songs and including "Stomp", which would also appear in "Command & Conquer: Renegade". He next scored "Lands of Lore III" and "". Klepacki defined "Red Alert 2"'s style with heavy metal guitar and fast-paced beats.cite web | title=Review of Command & Conquer: Red Alert 2 | author=The Logbook staff | url=http://www.thelogbook.com/pixel/command-conquer-red-alert/ | work= [http://www.thelogbook.com/ The Logbook] | accessdaymonth=28 July | accessyear=2006Dead link|date=October 2008] Klepacki scored the game with a Korg Tr-rack, Novation, and Roland 5080.cite web | year=2001 | title=Frank Klepacki Interview (Yuri's Revenge) | url=http://www.westwoodi.net/read.php?Articles/Frank_Klepacki_Interview | work= [http://www.westwoodi.net/ Westwood Infiltration] | accessdaymonth=28 August | accessyear=2006] "Red Alert 2" included a remix of "Hell March". The return to high-energy songs was owed in part to fan criticism of "Tiberian Sun".

Klepacki maintained the energetic style in "Red Alert 2"'s expansion pack "Yuri's Revenge". For '—the next entry in the series—Klepacki tried to update the style of the original "Command & Conquer" by making it "hipper and more elaborate." Several "Command & Conquer" mainstays appear as reworked versions, including "Target (Mechanical Man)", "Industrial", "Act on Instinct", and "No Mercy". The main theme's melody comes from "C&C 80's Mix", a piece composed for "Covert Operations" but scrapped before release.cite web | title=Music / Track List / Info | author=Frank Klepacki | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki.com] | accessdaymonth=28 July | accessyear=2006] Klepacki's last contribution to Westwood Studios was the music of "Earth & Beyond", comprising four albums of material.cite web | year=2002 | title=Interview with Frank Klepacki | url=http://www.music4games.net/n_earth&beyond.html | work= [http://www.music4games.net/ Music4Games] | archiveurl=http://web.archive.org/web/20030224064701/http://www.music4games.net/n_earth&beyond.html | archivedate=2003-02-04 | accessdaymonth=28 July | accessyear=2006] Acquired by Electronic Arts in 1998, Westwood was liquidated in 2002 and the remaining employees were relocated to EA Los Angeles.cite web | title=History for Westwood Studios | url=http://www.mobygames.com/company/westwood-studios-inc/history | work= [http://www.mobygames.com/ MobyGames] | accessdaymonth=28 July | accessyear=2006] Several Westwood founders left the company. Though Frank Klepacki offered to score ' and submitted a demo to EA, he was not contacted to compose. When asked in 2002 whether he'd continue scoring music after ten years in the business, he exclaimed, "ten down, next ten to go!" After Westwood's closure, he reflected on his past work at a dinner held by Joseph Kucan and other former employees.cite web | title=Frank and Joe at Dinner | author=Frank Klepacki | url=http://www.gamereplays.org/community/index.php?showtopic=96709 | work= [http://www.gamereplays.org/ Gamereplays.org] | accessdaymonth=8 June | accessyear=2007] However, Frank recently confirmed he'll compose some songs for Red Alert 3. Fans accepted that with great enthusiasm.

Petroglyph games

Klepacki took a brief hiatus to work on solo albums, then joined Petroglyph games as full-time audio director in 2004. He prepared by becoming versed in the job's requirements and demands. His first task was scoring "", Petroglyph's launch title; he also helped select voice actors.cite web | title=Some questions for everyone at Petroglyph | url=http://www.petroglyphgames.com/forums/index.php?showtopic=1012&hl=klepacki | work= [http://www.petroglyphgames.com/forums/ Petroglyph Forums] | accessdaymonth=2 January | accessyear=2007] A die-hard fan of the "Star Wars" franchise, Klepacki enjoyed complementing John Williams's style as he worked with sound effects used in the feature films. He worked closely with programmers to ensure perfect aural functionality. Though most the game's score is John Williams's work, Klepacki estimates that he contributed 20% original material. Apart from the main theme, he aimed to minimize his editing in order to retain the classic "Star Wars" sound. He chiefly composed for new areas of the "Star Wars" universe only found in "Empire at War". He calls his work on the game "the peak of my career," and felt he had spent his entire life grooming his abilities for that soundtrack. As a perk of composing, he visited Skywalker Ranch and Industrial Light and Magic, and took pride in having his name associated with an official "Star Wars" product.cite web | title=Fans share their Star Wars memories | author=Pioneer Press | date=2007-05-23 | url=http://www.twincities.com/searchresults/ci_5959685?nclick_check=1 | work= [http://www.twincities.com/ Twin Cities] | accessdaymonth=4 June | accessyear=2007] cite web | title=The Readers Write: 'Star Wars' memories | date=2007-05-25 | url=http://www.post-gazette.com/pg/07133/785788-254.stm | work= [http://www.post-gazette.com/ Pittsburgh Post-Gazette] | accessdaymonth=4 June | accessyear=2007] For the "Forces of Corruption" expansion pack, he took greater creative liberty with the "Star Wars" feel by writing an original theme for the new criminal faction. In attempting to compose this piece, he wrote several preliminary hooks that were later integrated into the game's battle themes.cite web | title=Star Wars: Empire at War: Forces of Corruption Designer Diary #5 - The Sounds of Corruption | date=2006-10-17 | author=Frank Klepacki | url=http://www.gamespot.com/pc/strategy/starwarsempireatwarforces/news.html?sid=6159916 | work= [http://www.gamespot.com/ GameSpot] | accessdaymonth=2 January | accessyear=2007] He composed six pieces for the expansion total, including the finale theme. In line with the criminal theme of the game, Klepacki borrowed motifs and recreated the mood from scenes involving Jabba the Hutt in "Return of the Jedi".cite web | title=Star Wars: Empire at War - Forces of Corruption Interview with Audio Director and Composer Frank Klepacki | date=2006-12-05 | url=http://www.music4games.net/Features_Display.aspx?id=119 | work= [http://www.music4games.net/ Music4Games] | accessdaymonth=2 January | accessyear=2007] His score for the expansion pack was accepted upon first submission to Lucasarts. As Petroglyph's audio director, he also selected sound effects—a tricky process due to the issue of making the criminal faction's sounds a "little different, without straying too much from the original signature sounds." Klepacki worked with LucasArts to select voice actors, and contributed his own talents to the role of IG-88 and other minor characters. A blooper reel of his voice acting was released on Petroglyph's forums after the one-thousandth member registered.cite web | date=2006-12-15 | url=http://www.petroglyphgames.com/forums/index.php?showtopic=1511 | work= [http://www.peroglyphgames.com/ Petroglyph Games] | title=Frank's FOC Bloopers! | accessdaymonth=2 January | accessyear=2007 | ] Frank Klepacki was contacted to score "Command & Conquer 3", but was too busy with duties at Petroglyph and declined to mention the offer publicly.cite web | title=PCGP Episode 80: Four Score! | date=2007-04-26 | url=http://www.pcgamerpodcast.com/?p=128 | work= [http://www.pcgamerpodcast.com/ PCGamerPodcast.com] | accessdaymonth=5 May | accessyear=2007] Electronic Arts hired Steve Jablonsky to score the game;cite web | url=http://www.imdb.com/name/nm0413011/ | title=Steve Jablonsky, IMDB entry | accessdaymonth=19 December | accessyear=2006 | ] an EA community manager at "C&C 3"'s forums suggested that the audio team studied Klepacki's music and tried to recreate his style.cite web | date=2006-04-24 | title=Bring Frank Klepacki back for the music. | url=http://forums.ea.com/mboards/thread.jspa?sls=2&tstart=0&threadID=64939&start=15 | work= [http://forums.ea.com/ EA Forums] | accessdaymonth=28 July | accessyear=2006] Klepacki feels that "Command & Conquer" is a significant part of his life and that he would like to return to the "Tiberian" era. He conceded that employment at Petroglyph games would probably prevent him from working with Electronic Arts.

