We’re back with another roundup from independent game remix label GameChops. Over the past week they’ve released a slew of new remixes and mesmerizing music videos through their YouTube channel. From modern fan favorites Undertale and Overwatch to Sega’s niche nightopian, NiGHTS, there’s a bumpin’ remix for just about anyone inside.
Pixeljams Volume 2 comes to us just under four years after the original album and features many of the same artists from Pixeljam and their circle of friends. While Volume 1 was simply a collection of “new and used tracks”, Volume 2 has a more focused goal in mind. As Pixeljam co-founder and musician Miles Tillmann puts it, “we’re looking to express how games have influenced our sound aesthetic… music inspired by the technology behind game development, you could say.”
That translates into an album of bouncy electronic tunes and wafting soundscapes that echo retro consoles and PCs without simply sounding like typical chiptune. With a roster of seven artists (providing solo songs and collaborations) the 10-track album is diverse but maintains a few consistent sounds that work well throughout. Click inside to find out more about this array of new pixeljams.
Austin Wintory has done it again. That’s it, review over. That’s all you need to hear right? Well at this point when it comes to video games scores you know that Austin Wintory is going to provide an exceptional score. Abzu is 505 games next game following the critically acclaimed Journey, which Austin Wintory also scored.
I took time to listen to the soundtrack to Abzu and was swept away by it’s beautiful melody and reoccurring theme. So come read about my thoughts on the album and why thoughts of ballet sprung to my mind with this soundtrack.
Canadian Composer, Leonard J. Paul just put The Beep Movie Soundtrack up for pre-order on bandcamp. The full soundtrack releases on September 16, 2016, and here’s what he had to say about the creation of the Beep Movie Soundtrack:
Nearly two years in the making, this 100+ minute soundtrack is a true labour of love to support the “Beep” movie (BeepMovie.com) by Karen Collins. It is my first film soundtrack since the release of the soundtrack of the “The Corporation” by Mark Achbar, which has become the highest-grossing Canadian documentary to this date.
The “Beep” soundtrack is likely the first feature length procedural music film score in history and most of the songs are entirely produced using the open source visual scripting language Pure Data. Each song uses mathematics to both create the sounds of all the instruments as well as improvise on my musical patterns to generate a different performance each time the song is played. Many thanks to cellist Peggy Lee for her heartfelt improvisations on several songs on the album. If you enjoy the music, please consider supporting the album with a purchase and by letting your friends know about the album. Many thanks to those who have supported us already.
-Leonard J. Paul
You can listen to the first fews track through the link below. I for one am very impressed with the groovy third preview track “Half Steppin’ – Freaky DNA”.
You can pre-order The Beep Movie Soundtrack on bandcamp for $7.99 CAD, which is about $6 USD. All pre-orders include immediate access to the 5 preview tracks. If you need some more Canadian content in your life (and who doesn’t) Leonard J. Paul has you covered.
The Beep Movie (Beep: A Documentary History of Game sound) will be released digitally, on DVD and Blu-ray on September 30, 2016 and can find links to pre-order it and the soundtrack on it’s official site here.
Are you excited for Beep?
Last week we reported on the release of the soundtrack to Obduction a new game from Cyan Worlds, the creators of the original classic games Myst and Riven. Robyn Miller composed the music for Obduction and he graciously took the time to talk to Original Sound Version about composing the score.
In our interview Robyn Miller provides insight on how he became a part of the project, his approach to scoring the game, and his favorite tracks on the album. He also answers a question I’ve had for years about the Cyan introduction music. Read on for our extensive interview and listen to tracks from the score that formed part of our discussion.
The Obduction Original Soundtrack was released on August 24, 2016 along with the game. Robyn Miller co-created and wrote the music for both Myst and Riven: The Sequel to Myst, and this marks his return to composing music for a Cyan Worlds title. After E3 2016 the Obduction soundtrack made my list as one of my most anticipated soundtracks. You can listen to the 28 track album through the bandcamp link below.
At my first listen I can firmly say that Robyn Miller’s return to scoring for video games is a welcome one. The album cover is also an impressive work of art. You can also watch the official launch trailer for the game featuring Robyn Miller’s music.
You can purchase digital copy of the soundtrack on bandcamp for $7. You can also purchase the full game for $29.99 at the official Obduction page. Stay tuned to Original Sound Version for more on the Obduction soundtrack next week when we’ll share our interview with composer Robyn Miller.
Spotify has offered a selection of video game soundtracks practically since it launched in 2008. At times I’d see a Halo OST float by or the Grand Theft Auto albums pop up with their tracklists of licensed pop songs. I always appreciated that they were offering anything at all but it was never the place I ran to for game music. Over the last few years, though, the streaming service has begun catering more and more to the gaming crowd.
