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
Unreleased
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 and Borderlands. Drawing upon his heavy electronic music roots in Berlin and Hollywood, Sascha's original scores feature epic synth sound-
sound-scapes, raw electronic beats and musical sound design mixed with live orchestra. 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 teamed up with symphonic composer Cris Velasco (God of War) to create a new hybrid of cinematic orchestra with electronica/musical sound design which has garnered industry acclaim for its versatility and pushing the boundaries of music in games.
The duo have collaborated on numerous titles including: Mass Effect 3, 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 this expertise for merging orchestra with electronics their original score for BioWare/EA's upcoming sci-fi masterpiece Mass Effect 3 is inspired
bythe retro-futurist sounds of Tangerine Dream and Vangelis: "We 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." In addition to creating multi-faceted soundtracks, Sascha produces electronic music under the pseudonym "Toksin"–blending industrial, breakbeat and drum 'n' bass. He is also a multimedia entrepreneur and producer combining his passion for technology, music and fashion. In 2010 he co-founded mobile development firm TWARP INDUSTRIES with creative art director Steve Gerdes (Virgin Records, Warners) and will release TWEAK WARP™ in 2012, its flagship application for the iPhone, an innovative audio remixing app, combining the fun of a handheld toy with a sophisticated audio manipulation tool.
Sascha currently resides in Los Angeles and is represented by Four Bars Intertainment.
Steinberg
Scoring Tron: Evolution with Cubase
"Just thinking about being a part of the TRON franchise made me somehow feel like a kid in a candy store."
Examiner
Space Marine Soundtrack review
"the entirety of the album slowly proves to be a philharmonic masterpiece."
IGN Music
Sonic Mayhem Feature
"Sascha Dikiciyan and Cris Velasco are quickly proving to be two of the busiest and most in-demand composers on the videogame front."
Game Informer
Mass Effect 3's Soundtrack
"Video game industry veteran, known for composing the score for TRON: Evolution...."
Representation: Bob Rice (Four Bars Intertainment)
Email : bobrice@fourbarsintertainment.com
Tel: (707) 929-3611
Contact Sascha Directly:
Email: sascha@sonicmayhem.com
Social Media:
