Mick Gordon is an audio nutcase.
Known for his unbridled enthusiasm and tiresome work ethic, Mick has been enjoying the wonderful world of video game sound for most of his adult life with his musical noises attracting companies such as Electronic Arts, THQ, Marvel Studios, Warner Bros, Paramount Pictures, Nickelodeon and Sony Entertainment.
An incredibly diverse composer, Mick treats music and sound design the same – “music is just sound design with rules”. It is this direction that gives him the ability to create distinctive textures and memorable themes that not only compliment and enhance the numerous projects that he’s worked on but are also recognized and praised by the people who enjoy them.
His father, an avid Guitarist, Luther and music-lover, gave the young Mick Gordon the desire to pick up a Guitar at the age of 12. Soon after he was playing five gigs a weekend, teaching and writing music whilst still in high school.
Mick scored his first published game, Hotdog King, at the age of 17 and while the rest of the development got drunk at the release party Mick sipped orange juice. Shortly afterwards Mick became an in-house audio designer at Pandemic Studios and spent a great deal of time with Death Rays and Anal Probes whilst working on Destroy All Humans! 2: Make War Not Love. Mick soon felt the world of freelancing calling and after leaving Pandemic the person who owned the vending machine in the studio had to sell his third house in the south of France.
Mick spent the next few years scoring various video game projects and in 2009 he was commissioned by Museum Victoria to be the Audio Director for a large traveling exhibition called A Day in Pompeii which featured over 250 rare artifacts arranged in an interactive space. This work was awarded “Best Audio – Other” at the 2009 G.A.N.G. awards. A day later Mick won the 2009 GDC Composer Challenge and received an awesome looking boxing-title belt as a trophy. Sweet.
“I have one word about Mick: “awesome”. From the first minute I got introduced to Mick’s work and work-methods I was amazed. Every single time I hire him he’s delivered great work, and he often, if not always surpasses the “high paid big boys”. He’s also a supreme human being. Kind, personable, easy to work with…. I can’t recommend Mick enough, and as long as he lets me, I will continue to hire him.” – Charles Deenen, Sr Creative Director (Audio) at Electronic Arts Blackbox
Shortly afterwards Mick began writing music for the Need for Speed franchise with his aggressive and detailed musical style appearing in Need for Speed: Shift, Need for Speed: World and Shift 2: Unleashed. Mick also started flexing his cartoony muscles while scoring games for Nickelodeon, Marvel and THQ such as Nicktoons: Attack of the Toybots, El Tigre and the Marvel Super Hero Squad series. Mick also scored the video game adaptation of M Night Shyamalan’s The Last Airbender and the accompanying score, released for free, has been downloaded over 140,000 times to date.
Mick has also given talks twice at GDC, once at the World Computer Congress and several times at various Universities and Colleges.
Forever on his quest to find new and creative ideas, Mick often partakes in various mental and physical challenges and experiments. When not making sounds, well, when not being paid to make sounds…because I guess people are always making some sort of sound…but when not working Mick loves to spend his time Rock Climbing, Scuba Diving, or running the bush as a Rifleman in the Australian Army Reserve.
“Mick wrote and produced the music score for The Last Airbender (Wii) video game. With only very limited reference material we were able to provide, he delivered excellent music that was exciting, dynamic and made a massive contribution to the game. I look forward to working with Mick again some day!” – Matt Connolly, Audio Director at THQ Studio Oz