Mason Lieberman

NEW CREDIT (kind of) GET (approximately) 😂 It's not quite new (I did this a while ago), and it's not quite a credit (at least not one of my usual ones), but for those of you preparing to skip work for the next few days to binge Hades 2 like the rest of us in the games industry...

I neither wrote nor produced their stuff; I just happen to be a guy who knows a LOT of people, so I got to help Darren Korb in making things happen. Something similar happened in Hades, where I had the joy of connecting Masahiro Aoki and Daisuke Kurosawa for the epic boss fight with Hades himself.

NEW CREDIT (kind of) GET (approximately) 😂 It's not quite new (I did this a while ago), and it's not quite a credit (at least not one of my usual ones), but for those of you preparing to skip work for the next few days to binge Hades 2 like the rest of us in the games industry...

I helped to facilitate and secure a couple of huge artist collabs on the soundtrack; listen closely for artist features from Louis Cole (of Knower) and Pau Figueroa (legendary Flamenco guitarist), amongst a couple of other special moments!

Now that it's out... I had the incredible honor of playing the cello and upright bass on the new album from @rebeccasugar.bsky.social, the animation legend and creator of Steven Universe. I've been a fan of them for ages, so this was SO hard to sit on 😅

The songs are gorgeous. They're evocative, adventurous, stylistically diverse, and a constant reminder of all the things that made me fall in love with Sugar's work as a song-writer in the first place. All credit for this gig goes to the amazing @jeffthatnoise.bsky.social, who produced the album!

I am SO psyched to reveal that I have joined the top-notch team at Interleave as their new Senior Composer, Music & Audio Director. Interleave’s an OUTSTANDING music and audio team whose current projects include Bioshock 4, The Outer Worlds 2, and a ton of other exciting AAA titles.

Having now joined the world of external development… Well, if you’ve ever wanted the chance to work together on making your game sound even more amazing, let’s do it! For the first time in years, I’m actually available for those sorts of things 😅

I am SO psyched to reveal that I have joined the top-notch team at Interleave as their new Senior Composer, Music & Audio Director. Interleave’s an OUTSTANDING music and audio team whose current projects include Bioshock 4, The Outer Worlds 2, and a ton of other exciting AAA titles.

THE ROAD GOES ON... It's the end of an era, folks. After about six years of service, growth, and a ton of fun making some of the most popular games in the world, I'm thrilled to say I'm moving on to new challenges and departing from Tencent.

I'm tremendously grateful to my entire team (both current and those no longer at the company over the years) for everything we experienced together. It has been a ride!

Scoring DC Metal Force has been such a blast, but few sequences were quite as much fun as Episode 4's moment of Luthor Supremacy, where a red sun threatens to let him take out Superman forever. To provide appropriate menace, I scored Lex with what is probably DC's first Djent theme!

This was so much fun that it inspired a special end credits variant, where I brought @jessezuretti.bsky.social aboard to produce a special argent metal version inspired by the Doom franchise. Needless to say, Jesse NAILED it, and we had a ball.

NEW CREDIT! This has honestly been one of the hardest things to keep under wraps: DC Metal Force, a new Justice League animated miniseries, launched today on DC Kids and I had the absolute joy of writing music for it.

This is the first time I've gotten to be the lead composer on a western cartoon series, and the fact that it's for the Justice League, of all things, is just such a huge moment for me as an omega-level comic book nerd.

As composers, we’re lucky; our ability to float into and out of projects as freelancers and external devs means that statistically, we tend to work on a lot more projects than many other types of creatives. It is a privilege and a luxury.

I guess I just want to say that any time you see me talking about something I worked on— know that it was the honor of a lifetime and something I put an incredible amount of care and thought into. You rarely see the days of work; just the final results. I always struggle to reach that end.

As composers, we’re lucky; our ability to float into and out of projects as freelancers and external devs means that statistically, we tend to work on a lot more projects than many other types of creatives. It is a privilege and a luxury.

I will never stop being grateful for the chance to play in the sandbox of gods and monsters. To create things that are larger than life. To, hopefully, inspire a young musician to follow their dreams.

As composers, we’re lucky; our ability to float into and out of projects as freelancers and external devs means that statistically, we tend to work on a lot more projects than many other types of creatives. It is a privilege and a luxury.

This is a heavy responsibility, and one that requires serious care. People love the things they love, and few things can evoke emotionality and joy as much as music.

As composers, we’re lucky; our ability to float into and out of projects as freelancers and external devs means that statistically, we tend to work on a lot more projects than many other types of creatives. It is a privilege and a luxury.