Klepacki's next project was a game collaboration by SEGA and Petroglyph named "". As of December 2006, he had composed several songs for various factions and enjoyed the "opportunity to create something new again, not based on...existing intellectual property.cite web | date=2006-12-06 | title=Frank's Music for P-02 | url=http://www.petroglyphgames.com/forums/index.php?showtopic=1385 | work= [http://www.petroglyphgames.com/ Petroglyph Games] | accessdaymonth=2 January | accessyear=2007] cite web | date=2007-11-02 | title=Universe at War: Earth Assault Designer Diary #5 - Alien Sound and Music Design | url=http://www.gamespot.com/pc/strategy/universeatwarearthassault/news.html?sid=6182220 | work= [http://www.gamespot.com/ Gamespot.com] | accessdate=15 November | accessyear=2007] Klepacki "began by taking into account what songs were identified as fan favorites in...past related work". He was interviewed about the creative process on March 27, 2007 by Kevin Yu, a Petroglyph community manager, and provided a detailed tour of his studio at the company.cite web | author=Kevin Yu, Frank Klepacki = date=2007-03-27 | url=http://www.petroglyphgames.com/news/index.php?id=149&year=2007 | title=VIDEO PODCAST: THE KING IS BACK TO PREVIEW THE MUSIC IN UAW! | work= [http://www.petroglyphgames.com/ Petroglyph Games] | accessdaymonth=22 April | accessyear=2007 | ] His office included one of the fastest computers at Petroglyph and a vocal booth where unit responses and other vocalizations were tested and tweaked before voice actors performed finishing work. Klepacki was glad that Universe of War did not demand strict obedience to a particular style. He declared that surprises were in store for "Command & Conquer" fans waiting for him to return to his "roots" and "adrenaline-pumping soundtrack style", and suggested that they "imagine my mindset...when Command & Conquer first came out, and add about fifteen years experience to that." Klepacki summarized the game's main styles shortly before release:

As audio director, Klepacki also created many sound effects for "Universe at War". For the alien Hierarchy, he cultivated an "unnatural" aesthetic through an "arsenal of mangled noises". Klepacki used a "combination of heavy cranes recorded with overdriven impacts" to give the faction's walkers a "menacing machinelike breathing sound", and made up his own language to record "various grunts, growls, mannerisms, and strange vocalizations. Since Hierarchy heroes needed to communicate to the player in English, Klepacki engineered dialogue to seem as if the aliens were "telepathically speaking to you, with a back-masking effect on their voices...as if the words are being channeled straight to your brain". The Novus effects were usually phased and involved "mechanical movement, electricity, and metal sounds". He invented yet another language for two characters Viktor and Mirabel, who occasionally speak to one another. Lastly, he drew on weather and other natural sounds for the Masari, describing their ambience as having "more weight, thunder, heavy bass rumblings, vortex gusts..." Klepacki directed the voice-acting to have a "noble and strong" feel without appearing typically medieval or overly dramatic.

