Mazedude’s Star Spangled Chips EP Available on Bandcamp


You may recall a previous post that about Chris “Mazedude” Getman‘s astonishing bonus EP Star-Spangled Chips last year. You may also recall that Mazedude’s EP was only available to those who who pre-ordered his upcoming album which honors two discs worth of timeless American composers and arrangements from popular titles such as Bioshock, Dante’s Inferno, Super Meat Boy, Civilization IV, Diablo, and much more.

Although American Pixels is not slated to come out until later this year, Mazedude has just released the more-than-outstanding Star Spangled Chips EP on his Bandcamp page. This is probably a winning choice for those who want to preview Mr. Getman’s incredibly enterprising talents as both a musician and composer. We cannot stress enough how stoked we are for the future Mazedude release — preview Star Spangled Chips here if you dare.

OverClocked ReMix releases Super Dodgeball ReMix Album

Today OverClocked ReMix released their 28th arrangement album: Around the World. Around the World is a tribute to the 1987 Super Dodgeball soundtrack by Kazuo Sawa. Project directors Kyle Crouse (KyleJCrb) and Alan Bish (Murmeli Walan) help offer up one of OverClocked ReMix’s most diverse remix projects to date, it offers a melting pot of genres and styles from rock to rap; from ethnic to techno.

Check out Super Dodgeball: Around the World at http://atw.ocremix.org/.

Dj Mokram Presents Secret Bonus Point

Yeah, yeah. We know that we’ve been dropping the ball lately. Blame it on delicious, tasty beer and the Ico/SOTC Collection drop (it’s great!). But that doesn’t mean we don’t care about the arrangement community! We just received word that ThaSauce alum Dj Mokram, has recently released a free album:

Dj Mokram, in association with Nitro Game Injection (http://kngi.org), is proud to announce the release of Dynamite Headdy: Secret Bonus Point.

Secret Bonus Point is a tribute album to Dynamite Headdy, a sidescroller-platforming/shooting game developed by Treasure Co. Ltd. and published by SEGA for the Genesis/Mega Drive in 1994. Featuring 26 arrangements in a variety of styles by 14 artists, SBP pays homage to the soundtrack composed by Nazo² Unit (Katsuhiko Suzuki, Norio Hanzawa, Aki Hata, Koji Yamada and Yasuko). The album is divided into 4 chapters, reenacting the story of Headdy and his friends, fighting for their beliefs against the evil Dark Demon King, in order to save the Puppet Kingdom from its oppressive ruler.

Secret Bonus Point was born as a response to this remix request. You can learn more about it and download the album for free at: http://dhsbp.kngi.org.

With a quick listen and garnered feedback, we have a sneaking suspicion that Secret Bonus Point is pretty epic. Peep the trailer above or head over here for more information on Dj Mokram’s fantastic project. Give it a try if you daaaaare.

Jimmy “BGC” Hinson & Jake “virt” Kaufman Double Album Release

Yesterday community Powerhouses Jake “virt” Kaufman & Jimmy “BGC” Hinson both released albums of epic proportions.

 

Imposter Nostalgia by Jimmy “BigGiantCircles” Hinson

Jimmy, a staple of OverClocked ReMix, but most recently known for his work on the Mass Effect 2 soundtrack,  has released his long awaited original album “Imposter Nostalgia” which, at the time of writing this, is the #1 album on Bandcamp. The music is retro, 8-bit, indie inspired and includes other video game music community artists like zircon (OverClocked ReMix, Return All Robots), Alexander Brandon (Deus Ex, Unreal Tournament), and C418 (Minecraft). The base price of the album is set at $3.99 and it’s well worth every penny of it.

 

Bloodrayne: Betrayal Original Soundtrack by Jake “virt” Kaufman



Next up is Jake “virt” Kaufman with the original soundtrack to Bloodrayne: Betrayal. If you like Castlevania style music with a lot of guitar shred, this album is for you. Additionally the album also includes an entire 8-bit version as well!

A proud, exhausted (per usual) sounding, Jake explains the story of how it came to be:

“During development, the programmers were using Nightwish tracks and Castlevania: Symphony of the Night tracks as temp music. So, I said to them, “I can do better than that.. just kidding, I can’t actually, but I’ll do my best!” and cried softly to myself. After 3 months of writing, shredding, recording and mixing, I had finished our soundtrack. The guys in New Jersey (the publishers) said “Whoa, this is the real music from the game?” and we said “Yeah.” and they said “YEAHHH!!” and did jump-kicks.

