Open, unhurried writing for travel and discovery — harmony that stays wide so the world feels bigger than the player, and a loop built to run for a long stretch without wearing thin.
Written for a WWI RPG during a battle sequence where the chaos gradually builds. The goal was to create immediate tension without starting at maximum intensity — giving the music somewhere to go as the fight escalates.
I wanted the track to feel like something is already going wrong from the first second. I started with a fast, glitch-like rhythmic texture because glitches feel inherently unstable — when something behaves incorrectly, we instinctively sense that something is wrong. From there, I combined distorted metal guitars with 808 style sub-bass and rap influenced drums, reflecting the developer's love of both metal and hip hop. The combination creates a sound that feels aggressive and contemporary while still fitting the chaos of a WWI trench battle — and leaves room for the intensity to keep building as the fight develops.
Written for a mystery/horror game as exploration music for a deep, dark cave. The brief called for something mysterious and dark, but still inviting enough that the player would want to keep exploring.
The challenge was finding a balance between darkness and curiosity. I built the foundation around darker synth pads and a minor key harmony, then contrasted them with brighter piano and mallet textures. The harmony keeps the underlying mood uneasy, while the brighter sounds create a sense of curiosity rather than pure fear. I also used detailed, water like percussion to suggest the cave environment — small sounds that make the space feel alive without turning into literal sound design. The result is music that keeps the player slightly unsettled, while still pulling them deeper into the cave.
Layered stems, synced transitions, seamless loops. Ready for FMOD or Wwise integration.
A cleaning simulation designed to feel satisfying and almost meditative, with an ASMR like gameplay loop. The goal for the music: stay active and fun without disrupting that calm feeling — like putting on some upbeat indie pop or jazz while cleaning at home.
A roguelike strategy game set in a vast world of alien races, exploration and survival. The music balances hope with a darker undertone, reflecting a world full of beauty and possibility, but also danger, fear and the constant struggle to keep your race alive.
A Sci-Fi exploration game about transporting cargo between planets. I approached the music like a radio for the road — except the road is space: something warm and engaging to accompany the player on long journeys through the galaxy while tapping the foot.
I can help shape your game's sound from the first musical idea to the finished game-ready audio - composition, production, interactive music and sound design.
Original themes - and the variations that carry a motif through exploration, combat and boss fights. A musical identity for the game, not just background tracks.
Arrangement, recording, sound selection, mixing and mastering. Everything arrives finished, at release quality.
Loops, stems, adaptive layers and transitions, authored to respond to gameplay.
Game sound effects, environmental textures, UI and other designed audio.
FMOD, Wwise and interactive music workflows - delivered organised and ready to integrate.
The commercial and academic track record behind the game work.
Jonas Skomantas is a composer, music producer and sound designer based in Lithuania. He is completing a Master's in Digital Music Technologies at the Lithuanian Academy of Music and Theatre (LMTA), with a background in electronic music composition. He works across game audio, commercial pop production and electronic music.
His commercial work includes three MAMA Award-winning albums and writing for artists such as Jessica Shy, Rokas Yan and Silvester Belt. In games, he builds musical identities - memorable themes, atmospheric cues and adaptive scores that move with the player. His experience as both a composer and producer allows him to take music from the initial idea to the finished recording, keeping the process fast, flexible and closely aligned with the developer's vision.
Let's make it sound like something. Tell me about the project - genre, scope, timeline, and where music sits in it — and I'll come back with how I'd approach the score and a demo.
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I wanted the track to feel unfamiliar without becoming completely alien. I started with recognizable instruments, then pushed them into less familiar territory. The guitar is still clearly a guitar, but I use sliding phrases, unusual articulation and heavy modulation to make its character feel unexpected. Synth textures reinforce those sounds while keeping the cue groovy and approachable. The result is a familiar musical language with something slightly “off” about it - fitting a strange Sci-Fi world without turning the exploration into something overly dark or dramatic.