Since the release of DOOM in 2016, the fast-FPS deck has been completely reshuffled. But id Software’s hit was also somewhat dogmatic. Since then, most of the genre's offspring have simply mimicked it... especially when it comes to the music. It has to be dark, it has to be heavy; the guitars have to spew out distorted notes so long-haired guys can spin their manes like the cylinder of a six-shooter.
Don't Stop, Girlypop! is pretty much the total opposite. While keeping the essence of ultra-fast gameplay—where stopping means certain death—Funny Fintan’s game takes the time to apply a candy-pink coat of paint and polishes its Y2K aesthetic to the smallest detail... to the point of featuring a 100% hyperpop soundtrack.
It’s an incredibly refreshing approach in the world of shooters, which naturally made me want to sit down and ask a few questions to Sarah Wolfe, the Australian pop star tasked with writing this memorable OST.
Check out the latest podcast episode on February’s new VGM releases!
My interview with Sarah Wolfe
Hi Sarah, thank you so much for joining us. I’ve read a few interviews about you, and you have such an interesting and unique background! You were a music journalist, then a pop artist… Could you tell us how you transitioned into composing for video games?
Sarah Wolfe : Thank you for having me! I find myself unable to do just one thing so I’ve had many fun jobs in my career so far, but my greatest passions have always been music and video games. I was working at League of Geeks when they released Solium Infernum and was chatting to the incredible composer Michael Allen about possibly doing a collaboration song for the release. He was kind enough to let Xavier Dunn and I have a go at it - which is how Eternal Nights came about. From there I was absolutely hooked, and I’m so grateful to Jane from Funny Fintan Softworks for trusting me with Don’t Stop, Girlypop!
You previously worked on the soundtrack for a game our audience might recognize: Solium Infernum, released in 2024. That’s a massive shift in atmosphere compared to Don't Stop, Girlypop!, especially since you’re featured on almost every track this time around.
SW : Solium Infernum was my first go at writing anything for video games, and I definitely have Michael Allen’s incredible guidance to thank for Eternal Nights turning out so well. He let us play around with samples from the soundtrack he had created, and I was lucky to have access to all the game’s lore in order to write the lyrics. Don’t Stop, Girlypop! was absolutely a shift away in terms of tone, but I took a lot of Michael’s advice with me which helped tremendously when Xavier Dunn and I were working on the DSGP soundtrack.
Since the release of DOOM (2016), we’ve seen so many FPS games lean into metal or other extreme genres to drive the action. The fact that your game opted for hyperpop is incredibly refreshing. Can you tell us how the project first came about?
SW : It is all down to Jane’s incredible vision! She had been working on Don’t Stop, Girlypop! for a few years before we came on board so I can’t speak to the origins of the project, but the game is filled to the brim with her love and passion. Metal and hyperpop music have a lot in common, so while they are quite distinct sonically, they both lean into that high energy feel and the essence of experimentation which is what I think makes both of them so addictive to listen to!
What’s your personal relationship with video games, and with first-person shooters in particular?
SW : My family wasn’t big on video games, but I managed to sneak in a lot of Croc playing and a tonne of Mario Kart. Once I left home I was able to explore gaming a lot more, and was introduced to so many incredible games I hadn’t played growing up. The game that reignited my love for video games was Borderlands, so first-person shooters are often in my rotation! I wouldn’t say I’m particularly good at them though haha. Being able to work in studios really deepened my love and appreciation for the craft of making games, in particular indie games. Australia has such an abundance of incredibly talented people making ridiculously good games, so my preference when playing now is usually whatever amazing Aussie game just came out!
How would you define "girlypop"?
SW : Girlypop is undefinable, for if one ever looks too closely at the essence of girlypop their retinas are burnt away by love and joy and passion (and they are all the better for it).
The Don't Stop, Girlypop! soundtrack was composed by you, Xavier Dunn, and Candice Susnjar. I’m curious to know how you divided the workload between the three of you.
SW : Candice was originally working on the soundtrack, and she wrote four incredible bangers before she had to stop to work on other projects. Xavier Dunn and I took over after that, so sadly we never got to work with Candice, but we have become good friends since and we are all kicking ourselves for not working together sooner!
If someone listened to the OST without knowing anything about the project, they might think it’s just a contemporary pop album. I love this genre-blending, which we’re seeing more often in Asian games that invite K-pop groups to compose tracks for special events. Did you have any specific influences or models in mind when you started working on the game?
SW : Jane sent over a playlist for inspiration, and luckily it included a lot of the music that I already loved! I’m a pop girly at heart! The influences of the game included artists like Kim Petras, Charli XCX, Slayyyter, Britney Spears, Doja Cat, all the incredible girlypops.
I imagine you probably can’t say much at this stage… but I absolutely need an album like this on vinyl. Any news you can share regarding a physical release?
SW : Ugh omg me too. Imagine it as a glittery pink vinyl! That would be the dream.
This is my signature question: what’s your favorite track from the Don't Stop, Girlypop! OST, and why? Any fun behind-the-scenes details to share about it?
SW : Oh definitely Cupid of Death! Xav and I started learning archery last year, and I had begun writing a bunch of archery related puns and wordplay that I thought would one day be fun to use in a song. When Jane gave us the Cupid of Death concept, it was like it was meant to be! That was probably the fastest track we did, I think we wrote it in around 2 hours. There is just something so bubbly and cute about that track, it was so much fun to write.
Personally, I’m in love with "Kill 'em With Kindness"—but I’m biased as soon as there’s breakbeat involved. It’s actually the most aggressive track on the soundtrack! Can you tell us a bit about how that one was made?
SW : Kill 'em With Kindness was also one that came to us super fast! I often start my songwriting by writing lyrics first, and Xavier and I knew we wanted a lot of interesting sound effects in this one, so I crafted the words to really let the production shine.
Speaking of behind-the-scenes… can you explain "Stop Stop, Girlypop!"? I would have loved to see the look on my face when I heard it for the first time.
SW : The Don’t Stop, Girlypop! theme song was the last song written for the soundtrack, and then Jane came to us with the idea for a remixed version that the villain would sing and we couldn’t not do it! Xavier and I flipped the lyrics into their ‘evil’ versions and tried singing it ourselves with different voice effects, but we couldn’t emulate the iconic energy that Gianni brought to the character, so Jane, Xavier, Gianni and I ended up hopping on a call to pitch him the idea of singing it, and he was keen! I’m so glad he wanted to be involved with that track, he absolutely smashed it.
Let’s wrap things up with some recommendations! What have you been listening to on repeat lately? And more specifically, what are your "girlypop" essentials?
SW : Ooo great question, and this list could go forever so I will try and keep it short! I’ve been listening to a lot of Cobrah, Magdalena Bay, No Doubt, 3%, JADE, Rosalia, and Zara Larsson! I think I’m also getting into a Dido and Enya phase, two original girlypops for sure.