Then, I came up with the completely idiotic idea to include an unlockable NES soundtrack, to replace the regular one. The director, Sean Velasco, yelled “DO IT!!” before I was even finished pitching the idea. The programmers said “that would kick ass!” and promptly forgot about it until the end of the project, whereupon they said “Sorry, no time left!” (there actually was no time left, they were already living at the office 24/7 and surviving on a diet of Moon Pies).

So I begged and pleaded and used my Jewish guilt powers; eventually the lead programmer said “Oh, all right” like that time Dad finally let you get a Cowboys-and-Indians BB gun. They wrote the functionality to enable “8 Fingers, 8 Bits” mode, as I frantically tried to learn FamiTracker and cover each song note-for-note. I imagine most working composers would just have run MIDI files through a “chiptune-o-matic” converter like GXSCC, rather than creating machine-code-compatible, authentic VRC6 versions. But most working composers probably don’t have a death wish, and actually value their time.

This album is dedicated to Pablo Bert, a.k.a. DJ Mike Haggar — a truly amazing human being who, among other heroic feats, helped my wife avoid failing Calculus last semester. He was also in the Guinness Book of Records for his world-record Battletoads speedrun.

The NES portion (available in FTM source format for your amusement) is further dedicated tojsr, the creator of FamiTracker, who has worked very hard to make one the finest chiptune hobbyist tools in history.” — Jake Kaufman.

The Bloodrayne: Betrayal soundtrack, as well as it’s 8-bit counter part, have their base price set at an astonishing $0.

I thoroughly recommend that everyone go out and at least give the 2 albums a listen. If you’re not dropping at least $20 after listening to both of these, I suggest you make a doctor’s appointment to gear your ears checked immediately. This has truly been an early Christmas for any VGM enthusiast.

Imposter Nostalgia by Jimmy “BigGiantCircles” Hinson: http://biggiantcircles.bandcamp.com/album/impostor-nostalgia

Bloodrayne: Betrayal Original Soundtrack by Jake “virt” Kaufman: http://virt.bandcamp.com/album/bloodrayne-betrayal-official-soundtrack

Wardriver Presents Meteocrity Vol. 1 by Meteo Xavier

I got the chance to chat with Meteo Xavier about his recent release Meteocrity Vol. 1. The album is a follow-up to his 2010 album Espers and is a collection of original material primarily composed on commission for video game developers. Meteo has made various connections with the arrangement community over the years, having been posted on OverClocked ReMix on more than one occasion and calling upon members to assist in the mastering of Meteocrity.

Among the things that inspired Meteo to put the album together, he noted that “I just got really sick of [the tracks] being on my hard drive purely unused after they failed to be published via the programmers and gaming leads that originally had hired me.” One of his intentions was to create a music portfolio for future video game commissions using the unreleased compositions. He also specified that, “I wasn’t in any position to do another major project like my previous album. My hope was to show I could do more than experimental-sounding, heavily layered atmospheric pieces.” He considers game composers as influences in his own video game music. “Like every pretentious kid with FL Studio and a bunch of free soundfonts, I studied them in hopes of eclipsing them in the grand delusion that is my foray into music. I would have to say I took to Motoi Sakuraba and Hiroki Kikuta the best. Their music was the easiest for me to learn and digest. My rather repetitious forms come from Kikuta and my tendency to completely change up my tracks and have them go on forever came from Sakuraba.”

Elaborating on the “strict commissioner demands” mentioned in the Meteocrity Vol. 1 release notes, Mateo had a lot to say: “Much of my early days trying to earn EXP as a composer were spent being far too naive and earnest for my own good. Granted I wasn’t very good years before, but I genuinely believed I could rise to the task of being a not-for-pay Mitsuda and Uematsu. I had no idea what I was getting into – a sentence that basically is my music career in a nutshell. Spending hours making changes, waiting weeks to hear responses, and then after much severe burnout finding out the tracks won’t work or the game is cancelled basically means ‘strict commissioner demands’ is the utmost generous term I can have for the freaks I used to work for.” Recently he has discovered more pleasant employer, stating “Mark Udit is my first paying employer and was good to work with. I’m currently working on a soundtrack for a Tower Defense game by Mike Bosetti for Android that I should be finishing up on.”