olo and band work

Frank Klepacki has played in and produced albums for several Las Vegas bands. I AM's "There's a Home" is his first full-length CD appearance. The band featured Greg Greer on vocals, Rod Arnett on bass, Dan Ryan on guitar, and Frank Klepacki on drums.cite web | title=I AM | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki] | accessdaymonth=25 August | accessyear=2006] Formed from the rhythm section of local band "Shatterbone", I AM released one album in 1995 and broke up.cite web | title=I AM | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki] | accessdaymonth=28 July | accessyear=2006] Described as alternative progressive rock, the band's music drew influences from Tool and Soundgarden. The song "Destructible Times" was used for the Brotherhood of Nod ending in the original "Command & Conquer". After the break-up, Klepacki joined Home Cookin', a ten member ensemble which played funk and soul in the tradition of Tower of Power.cite web | title=Home Cookin': Pink in the Middle | date=1999-12-23 | author=Jeff Inman | url=http://www.lasvegasweekly.com/departments/12_23_99/cd_home_cooking.html | work=http://www.lvlife.com/ Las Vegas Life] | accessdaymonth=28 August | accessyear=2006dead link|url=http://www.lasvegasweekly.com/departments/12_23_99/cd_home_cooking.html|date=August 2007] Founded in 1989, Home Cookin' commercially debuted with "Mmm, Mmm, Mmm," in 1997 (which featured a number one hit) and released a second album ("Pink in the Middle") in 2000 before disbanding following a tour in California.cite web | title=Sound Feedback: R.I.P. | date=2000-11-30 | author=Jeff Inman | url=http://www.lasvegasweekly.com/departments/11_30_00/sound_feedback.html | work=http://www.lvlife.com/ Las Vegas Life] | accessdaymonth=28 August | accessyear=2006dead link|date=August 2007] Towards the end of its run, the band played at Quark's Bar in and at the Boston Grill and Bar.cite web | title=Show Review: Funk, Soul Brethren | year=2000 | month=September | author=Molly Brown | url=http://www.lasvegasweekly.com/noise/09_00/showreview.html | work=http://www.lvlife.com/ Las Vegas Life] | accessdaymonth=28 August | accessyear=2006dead link|url=http://www.lasvegasweekly.com/noise/09_00/showreview.html|date=August 2007] The group sometimes opened shows with a four member funk act named "Junkfood".cite web | title=Pink Funk | date=1999-12-09 | author=Jeff Inman | url=http://www.lvlife.com/2000/03/702/story01.html | work=http://www.lvlife.com/ Las Vegas Life] | accessdaymonth=28 August | accessyear=2006Dead link|date=October 2008] Home Cookin' was popular by readers of Las Vegas Weekly, winning several awards over its history—including "Best Horns" in a band.cite web | title=Top of the Pops | date=2000-06-08 | url=http://www.lasvegasweekly.com/features/pop_top_of_the_pops.html | work=http://www.lvlife.com/ Las Vegas Life] | accessdaymonth=28 August | accessyear=2006dead link|url=http://www.lasvegasweekly.com/features/pop_top_of_the_pops.html|date=August 2007] Klepacki boasted that turnout for the band at clubs was usually above four hundred people.cite web | date=2000-06-22 | author=Frank Klepacki | title=Letters to the Editor: Reality Check | url=http://www.lasvegasweekly.com/opinion/readerspeak_06_22_00.html | work= [http://www.lasvegasweekly.com/ Las Vegas Weekly] | accessdaymonth=28 August | accessyear=2006dead link|url=http://www.lasvegasweekly.com/opinion/readerspeak_06_22_00.html|date=August 2007] In 2003, he formed "The Bitters", a trio composed of Klepacki, bassist Vinny Moncada, and guitarist Jeff Murphy. With a style described as metal and jazz fusion, the group has released one album as of August 2006. Klepacki is also member to the group "Mo Friction", supported by former Home Cookin' members. Their debut album will mark Klepacki's first outing as a band's lead vocalist.cite web | title=Mo Friction | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki] | accessdaymonth=28 July | accessyear=2006]

