If Luminist’s Metroid: Resynthesized has left you wanting more Nintendo music on analog synthesizers, let me point you to Switched on SNES. It’s the first in a series from producer Will Patterson that aims to bring gaming’s musical masterpieces to new listeners by way of analog synths and drum machines.
The style fits quite well for A Link to the Past, smoothing out the instrumentation of the SNES original without sounding like a near-unrecognizable remix. Unfortunately, and just like Resynthesized, the album is painfully short and runs for just under 15 minutes. In its defense, the album doesn’t promise to rearrange the entire soundtrack and the themes that Patterson has chosen fit his minimal and subdued style in unison. I just wish there could be more of it!
While he may never expand on A Link to the Past, Patterson does have plans to visit more SNES franchises. The album’s Bandcamp page mentions Secret of Mana, Earthbound and Donkey Kong Country as potential upcoming entries. Switched on SNES is available now for $5 on Bandcamp.
What SNES soundtrack would you love to hear given the analog synth treatment? Let us know in the comments below.
To say Ubisoft’s extreme sports title, Steep, had a compressed PR cycle is quite the understatement. The game was revealed to the world at E3 2016 and released just six months later amid the madness of the holiday shopping season. If you weren’t paying close attention you could easily have missed the original soundtrack behind the din of it’s licensed playlist that featured in the trailers.
The original soundtrack from European post-rock collective, Zikali, has been out there for a while on the major streaming services but Sumthing Else Music Works has announced they’re once again teaming up with Ubisoft for a physical release. Available from Sumthing Else for $10 digital and $15 on disc, the 19-track album features a surprisingly emotional score to what looks, at first glance, to be an Xtreme Sportz title that fell out of 2002.
“The musical artistic direction consists of the encounter between a post-rock formation (drums, bass, guitars, synths), to which is added an orchestral dimension (strings, brass) and a set of original instruments (hang drum, duduk) that define the sound identity of the project,” explains Zikali. “The energy of the rider is represented by a modern and electric sound associated with the action; And the orchestra characterizes the different places (summits, narrow corridor or wide spaces) by the variety of its modes of play, bringing a strong emotional dimension.”
As described, the music is full of subtle sound combinations from airy and atmospheric twinkles to explosions of heavily effected guitars driven by a pounding percussion. It’s been a pleasant, if not totally cohesive, surprise as I’ve listened throughout the day. If you were looking for more from last year’s soundtrack to No Man’s Sky’s there’s definitely some of that vibe among the first half of the playlist.
Escaping the horrors of Resident Evil by running to one of the impenetrable Save Rooms has always helped me cope with the survival horror gameplay. The songs that accompany these rooms aren’t upbeat by any means but they’ve always been some of my favorites, offering just a hint of hope in their despondent melodies.
Now artist Mono Memory has taken one of my favorites from Resident Evil 2 and given it an even more foreboding synthwave makeover. Dripping with sounds of faux 80’s synths, I’m suddenly realizing that a full rearrangement of the soundtrack is something I never knew I wanted.
That may never happen but Mono Memory has plenty of similarly synthy tracks to check out including “Outrun the World” which serves as a teaser for his debut album coming this Summer. He’s also given the Game of Thrones theme a similar overhaul on his YouTube channel and has some other tracks and EPs available on Bandcamp. And if this track has stirred your desire for more old game music done up in the style of their times, check out Metroid Resynthesized by Luminist.
You may have caught some links to Luminist’s analog synth remake of the original Metroid soundtrack in October when he began releasing single tracks. I was also going to share the work-in-progress but decided to wait for it to be completed, and now it is. Capping off the year is the full 12-track album which you can listen to (and watch) on Luminist’s YouTube playlist or download for $5 on Loudr.
“My initial interest behind doing this was thinking that if the technology were available back then to put hi-fi recordings into a videogame, they might have done it this way with Metroid,” Luminist told Kill Screen. “I’m just interested in bringing out more of the inherent alone-in-space factor that the original gave us with bleeps and bloops.”
The entire album is just over 15 minutes in length but it’s definitely worthy of playing on repeat. Luminist nailed it on adding to the “alone-in-space factor” with the despondent synths and thrumming bass. Take a listen above and let us know what you think of this fresh new (and old) sound in the comments.
With The Last Guardian (actually, really, finally) shipping this week I was able to redeem one of the Amazon pre-order bonuses ahead of time, a 4-song Mini Soundtrack. It serves as a preview of both the game’s orchestral score by composer Takeshi Furukawa and the ‘Last Guardian Composer’s Choice PS4 Music App’ that Sony announced in early November. Let’s take a look at the app and the music inside.
