Who do we have to thank for Ch’illout”, the surprisingly chill remix album of original music from the Wipeout series? None other than Wipeout composer himself, Tim Wright (aka CoLD SToRAGE, Shadow of the Beast 2 & 3). As the story goes:
“I was driving home earlier in the year, and I started whistling a tune. It seemed very familiar, but I couldn’t quite place it. When I arrived at home, I happened to glance at my game collection and my eyes landed upon the Wipeout 2097 box. It was then that I realized the melody was from ‘Operatique’, one of my music tracks from the original WipEout game. However… I’d been whistling it at a much slower pace, and that’s when the idea of a chilled or ambient mix took hold.”
He continues, “As an experiment, I took that very song and broke it down into it’s component parts, to develop a more moody piece. I was really pleased with the results, and decided to put it to my fan base for a reaction… thankfully it got the thumbs up!”
The experiment has blossomed into Ch’illout”, a forthcoming 2-disc, 14-track album of slowed-down and chilled mixes of Wright’s contributions to Wipeout and Wipeout XL. Take a listen to a work-in-progress track in the video above and get a peek at Wright’s production setup. Aside from the music the £18.96 (approximately $30) album will also feature guest artwork from original Wipeout artists on the 6-panel CD packaging and double sided poster. Those who pre-order before December 28th will also have a chance to win one of three copies of Strix Memoria, Tim Wright’s rearrangements of his work on the Commodore Amiga presented on a Psygnosis-shaped flash drive.
The album is expected to be finalized by March 31st, 2016 at which point orders will begin shipping. Being a passion project by Wright and his colleagues there are a few details you’ll want to check out on the official site before you plunk down your money. But don’t wait much longer, you only have until December 28th to pre-order and secure a physical copy.
[Disclaimer: I immediately pre-ordered this album for myself as I was writing this post]
It’s always interesting to hear a composer go outside of their established genre of music. This sometimes happens in order for a composer to flex their creative muscles, while other times it can be the result of pursuing a passion project. Ben Prunty is probably best known for his sci-fi genre music. In particular his work on the soundtracks for FTL, Gravity Ghost, and Star Crawler. While he has produced a few albums that aren’t related to games, they still maintained a similar tone and style to his game soundtrack work. So when I heard that one of Prunty’s latest solo projects was an experimental horror album, I had to take a listen.
The album, titled Dark Window, is an eleven track album that aims to capture the spirit of horror movies, urban legends, and just good old-fashioned ghost stories. Each track has a title meant to suggest the scene that the music is accompanying. Since this is at its core a concept album, this review will be focus on how well the tracks hit the mark for evoking an unsettling horror experience. (more…)
Back in 2012, game designer Fernando Ramallo and composer David Kanaga created a game prototype that focused on altering 3D landscapes and having the music warp and change with the environment. What eventually resulted in this collaboration was an audio-visual experience called Panoramical. Over the past few years the game has been shown off at multiple events, festivals, and even a few museums. Next week the game will finally be receiving a commercial release.
The game will include fifteen unique environments, each with their own range of tones, aesthetics, and music elements. By manipulating various “dimensional controls” players will be able to alter the landscapes around them and the music along with it. Panoramical will be released digitally for Mac and PC on Steam, Humble, and itch.io on September 17th. You can check out more information about Panoramical on the official website.
Poking around Bandcamp new releases again (an exercise that could easily be a weekly feature) I stumbled upon the fantastic self-titled debut album from V-Jams. The six-member group out of Idaho aimed to rearrange some familiar video game tunes in styles that are completely different than the source material. As my initial listen to the album left me speechless I’d say it was an immense success.
Though the album’s tags wander across go-go, jazz fusion, neo-soul, R&B, bossa nova, hip hop and more it mostly feels like a unified style thanks to the amazing and consistent guitar and percussion performances. If I had to pick just one of those tags it’d be jazz fusion as the whole album has a smooth, cool, soulful feel despite the various influences.