Meteo has expressed that his technique for composing video game scores and for creating standalone music are both the same. “I sometimes go in with a specific idea of what I want to do, but the music will not let me control it; it does what it wants to and my job as composer is basically to clean it up. Sometimes it starts with experimenting with sounds and structures and just playing around, and a lot of my music starts out as just practice or something I made that I kinda liked and saved to develop into something later.” He went into further detail on his process for creating a game soundtrack: “If I go in straight to do a new game track from scratch, I typically try to start with drums and bass to get a groove and some energy going first. I listen to it and see if I can build something off of it, then I go in for chords and rewrite the bass to accommodate the chords. I usually only do for about 4-8 bars and then add the accompaniment frills – arpeggiations, motifs, stabs, what have you – fill it up as much as I want, then I write a melody on top of it and use that for a start.”

Daniel “Usa” Lippert and Jordan “bLiNd” Aguirre were involved in the mastering of Meteocrity Vol. 1. Meteo described how this process came about: “When it came to do mastering for the album, the guy who was previously set up to help me basically screwed me and Usa offered to do it at a severely reduced price. bLiNd also mastered five tracks for me originally for a game I worked on in November 2010 and did a sweet job. I was extremely fortunate for their help and generosity. Daniel and Jordan are two of the nicest guys in all of Christendom and I will bludgeon anyone who says otherwise.”

Meteo explained his decision to release Meteocrity Vol. 1 on the Wardriver label. “I’m friends with my brothers’ old bandmate of whom I approached with the idea to do a free video game album for and he liked it. But at the time telling me he’d master it and put it on there, he was also putting off his commitment to me to go on tour twice and basically leave me in the lurch. I looked for other netlabels and there is a surprising dearth of them for just original video game material and someone finally said Wardriver. I quite liked the idea of working with them to get this album through and, I hope, help get even more traffic and attention their way. ThaSauce treats me with respect as an artist and I cannot let that favor (because that’s what it is these days) go unrewarded.”

Meteocrity Vol. 1 is available for free alongside other artist releases on Wardriver. Meteo expressed gratitude regarding the response to the album. “I want to thank everyone who has posted anything anywhere promoting, endorsing and enjoying this album. Plus those who helped me bring it to life in the first place.”

Triple Review Number Two: Amphibious, Nario, and Joshua Morse

Time for another triple review everybody! In this edition, three phenomenal albums will be reviewed; two original, one remix. What are they, you ask? Well, I’m glad you inquired as to this. They are Amphibious’s Oceans EP, Nario’s More of Me, and for those who thought I’d forgotten it, Joshua Morse’s Robot Museum. See, I didn’t go straight from The Missingno Tracks to The Sound of Speed! Anyways, all three shall be reviewed in this one article, by me, Mirby, your one-stop shop for multi-reviews! You can’t find them anywhere other than ThaSauce! And my website… but still. It’s an exclusivity thing, you see? And now, to the reviews!

AMPHIBIOUS – OCEANS

1. Plunge     2:59
This starts off very aqueous, and some percussion comes in at about 0:10. Melody at 0:27. More percussion at 0:37. Keys at 0:47 or so. I’m sensing a pattern here. I feel like I really am plunging here, like I had my Wailord use Dive or something. Another instrumentation at 1:44 or so. The end is near with a reprisal of an earlier part at 2:30.

2. Pelagic Fortress     3:00
I’ll be honest, I’m not sure what pelagic means, but it’s probably something good. Starts off rather ambient, then kicks in at 0:24. Nice melody at about 0:56 or so. Great whistle-thing at 1:18. Breakdown at 1:40 or so. It starts to come back at 1:47. The usage of echoes really gives this album an oceanic vibe; fitting for the title, and the artist’s name. It starts to fade out at the 2:30 mark, very gradually.