Small Radios Big Televisions is a surreal indie game that I discovered amongst the IGF entrants in 2015 and have been patiently waiting to hear and see more of ever since. At the time it was a simple web-based prototype but its striking visual style and trippy ambiance was already well established. After much silence the game has emerged again ahead of its November 8th release date on Steam and PlayStation 4 with a new trailer and a soundtrack pre-order.
Like an abstract point-and-click adventure, the game has you mousing around factories in an abandoned sky-world in search of analog cassette tapes. When played back in your TD-525 device they transport you to surreal virtual worlds where you soon discover new ways to manipulate and explore the spaces.
As you might expect the soundscapes that accompany this mish-mash of future tech and retro aesthetics is heavy on distortion and synthwave. There were already some great things to be heard in the prototype (still playable) but if the sample track, “Tundra”, above is any indication then the full score is much more nuanced. It has that airy, synth ambiance I loved in Fez and PONCHO and I can’t wait to hear the remaining 23 tracks on the album. You can pre-order the album now for $5 on Bandcamp. Full price on launch, and the price for the game itself, have yet to be announced.
This summer sees the worldwide digital release of Loose Canons 2.0, an epic soundtrack of original video game music and sounds performed on vintage 1970’s analog synthesizers.
The debut electronic music release by multi-instrumentalist/composer Steven Jaime Giacomelli, Loose Canons 2.0 is the official soundtrack to the the unrealized video game adaptation of the Loose Canons song suite, as composed and executed on Micromoog synthesizer and arranged into ten separate tableaux. In lieu of the imaginary video game representation, the listener is invited to use the music of Loose Canons 2.0 as a personal soundtrack to their favorite video game. In the event that no video game is available, the listener may perhaps use the enclosed music as an active listening pursuit, or alternately, as a soundtrack to real life.
Loose Canons 2.0 is an analog synthesizer and retro video game fan’s fantasy come to life, with monophonic Micromoog mandalas of vintage bleep bloops cascading through space and time like an 8-bit calliope of revolving sound. The album is the culmination of years of melodic electronic synthesizer experiments by multi-instrumentalist/composer Steven Jaime Giacomelli, whose dual abstract and hook-laden sensibilities were on display in multiple bands in the Gainesville FL underground scene in the early 2000’s. Chief among these was The Ohm, an instrumental four-piece with a varied m.o. of instant composition, epic noisepop psychfuzz and atmospheric environment enhancement.
A series of underground self-releases yielded new projects, new bands and new contexts, with Giacomelli stretching compositionally into classic American song forms, from doo-wop to metal to orchestral pop to country to surf rock to soul baroque pop to hip hop to americana to spoken word soundtrack to blues to ambient, all the while honing theoretical melodic approaches and atmosphere exploration that would ultimately express themselves after a chance re-discovery of the work of Californian minimalist composer Terry Riley and an embrace of a lifelong influence of Japanese video game music composer Koji Kondo.
Now making his home among analog synths in Silicon Valley, with Loose Canons 2.0 primed for placement, Giacomelli continues to work on his next opus.
Loose Canons 2.0 by Giacomelli is available now at iTunes, Tidal, Spotify, Amazon, Google Play, CD Baby, and all other major digital outlets.
When we last checked in with Chime Sharp it was racing towards its Kickstarter goal last July. Having been fully funded the game was launched on Steam Early Access in November and will see its final release on Steam by the end of this month. Today, publisher Chilled Mouse and Chime co-creator, Ste Curran, have announced the full list of artists whose music will be at the core of the game’s fifteen stages. The list looks to hit a good mix between electronic and acoustic styles with contributions from the following artists:
For those that don’t remember the 2010 original, the team sums it up perfectly as a “crossover between a music sequencer and Tetris”. Utilizing a sweeping time bar Chime hits that same hypnotic, rhythmic euphoria as the classic music puzzler Lumines as players slot pieces into formations to clear them from the screen in time with the music.
Chime Sharp offers new modes, new music and a sharp (whoops, didn’t see that coming) new visual presentation to bring its classic gameplay up to date.
Previously in the saga of Tim Wright’s Wipeout remix album, the original release date had slipped from late March into late April thanks to an intercontinental relocation for the composer and his family. Now that it’s mid-May and we still haven’t seen a release he’s issued another update detailing the woes of creating a physical product largely on his own.
“Doing these physical projects is a bit like giving birth I think. The reason mothers even consider having more than one child, given that it’s painful beyond belief, is because the human brain doesn’t actually remember pain that well, or so I read somewhere. In effect, the fun of having children outweighs the trauma and 9 months of feeling like you swallowed a beach ball.”