Nothing encapsulates the group’s desire to get far, far away from the source material like this track. An arrangement of “I Sawed the Demons” from DOOM, the original track amped up the game’s insane movement speed and gory hellions with sawing guitars and spastic drum fills. V-Jams’ version is anything but hellacious but it’s still pretty intense. The drum work is incredible and though things are slowed down to fill nearly nine minutes the percussion is constantly juking, jabbing and driving as an ethereal guitar plucks out the familiar tune.
Around two minutes in a wailing funk guitar features and around the four-minute mark a heavily effected, almost synth sounding guitar joins for a bit. Things pick up again from here with more outstanding drum work, another funk guitar run and a soaring climax.
Remember when people would take pop songs and slow them down by 1000% to create mesmerizing soundscapes? Take the Killer Instinct theme and slow it down by only 300% and let V-Jams noodle on it and you get the slightest hint of how incredible this fifteen minute improvisational jazz track can be. The wailing electric guitar of the original is replaced here by a smooth, wandering saxophone that doesn’t even get to the most recognizable melody until two minutes in. It passes back and forth between a smoldering soul guitar and the two frequently duet. In the final minutes a grungy blues guitar and bass jump in and the sax keeps up on accompaniment.
There are other tracks that the group mentions were their favorites but I keep coming back to this epic and masterful piece. Man, this track doesn’t rock, it simmers. You soak in it and absorb it and now it’s part of you.
By far, the most unique track of the album. It’s essentially a smoky, bluesy arrangement of “Aquatic Ruin Zone” from Sonic the Hedgehog 2 with electric guitar riffs and solos that remind me more than a little of “Hotel California”. But during each breakdown the members rap and vamp (musically and conversationally) about the differences between Sonic and Mario, Dragon Ball, how music is like making a game, reality simulations and more. I don’t know if it was intentional but they also rap about the Aquatic Ruin Zone in the same way Knuckles rapped about his stages in Sonic Adventure 2 which is fantastic.
The rest of the album features similarly awesome arrangements from Link’s Awakening (“Ballad of a Winded Fish”), Ocarina of Time/Majora’s Mask (“Stormy Day in Clock Town”), Pokemon Silver & Gold (“National Pork”) and Metal Slug (“Living on the Deck”). All of the songs besides “National Pork” and the bonus track are available for free on the group’s Bandcamp page.
Disasterpeace has released the experimental soundtrack from Necrosoft’s Gunhouse which is a “part puzzle, part active tower defense” game available now on Windows Phone, PlayStation Mobile and Amazon platforms. The game and its music are as funky as you’d expect from the preceding combination of words. Don’t believe me? Here’s how Disasterpeace describes it:
This soundtrack is largely an experiment in using pre-made loops and samples. I wanted to see how far I could get using loops as the primary source of inspiration. It turns out it’s a great way to not only work quickly, but to flex creative muscle and do strange aesthetic things.
With credit given to Apple and Spectrasonics for their loop libraries, you’re sure to hear something familiar amidst the mechanical loops and repetitious sounds. I wasn’t into it at first but I came around rather quickly, especially once I heard the wonderful horns and wild percussion on both “Decent Spirits” and “The Other Kind of Fork”.
Having officially wrapped up their Kickstarter with 6.3 million dollars in funding, it is now assured that Shenmue 3 is going to happen. When and in what form it’s released will be closely watched and reported on over the next two years. But for today I’d like to take this time to celebrate the crowdfunding success, and the history of the series, with some great and peculiar tribute music.
We’re all familiar with the likes of Humble Bundle and the Game Music Bundle but there are a handful of other bundling sites out there. Groupees is especially noteworthy as it regularly bundles games, music, graphic novels and digital art collections. Sometimes it’s a game and its soundtrack, other times the collections are curated by a game’s creator or even left to you to pick and choose individual items.