Just last Spring Sony replaced their Music Unlimited service on PlayStation 4 with an exclusive Spotify app that hooks into the console beautifully. Now Spotify has launched a dedicated place for gamers and game music fans with Spotify Gaming. Of course, the focus remains on curated playlists of pop, rock, rap and electronic music but several of them come from today’s tech and game bloggers. Writers from GamesBeat, Mashable, Polygon, GamesRadar and Engadget have submitted some of their top tracks for the new category. Other featured playlists aim to set the mood with absurd titles like “Epic Gaming”, “Mellowed Out Gaming” and “Ultimate Pop Gaming”… whatever those even mean.
I like that they pulled in games journalists to make playlists but let’s be honest: what we’re really here for are the original soundtracks. Over the years Spotify’s catalog has grown to offer around 100 albums but most importantly, they’re all in one place. The Gaming category is available on all platforms (mobile, desktop and console) so you can finally stop rooting through the World or Soundtrack sections hunting for game music.
The selection isn’t all encompassing by any means but it’s a respectable mix of modern, mobile and indie titles. The latest offerings include 65daysofstatic’s soundtrack to No Man’s Sky (which Ryan just reviewed) and Tomoki Miyoshi’s score to I am Setsuna. There are mobile hits like Sword & Sworcery and Monument Valley and indie titles including Bastion, Fez, The Banner Saga and more. There’s even a random Mega Man album but, oh, it’s only Volume 2 of the gargantuan 10-disc 25th Anniversary collection. At least it’s a start.
Do you stream music from Spotify (game music or not) and what do you think of this new dedicated category? Is it enough to entice you to subscribe? Let us know in the comments.
The music to No Man’s Sky: Music for an Infinite Universe has been something I’ve been excited for since it made my Top 10 Most Anticipated Soundtracks Post E3 2015. 65daysofstatic has been teasing us leading up to the release of their album by sharing tracks “Supermoon” and “Red Parallax” fairly early on.
They have also provided insight into how they created the soundtrack in an article on Kill Screen “The Making of the No Man’s Sky Soundtrack” where they talked about using a variety of techniques including isolation, fancy microphones, a grand piano, and lots of wine. The result in my opinion is an exceptional video game soundtrack that can be enjoyed in your own universe outside of the video game. Read on to hear my thoughts on the album, and my suggestions on how to listen to it.
Overlooker is a Gameboy Color inspired Survival Horror game created by Connor O.R.T. Linning in just under 22 days. He supplied OSV with a review copy of the soundtrack he created for the game which he describes as a top down 2D game combining elements from action and horror genres. His goal was to keep the game as minimal as possible and used it as the basis to learn about video game development. He also wrote the music for the game which I took the time to listen to this week.
The game is free to download and although I didn’t play it, I spent some time this week listening to the music. Read on to hear my thoughts on the soundtrack to Overlooker.
Hot on the heels of Lumines: Puzzle & Music is the return of another block-based rhythm puzzler, Chime Sharp. The original game launched on Xbox 360 and PC in 2010 and I’ve posted about this sequel’s development a few times over the past year. The game left Steam Early Access on July 19th and is out now with a 20% launch discount making it $11.99 through July 26th.
Just last month the team announced the artists whose songs would form the foundation of each stage’s music. Among them are several noteworthy chiptune and electronic artists like Chipzel, Magic Sword, Shirobon and Kavinsky. Are you planning on picking up Chime Sharp or daydreaming about the return of another favorite music/rhythm game? Let us know in the comments.
Everyones favorite reason to own a PlayStation Portable is coming back again. Lumines: Puzzle & Music is out now on iOS and Android in Japan and Australasia, bringing the classic tracks that made the game a hit as well as new music and visuals to a whole new generation. While the name may bring to mind the gameplay fusion of mobile titles like Puzzle & Dragons, Lumines is sticking to what it knows best: mesmerizing block dropping set to trippy tunes. Even series creator, Tetsuya Mizuguchi, is back on board to help develop this mobile iteration.
Very much like previous entries in the series, Puzzle & Music sees players rotating multicolored blocks and dropping them in place as a timeline sweeps across the screen and clears like colored pieces. As the beat pounds and pieces stack up it’s easy to fall into a zen-like rhythm as the game moves from track to track. The combination of music, visuals and rhythmic action are what made Lumines a classic and that legacy looks to live on with Puzzle & Music.
Six classic songs (spoiler: yes, “Shinin” is in here!) are joined by eight new tracks with more on the way. Japanese Indie Pop group Sekai no Owari will be joining the roster and there’s an exclusive collection of music from the Ultra Japan Electronic festival coming in September. September is also the month when Puzzle & Music is expected to hit the U.S. app stores for around $2.99. Check after the break for the game’s current track list and enjoy the brief glimpse above in the launch trailer.
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.