Yikes. The labor pains for Ch’illout” have been brought on by complications with the fulfillment company that’s pressing the 2-disc album and its accompanying mini-poster. A staff change has caused further delays on top of a renegotiated quote, increasing the cost as Wright puts it, “close to profitless”. He’s not increasing the price for those who pre-ordered the album but the situation has forced him to change his plans.
On the bright side, he’s taking the extra time to create even more tracks on top of the original fourteen and the whole album will be released digitally on Bandcamp ahead of schedule. Anyone who pre-ordered the physical album will also get a code to grab the digital version and there’ll be a period of exclusivity before it’s released to the general public.
Wright is clearly holding back some disdain for the fulfillment company in his email update which I won’t quote in full here. Suffice to say, he’s talking to other companies to see if they may be able to press and ship the album ahead of its new ETA in July. As a parting consolation he’s shared another sample from the album bringing us all 30 seconds closer to the eventual release.
The best kinds of April Fool’s gags are the ones that wind up becoming real things. The Mega Man tie and the Tauntaun sleeping bag spring to mind but this year’s gag-to-grab is VGM NXC 001. Released by GameChops, the 17-track album is the work of “international video game remixing super group” Party Members. The guilty parties behind the music include DJ Cutman, Ben Briggs, Mega Flare, Grimecraft, RoBKTA, DJ Mykah, Ralfington and many more.
Leading up to the release several of the artists renounced their chiptune and electronic heritage in favor of nightcore, the increasingly misinterpreted act of speeding up electronic tracks close to 200 beats per minute. However you feel about the sub-genre the album is worth a listen offering spastic remixes from Final Fantasy, Cave Story, Undertale, Animal Crossing, Katamari Damacy and more.
VGM NXC 001 is available on Bandcamp for whatever price you want to pay or you can listen on SoundCloud or check out the entire album in this hyper-bouncy YouTube video. Did you come across any other noteworthy April Fool’s game music or remixes over the weekend? Let us know in the comments below.
The name Ben Prunty may call to mind the foreboding outer space sounds of FTL but for his latest release Prunty has ditched ALL synthesizers to capture the rural 1965 setting of Dead Secret. Out now on Steam and available for the Oculus Rift and Samsung Gear VR (PlayStation VR coming soon), Dead Secret is — no surprise — a first-person virtual reality experience.
Though it can now be played on a 2D monitor thanks to the Steam release, the murder mystery is designed for VR. As the game begins you find yourself at the scene of a murder. With the sun quickly setting you explore the home and life of the victim to discover what happened but soon realize you may not be alone in this isolated house. The combination of the 1960’s setting, the lonely environment and the looming threat of madness and murder gives Prunty plenty of themes to explore with the soundtrack.
The title track, “Dead Secret” begins with a dusty and jazzy melody on guitar and piano that would work as the theme song for a Bogart era gumshoe detective. As the album unfolds things turn dark and ominous but avoid the typical shrill strings and pounding drums of many horror soundtracks. It reminds me a little of Carter Burwell’s score for Book of Shadows: Blair Witch 2, implementing organic sounds and non-traditional instruments.
“There are no synthesizers; even the things that sound like synthesizers are actually heavily modified samples,” says Prunty of the album. “There are lots of unusual sounds: light bulbs, a glass harmonica, wooden planks, and scraping metal, all to drive home the very analog feel of the […] setting.”
Thanks to the varied themes and atypical sounds Dead Secret is one of the more listenable horror game soundtracks I’ve heard in awhile. It’s a bit short with only ten tracks but if you’re in the mood for some spooky ambiance or cool detective accompaniment it’s worth checking out. The album is available now for $6 on Bandcamp and the game is currently on sale on Steam for 10% off its normal $14.99 price.
Just about two weeks after publishing his first update, Tim Wright is back with a second post on his downtempo Wipeout remix album, Ch’illout”. In his previous update Wright mentioned that an intercontinental move was in store for he and his family and that he’d soon be working remotely from Switzerland. Understandably, this upheaval had the potential to push the Ch’illout” release beyond its promised date of March 31st… and it looks like it has.
“That teeny-tiny issue of moving here has indeed impacted completion. I had to move a week before I thought I would, so that put a lot of pressure on sorting out my main day job so that I could fly out earlier. This has added maybe a week to the proceedings, but nothing too worry-some,” Wright states in his update email.
The advanced move wasn’t the only thing that’s gotten in the way of the album release. “The company I’m using to produce the whole thing have told me they can’t fit me in until mid-late April now, as they have a large production run in front of my proposed job.”
There’s no time to sit on his hands until the production run begins. Wright adds that the album is “almost completely mastered now” and that work continues “finishing off those last few mixes”. He finishes off the update stating that his best guess is that he’ll begin final shipping to buyers in the last week of April.