Debuting this week is the Badass Banana Bundle curated by eccentric electronic musician, Remute. The bundle includes nine games, five albums and access to a livestream on July 13th where Remute will mix a bunch of his favorite 16-bit game music. Giving the bundle its name is You Are Not a Banana, a humorous, pixelart audiovisual experiment that includes its own chiptune soundtrack. Other highlights include Remute’s 2009 album Grand Slam, a collection of Frederic “Elmobo” Motte’s demoscene tracks from the late 80’s/early 90’s and his entire soundtrack to the Amiga game, Fury of the Furries.
You can get all of that for a minimum donation of only $2.00 but you can give as much as you’d like. The bundle is scheduled to end on July 15th.
The game prototypes created from Double Fine’s Amnesia Fortnight 2014 are now available on the Humble Bundle store. As with other bundles, this one also includes the soundtracks for the games. The games include Dear Leader, Mnemonic, Steed, and Little Pink Best Buds. These are not full or complete games, but prototypes that were created during this year’s Amnesia Fortnight.
For those of you not familiar with Amnesia Fortnight, it’s a two week long event held within Double Fine. The company selects a handful of game pitches from company employees. Once the projects are chosen, the employees who came up with each selected pitch is made the leader of a small team. These small teams spend the next two weeks building a prototype of the game idea. It’s a chance for employees to gain some experience designing and creating a game, and it allows them to see their own ideas being formed into an actual game.
This year’s Amnesia Fortnight included guest team lead Pendleton Ward, the man behind the TV show Adventure Time. The two week event was also recorded and broadcast as a documentary series by 2 Player Productions, that you can watch on Double Fine’s Youtube channel. It’s an interesting set of game prototypes and it’s also a great way to grab the soundtracks to these unique games. For those of you interested in trying out some interesting game experiments, this may be worth a look. The Amnesia Fortnight 2014 Bundle will be available for the next few weeks on the Humble Bundle store.
The sole (lyrical) vocal track from Module’s original album Imagineering (released last year, reviewed here), entitled “The Pieces Fit,” now has a music video. I am psyched out of my mind to watch it.
For those who don’t remember, Jeramiah “Module” Ross is the New Zealand-based musician who was also responsible for the hit soundtrack for the game Shatter. If you’ve never seen it, that soundtrack also has its own music video, for the song “Amethyst Caverns.”
Our “Other Release” category — a catch-all miscellaneous category for stuff that isn’t technically game music, but close enough that you all probably know about it — had some great nominees. There were plenty more than six albums to choose from. But we narrowed it to six, and now we’re going to give the bronze / silver / gold medals. Well, digital medals. Still pretty sweet, though (thanks Connary!).
So, in case you’ve forgotten our nominees for Best Other Release:
Black Ocean (IMERUAT)
Indie Game: the Movie (Jim Guthrie)
Make Music, Throw Music (SleepyTimeJesse, et al)
SOUNDSHOCK 2: FM FUNK TERRROR!! (Various Artists)
And the winners are… (more…)
Welcome, dear readers, to OSVOSTOTY 2012! This year is our craziest year yet. Every day this week, we will reveal the nominees for seven separate categories. The categories are:
Best Other Release
Best Re-Issue Soundtrack
Best Arrange Album
Best Sound Design
Best In-Game Soundtrack
Best Soundtrack (Overall)
Composer of the Year
After the first week is over, we will announce the winners for each category each day of the following week.
We’re starting with “Best Other Release.” This miscellaneous category covers any original music not written for a game. In this way, we’ve collapsed previous categories such as chiptunes or film soundtracks into this category alongside the usuals: original concept albums. Our nominees for “Other” after the jump!
The Terms & Conditions to Unconditional Love is the debut full-length album, and an intensely personal project, from Simon “Sitorimon” Smith.
I’ve known Smith, the blogger behind Higher Plain Music, for quite some time. We have similar tastes in music. We both love VGM, Celtic/World music, Tori Amos, Derek Webb and many others.
So when Smith told me he had his own album coming out, completely about and inspired by his former significant others, I was psyched.
I want to tell you what I think about this album. So join me after the jump for the Bandcamp embed and my thoughts on this 15-track vocal album from a fellow lover of … well … *good* music. (more…)