Frank Klepacki's solo work debuted in 2002 with "Morphscape". Production began in 1996 with the song "Cybertek", though an album was not planned at this time. The rest of "Morphscape"'s songs were composed after "Red Alert 2". Klepacki composed the album's title track while working on "Command & Conquer: Renegade", and feels the game's style is visibly present in "Morphscape". Klepacki released the final product after Westwood's dissolution. His biggest inspiration in creating solo works is the legion of fans interested in "Command & Conquer".cite web | author=Jay Semerad | year=2002 | title=Interview with Frank Klepacki | url=http://www.music4games.net/f_frankklepacki_morphscape.html | work= [http://www.music4games.net/ Music4Games] | archiveurl=http://web.archive.org/web/20031227123848/http://www.music4games.net/f_frankklepacki_morphscape.html | archivedate=2003-12-27 | accessdaymonth=28 July | accessyear=2006] Klepacki took a hiatus from composing video game music to write two other solo albums, the first of which is entitled "Rocktronic". Released in 2004, the album was described as dark, edgy, and heavy in a way that will appeal to "Command & Conquer" fans.cite web | title=Personal Projects | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki] | accessdaymonth=28 July | accessyear=2006] Klepacki sought out specific samples and instruments used in the Command & Conquer soundtrack for use in the release; the title "Rocktronic" was an attempt to name his style of music. Featuring live drumming in certain songs, the album is Klepacki's best-seller. Following "Rocktronic" was "Virtual Control", released in 2005. Klepacki complemented his usual style with experiments in hip hop on the album. Tracks from each release have been periodically used in "The Ultimate Fighter", along with certain custom themes written for the show.

On August 1, 2006, he revealed his next solo project would be named "Awakening of Aggression" and confirmed the music would be "heavy" and "hard-hitting." When interviewed, Klepacki said that he channeled stress into the heavy music of the new album. "Aggression" was released in October of the same year, and was made available on iTunes on December 7. He filled the liner notes of the album with the names of several supportive fans who had purchased his music. As of April 2007, he speculates that a new solo release will be ready by the end of the year. After establishing recognition on "Ultimate Fighter", Klepacki began scoring themes for HDNet's "Inside the MMA" and "HDNet Fights" in autumn 2007. Around this time, he made it to the district finals of the Guitar Center "drum-off" competition after winning two store challenges in Las Vegas but was eliminated.cite web | title=STORE WINNERS | date=2007-10-10 | url=http://www.gcdrumoff.com/blog/entry/21 | work= [http://www.gcdrumoff.com/ Guitar Center Drum-Off] | accessdate=15 November | accessyear=2007]

Work and beliefs

When composing for video games, Frank Klepacki spends a few days to compose and master one song on average.cite web | title=Interview with Frank Klepacki | url=http://www.imperium-ww.pl/articles.php?article_id=30 | work= [http://www.imperium-ww.pl/ Imperium Westwood] | accessdaymonth=28 August | accessyear=2006Dead link|date=October 2008] He feels writing music for games is somewhat difficult as only early software builds are available to play; he sometimes must compose songs based on vague descriptions. Composing for cut scenes is easier by comparison. Nonetheless, he prefers to compose for a game throughout its development rather than write songs for a finished product. He feels that game music has been harder to compose than film or solo music as he must compose for all situations a player may discover or engineer. Klepacki maintains templates with a base of common instruments prepared for sudden bursts of inspiration, as he resents "having technical issues...as an obstacle." When asked how the composing process begins, Klepacki related:

Klepacki has said that the most rewarding part of composing video game music is working with a team—which he compares to chemistry between band members—and knowing he is part of a greater cause. He believes that game music could improve if artists focused on quality and derived inspiration from playing games. He has expressed interest in having Electronic Arts sell his soundtracks in retail stores, preferably next to video games in electronic departments.cite web | title=Video Game Soundtrack Report 1.0 | url=http://www.music4games.net/f_soundtracks_report_1.html | work= [http://www.music4games.net/ Music4Games] | archiveurl=http://web.archive.org/web/20021107110623/http://www.music4games.net/f_soundtracks_report_1.html | archivedate=2002-11-07 | accessdaymonth=28 July | accessyear=2006] He advises those wishing to get in the video game business to attend conventions and investigate developer companies. Klepacki is happy to see older games offered on the Wii, hoping that gamers are "recognizing once again that simple, short fun experiences are just as good as...long, huge-production experiences."