3. The Azure Deeps     5:18
Did we enter a deep sea trench here with lava bubbling up from the asthenosphere? I don’t know, but it sure starts off mystical. I’m suddenly reminded of the Serpent Trench from Final Fantasy VI, but just because what I said and not the music. It’s very very ambient until 0:45 when a melody comes in. Very atmospheric. 1:30 brings in some bass, breaking up the ambient background for about 14 seconds. More keys at 1:55 or so. This reminds me of Dave Wise’s infamous “Aquatic Ambience” from the original Donkey Kong Country, both in its vibe and general watery feel. Especially at 2:30. This could very well be a tribute to that track, and that’s a very good thing. It keeps building and building… it feels just like exploring an unknown sector of the sea floor, which is very possible since we know very little about our own oceans. I hope they’re as awesome and mystical as this; I’m loving this vibe. Nice chillout music. 4:15 or so brings in more keys and a reprisal of the original melody back at the 45 second mark. From here it slowly fades until the end.

4. Resurfaced     4:41
Unlike the previous tracks, this one starts off almost immediately with a melody. 0:20 brings in an awesome rhythm. This one… gives a vibe, a vision of ascending back to the surface, to the sunlight and fresh air. 1:05 has nice synth usage. 1:23 may very well be the moment of breaking the surface, what with the sound effect used there. It’s very very calm and mellow until 2:01 when it starts to build up triumphantly. 2:25 brings in a rhythm that just adds to the victorious theme. It’s like a credits theme; once again, my mind returns to the Donkey Kong Country soundtrack, but this time it’s Donkey Kong Rescued from DKC2 And it’s only reminiscent of them because of the triumphant feel present in the track, the general HELL YEAH I DID IT vibe present. 3:53 keeps this feel going. The end begins at 4:27. Fantabulous work, Amphibious!!

NARIO – MORE OF ME

1. gNARly     3:18
Cyril told me recently that this song is the result of a Double’s Dash Compo between him and Nario; sounds good. Nice and chiptacular. And not gnarly in any way, shape, or form. It’s rather groovy. 0:52 brings in a change-up in speed. I feel like I’m running around in a pixelated wonderland. Especially at 1:37 when the hasty rhythm returns. Breakdown at 1:58 or so. Back to the rhythm, but with a key change, at 2:37. Another keychange at the three minute mark, to the end.

2. This Pain Is Too Much to Bear (And Screw You, Too)     3:30
I like the name, it makes me laugh. It’s like THIS TITLE IS KIND OF EMO AND SCREW YOU FOR MENTIONING IT. Nice usage of panning at 0:30. Another hasty rhythm follows shortly after. Nice work here, Nario! You know, it’s nice to talk about Nario without there having to be a dance pad mentioned somewhere. Slow part at 1:25 or so, that builds, and the panning is still in effect. Pause at 1:58, with what could be the pause screen melody right after. 2:21 shows signs of life in the track as it starts to build back up piece by piece. And another piece at 2:33, and then back to full force at 2:43 with a chipsolo. 3:05 brings the rhythm back once more, and keeps on building on that until the end.

3. Drive-In Dance Club     3:35
Ooh, a drive-in dance club! Wonder if they have dance pads here… oh wait. Anyways, aside from the jest, this has a groovy rhythm right off the bat. 1:04 shows a possible change-up, and it keeps on taking this path until 1:36 with a slight breakdown. It’s something different, that’s what’s important. 1:52 has a chipsolo. 2:07 adds a melody in the background to the chipsolo rhythm. 2:23 adds another layer to that melody. Slight switch-up at 2:53 or so, signaling the impending end. This impending end begins at 3:25.

4. Chips of the Penguin     2:30
I didn’t know penguins liked chiptunes. Regardless, this does have a slightly frosty vibe to it. Switch-up at 0:49, and back to the norm at 1:10. Nario is great with his chiptunes, that’s for sure. This sounds just like something I’d hear in a classic game from yesteryear. Or Game Center CX aka Retro Game Challenge… which amounts to the same thing, really. The end starts at 2:27.

5. Chilled Pop Cherry Soda (8-Bit Mix)     2:24
It says 8-bit Mix, not one sound mix. But another sound gets added in quickly, and 0:20 puts one more in, and 0:30 puts one more in. 0:47 shows off some melodius meanderings. 1:32 returns to the normal melody after a brief chipsolo. This continues until the end. Nice track there.

