The synergetic marriage of video game and electronic music production is perhaps the inevitable logical conclusion of both forms of art considering their intractably entwined origins. Early glitch-ridden, repetitive hypnotic computer game visual and sounds in some way spoke forward to the shifting potential for music that enabled the dramatic expansion of electronic music as a genre, and, indeed both followed similar paths of evolution from these crude early days to their deification as art forms in their own right.

So when Melbourne composer Tim Shiel produced the original soundtrack for a new iPhone game, Duet, it surely was no surprise that the critical praise came streaming in. The game itself is a return to simplicity, a minimalist strategy game in which one must navigate falling obstacles by controlling two spheres in orbiting in unison. It’s well produced, and visually very appealing. But its Shiel’s dense, cinematic and mesmerizingly beautiful soundtrack that lifts the experience to something incredibly poignant.

It is even more fitting, then, that this wet dream of electronica be performed live with the Queensland Symphony Orchestra. Another fruitful marriage of two things just as different as they are similar. At the Edge the crowd and vibe is similarly composed. Some well-dressed, standing or seated at tables with wine in hand. Others super casual, draped incumbent on large red cushions. Some kids run about.

A paired back QSO are seated and tuning while the doors open, but Shiel remains absent. I’m excited – there’s something about the presence of live orchestra that lends a performance some immediacy and artistic legitimacy. Plus the tuning of instruments is almost a support act in itself. I’m feeling (projecting?) an air of curious anticipation brewing - how exactly will the meeting of the acoustic and the electronic be navigated? Will the orchestra be given autonomous space as a foil for the electronic noises, or they be heavily subdued and tamed by mastering, mere backing for Shiel?

Turns out it’s the perfect balance. Shiel brings us into the game with a steady beat attuned to a projection of a Duet game beginning before us. It’s sleek, moody and sexy. I don’t even realise how much I’m missing the orchestra until they edge in and lend and depth and seriousness, cementing the cinematic. It’s a stellar execution of a package experience where so often we are given something incomplete. My friend and I can’t resist sharing a glance and a softly whispered ‘yeaaahhh’.

There’s no hierarchy between QSO and Shiel, whose music is almost orchestral itself. Instead, Shiel master’s their output so there is no jarring difference in finish between their sounds and his electronically produced ones. The sound melds smoothly, and the beats drive forward steadily but reflectively. It feels really serious and important – I’m starting to get quite invested in the narrative projected before me, even though it’s left the actual game and leapt into exploration of the key visual themes. We’re cruising through this game world, dodging bars and spinning rhythmically with our coloured orbiting partner.

Occasionally, little odes to video game origins are peeping through. A stray glitch sound, some soothingly robotic female narration – these begin to increase with the music’s pace and the game’s difficulty. Intensity is building.

The sense of narrative is pretty strong all round. After a few minutes of this building intensity, we crash. Visually, aurally, we are immersed in our collision. A frozen graphic examination of the moment of impact is projected, and QSO here really comes to the fore with a mournful inquiry into our death with the soul only an orchestra can provide. Light synths twitter on top; incarnating the shattered bits of ball on screen.

We gradually pick up again, and build as before, only this time we continue further to an impressively loud and complex climax, seductive AI reinforcements coming thick. It all peaks, then drops out. ‘Duet’ emerges on screen, and we peter out to silence with the minimalistic game sounds with which we started.

I emerged a little dazed, I must admit. There’s something about electronic music that is always viscerally affecting, especially from a talent such as Shiel. Pair this with the power of a live orchestra and some damn fine graphics, and you’re a guaranteed success.

- Olivia Scott