Klepacki runs a personal [http://www.frankklepacki.com/ website] featuring a biography, archived interviews, and a playlist of songs streamed in 128 kbit/s mp3. His music is also available from iTunes. As a "Star Wars" fan, he has extensively written about the film premieres of the last two prequels on his website.cite web | title=COMMENTARY: Frank at "Star Wars" Celebration 2 | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki] | accessdaymonth=28 July | accessyear=2006] He maintains an account at YouTube and has posted three videos of his work with other bands.cite web | year=2006 | title=Youtube: Flyrecords1 | url=http://www.youtube.com/profile?user=flyrecords1 | accessdaymonth=2 January | accessyear=2007] He is an ardent supporter of digital cinema, believing the medium to be the pinnacle of quality.cite web | title=COMMENTARY: Digital Cinema | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki.com] | accessdaymonth=28 July | accessyear=2006] He has scored two short films, and won a CineVegas award for his work with "Unreel Invasion".cite web | title=Frank Klepacki: About Me | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki.com] | accessdaymonth=27 July | accessyear=2006] Klepacki believes that the genre of video game music is more respected than it has ever been. He notes that complex and quality music comes at a higher cost, prompting certain producers to simply "get somebody who could cop the Hollywood sound" instead of nurturing original style. When asked about his career low-point, he named "Order of the Griffon" for the TurboGrafx-16, citing difficulties with the system's limited musical capabilities. Concerning his solo career and Westwood, Klepacki regrets "not having attended more of the fun company functions and parties while I was instead playing club gigs with bands with the mentality of trying to get signed or discovered." When asked to reflect on his career, he replied:

Klepacki is not seeking a record deal, citing a "horrible chain of steps to getting famous." Scathingly critical of the recording industry, he blames MTV—described as a "teenagereality show channel"—for putting a pretty face on music and destroying the independent valuation of actual sound.cite web | title=COMMENTARY: Record Deals | url=http://www.frankklepacki.com/ | work= [http://www.frankklepacki.com/ frankklepacki] | accessdaymonth=28 July | accessyear=2006] Klepacki has declared pop music as having become the "largest farce in music history—soul-less, mechanical, and only made for the sole purpose of making the fastest dollar possible, with more emphasis on imagery than the music." He's also criticized lip-synching and the repackaging of music genre through different labels—such as Nu metal for rock music and Neo soul for soul music. He believes that signing a deal does not guarantee profits, and would rather keep his day job as audio director. These sentiments were echoed in a special feature on the band Home Cookin' in 2000—Klepacki said the group wanted to "work with a label, not for them."cite web | title=Sonic Garden: Home Cookin' | url=http://www.sonicgarden.com/sonic-web/artist.cfm?artistid=4960 | work= [http://www.sonicgarden.com/ Sonic Garden] | accessdaymonth=25 August | accessyear=2006] Stating that he would not compromise his work for popularity, he believes that "the only artists that have any longevity are the ones that pioneer a movement—not follow one." He enjoys working independently, as he does not have to "change...music for the sake of pop radio." He champions the internet as a medium through which creative and original artists can be found. Klepacki believes it is the preferred avenue for music when compared to radio airplay—where one hears "the exact same songs 3 months at a time." When interviewed about file-sharing, he expressed mixed emotions. Holding that compact discs are "just too damn expensive", Klepacki believes that a few dollars' reduction in price would "deter people from downloading for free."cite journal | title = HIGH TECH: Easy Access | author=John Przybys | journal = Las Vegas Review-Journal | date =2000-10-12] Conversely, he notes that artists—who "don't get as much money as you think"—need to be compensated for their work. His favorite artists by decade, starting with the 1960s, are Sly and the Family Stone, Graham Central Station, Metallica, Home Cookin', and Bob Schneider.cite web | title=Where My Rockers At? | url=http://www.petroglyphgames.com/forums/index.php?showtopic=191&hl=klepacki&st=20 | work= [http://www.petroglyphgames.com/ Petroglyph Games] | accessdaymonth=2 January | accessyear=2007]