6. Ghostbusters Have Sex With Schala at a Strip Club     3:42
This could be one of the strangest song titles I’ve ever reviewed. Isn’t Schala like… underage? I mean sure it was 12,000 BC but still! Starts off simple, but slowly builds until 0:42 when we have chipdrums. 0:52 gives us some melody. Nice layering at 1:20 or so. Breakdown at 1:48 or so. More layering at 2:02. It’s building and building and building… very nice work with the atmosphere, Nario. Random speed change at 2:42. It’s almost like a completely different song! It stops at 2:56 or so, and picks back up at about 3:08. The end is near at 3:25, when the finale begins.

7. Hands in the Air (feat. cyrilthewolf)     3:19
Ah, Cyril. Let’s see what you contribute to the chippiness that is Nario. Starts off simple, but some vocals come in at 0:30. Nice work, Cyril, beautiful! And the chiptunes work perfectly. Chorus at 1:02 or so; it all comes together beautifully. More chorus at 1:48. Also, I’m putting my hands in the air sooo… Bridge at 2:18. Also, isn’t putting your arms up in the sky what every party member in the first six Final Fantasy games did after every battle? Great work! That was wonderful!!

JOSHUA MORSE – THE ROBOT MUSEUM

1. Thunder Beam (Mega Man – Elec Man Stage)     4:10
This track always was pretty chill… But JM makes it sound like elevator music. And I mean that in a good way. Snapping is mandatory for this track, I’m telling you. A slight breakdown at 0:58. More source at 1:28 or so. Another brief solo at about 2:08. Breakdown at 2:33 or so. The end is near at 3:54.

2. Air Shooter (Mega Man 2 – Air Man Stage)     4:20
Oh, Air Man. Contrary to popular belief, you can in fact be beaten. Ooh, nice bass at 0:14; sounds like more standard JM funk is the theme for this track. The bass really bumps in this track, something I’m really enjoying. Guitar at 1:04 taking on the source. After this, I’m gonna have to listen Bramble Reprise. Ooh, solo at 1:54. Heh, I bounced too much and my computer almost slid off my bed. Back to source at 2:38 or so. Epic bass solo at 2:56. Those are words I never thought I’d type, but here they are. And better yet, this bass heralds the end of the track, with more source at 3:28. The end is near at 4:04.

3. Spark Shock (Mega Man 3 – Spark Man Stage)     4:50
Spark Man’s stage always annoyed me; too many holes with too many floating enemies above them ready to knock you down them. The music was solid though, and JM’s take on it is just as firm. Starts off muffled a bit, a la 50’s radio, but at 0:30 true JM flavor drenches the track. More source at at 1:31. Seriously, who would’ve thought that all it took to spice up the classic tunes was some of Joshua Morse’s signature funk? 2:31 brings in the solo. Just thinking, I would so want to hear a collaboration between JM and Mustin. That would be pretty awesome. Back to source at the three minute mark. Piano solo at about 3:30. It morphs into a funky free-for-all that fits in fantastically. But afterwards, the end of the track is quite close.

4. Dust Crusher (Mega Man 4 – Dust Man Stage)     4:23
And now for a more obscure theme. Most people like Pharoah Man, but Dust Man is cool; he’s the one who got an EXE counterpart! Starts off calm with a very basic rhythm, but at 0:42 the source kicks in with a hollow feeling. 1:45 brings in a decidedly epic part that quickly gives way to another brief bass solo. More source at 2:13. Another calm spot at 2:30, but it gives way to the solo right afterwards. At 3:17, you can tell the finale of the track is quite close. 3:43 brings in more source. It slowly dies at 4:14.

5. Power Stone (Mega Man 5 – Stone Man Stage)     4:14
Stone Man, oh Stone Man. You have a wall you can walk through in your stage! Great level design and a great tune! The source kicks in at 0:36. Epic guitar solo at 1:07 or so, followed by another solo. Source returns at 1:52, with epic guitar throughout. Calm spot at 3:08, but it gives way to another solo that heralds the end.

6. Yamato Spear (Mega Man 6 – Yamato Man Stage)     4:37
Ooh, what a vibe right off the bat. I liked how Yamato Man had the rivalry with Knight Man and Tomahawk Man. But he got named JapanMan in EXE sooo… Then again, Tomahawk Man became TmhwkMan. Source at 0:37 or so. Groovy and funky, with great source usage and ethnic feel to it. But that quickly gives way to the funk. Everything gives way to the funk; such is the way of funk. Breakdown at 2:29. Source returns at 3:00. This is phenomenal; Mega Man ain’t ever been this sexy! The end is near at 4:20 or so.