Audio clips

Full discography

; Video game music

* "DragonStrike" (Westwood Studios, 1991)
* "Eye of the Beholder II" (Westwood Studios, 1991)
* "Dune II" (Westwood Studios, 1992)
* "" (Westwood Studios, 1992)
* "Order of the Griffon" (Westwood Studios, 1992)
* "The Legend of Kyrandia" (Westwood Studios, 1992)
* "Lands of Lore" (Westwood Studios, 1993)
* "The Legend of Kyrandia II" (Westwood Studios, 1993)
* "Disney's The Lion King" (Westwood Studios, 1994)
* "The Legend of Kyrandia III" (Westwood Studios, 1994)
* "Young Merlin" (Westwood Studios, 1994)
* "Command & Conquer" (Westwood Studios, 1995)
* "Parker Brother's Monopoly" (Westwood Studios, 1995)
* "" (Westwood Studios, 1996)
* "" (Westwood Studios, 1996)
* "" (Westwood Studios, 1997)
* "" (Westwood Studios, 1997)
* "Lands of Lore 2" (Westwood Studios, 1997)
* "Blade Runner" (Westwood Studios, 1997)
* "" (Westwood Studios, 1998)
* "" (Westwood Studios, 1998)
* "Dune 2000" (Westwood Studios, 1998)
* "" (Westwood Studios, 1999)
* "Lands of Lore 3" (Westwood Studios, 1999)
* "" (Westwood Studios, 2000)
* "" (Westwood Studios, 2000)
* "Nox" (Westwood Studios, 2000)
* "" (Westwood Studios, 2001)
* "" (Westwood Studios, 2001)
* "" (Electronic Arts, 2001)
* "" (Westwood Studios, 2002)
* "Earth & Beyond" (Westwood Studios, 2002)
* "" (Petroglyph Games, 2006)
* "" (Petroglyph Games, 2006)
* "" (Petroglyph Games, 2007)
* "" (EA Los Angeles, 2008)

; Band, film, and solo music

* "There's a Home" (I AM, 1995)
* "Mmm, Mmm, Mmm," ("Home Cookin'", 1997)
* "Unreel Invasion" (short film, 1999)
* "Pink in the Middle" (Home Cookin', 2000)
* "Essence of the Force" (short film, 2002)
* "Morphscape" (2002)
* "Rocktronic" (2004)
* "Virtual Control" (2005)
* "The Bitters" (The Bitters, 2006)
* "Awakening of Aggression" (2006)

; Commercial music

* "MTV" (1997)
* "Cupid" ("abc", 2000)
* "Miller Genuine Draft" (2001)
* "Ultimate Fighting Championship Pay-per view" (Fox Sports, 2003–2006)
* "The Ultimate Fighter" (Spike TV, 2005–2006)
* "Ultimate Fight Night" (Spike TV, 2005–2006)
* "Amp'd Mobile" (Spike TV, 2005–2006)
* "Inside the MMA" (HDNet, 2007)
* "HDNet Fights" (HDNet, 2007)

ee also

*
*

References

External links

* [http://www.frankklepacki.com/ Official site] — features a jukebox with some of his songs from different games
* [http://www.theconnextion.com/index.cfm?ArtistID=72&NoFrame=Yes Klepacki's soundtracks]
* [http://www.myspace.com/frankklepacki Official MySpace profile]
* [http://www.ocremix.org/composer/id/11/frank-klepacki/ Composer profile] at OverClocked ReMix
* [http://www.petroglyphgames.com/podcast/Petro_Podcast_1a.mp3 Petroglyph Podcast: Interview with Frank Klepacki] Dead link|date=October 2008
* [http://www.thebittersband.com/ The Bitters website]
*moby developer |id=1950 |name=Frank Klepacki's profile
* [http://www.vgmrush.com/artist.php?id=8 Profile at VGM Rush]

Persondata
NAME = Klepacki, Frank
ALTERNATIVE NAMES =
SHORT DESCRIPTION = American musician, video game music composer and sound director
DATE OF BIRTH = May 25, 1974
PLACE OF BIRTH = Las Vegas, Nevada, United States
DATE OF DEATH =
PLACE OF DEATH =