7. Slash Claw (Mega Man 7 – Slash Man Stage)     4:10
I once replaced Slash Man in a Famicom-styled rendition of Mega Man 7 with my custom Robot Master, Wombat Man. The music remained, of course, as did the jungle stage. Starts off with the lesser-known tropical funk, and at about 0:50 piano comes in with source usage. Slight breakdown at 1:31 that gives way to the source quickly after. This is a great take on the track; solo at 2:50. Back to source around a minute later, and it ends suddenly.

8. Astro Crush (Mega Man 8 – Astro Man Stage)     4:12
I still haven’t beaten Mega Man 8, but I did get to the tower stage where you fly around. Think it’s the third one. Regardless, funky to begin with and source comes in at 1:15. 1:45 amps up the funk factor like the funk in the air at Otakon, if reports I’ve received are any indication. Solo at 2:08 or so. Back to source at 2:56. What a groovy rendition of the track. Nice rhythm to end the track.

9. Data Base Accessed (Mega Man & Bass – Data Base)     3:31
Aww… I’m sad that this is the last track. But hey, the Data Base is cool. It’s what made Dr. Light canonically a douche. Seriously, his Bad Point in his profile is Douchie. Anyways, a nice mellow track; works great as a counterpoint to the rest of the album. In fact the mellowness of this and Thunder Beam work as bookends, preventing the funk from spilling over into the rest of your music library. Source is used throughout. This is just nice and mellow… how I like it. There’s really nothing of note aside from the general awesomeness of the song.
CONCLUSION
So in this review, I’ve got two albums that were released quite recently, and one that’s been out since March. I’ve been meaning to get around to Robot Museum for a while now, and I figured why not throw it in with the other two? It’s a single artist album, so the formatting would remain the same. And it worked out. This triple review was also awesome for the fact that all three albums are of completely different styles. Amphibious’s is a nice ambient rhythmic album, Nario’s is a chiptune masterpiece, and Joshua Morse’s is a funkadelic ride throughout the classic Mega Man series, sans 9 and 10. And in light of recent events regarding Mega Man, someone needed to give the Blue Bomber some love.

In summation, Amphibious’s freshman effort was well-done; I hope to hear much more from him in the future. And I hope to get lost in fantasy with the aid of his music once more. As for Nario’s album More of Me, well… It’s Nario, so what else can I say? If you need to know more, just look at the album art. Enough said. And lastly, Joshua Morse’s The Robot Museum. As I said in the review, Mega Man ain’t ever been this sexy. And, once more, enough said. All three of these albums are phenomenal, and while some may already have The Robot Museum, Oceans and More of Me are well worth a listen as well. Get them as soon as you are able, and until next time, game on!

Double Interview: New EPs by Amphibious and ProjektZero

I recently got the chance to interview Amphibious and ProjektZero about their respective EP releases: Oceans and Getting to Know You. Both artists have associations with the arrangement community, so I asked them each about the stories behind the making of their tracks, their influences and how creative competitions have affected their work.

Amphibious – Oceans EP

Amphibious has gained a reputation for creating ambient, chilled music with fluid movement. To that end, his release Oceans is a concept EP, specifically referencing a journey through the sea as a topic. Amphibious explained his motivations for exploring a musical narrative. “I’ve always been told my songs remind people of water for some reason, and the ideas I came up with definitely had that vibe, so I decided to add a theme to my EP. It also sort of fits with the name Amphibious, which is cool too.”

Work on the album began in early June and continued over the summer. He stated that, “I’d been experimenting with music a lot over the last year or so. I got Komplete in May for my birthday, and I spent a few weeks learning the various things in the package. But for the most part, the songs I started never did get finished. One of my roommates and I were talking about how I didn’t really see many through to the end, so I decided I’d take this summer as an opportunity to change that. I sat down and got some ideas ready. That is when I started to work on my new songs for the EP.”

Meteo Xavier contributed the EP’s artwork. Amphibious initially created a cover image himself, and related an anecdote to that effect: “I knew my artwork was bad when I originally made it, but I figured something quick and shoddy would be better than nothing. I got a few comments on OC ReMix about how bad it was; Meteo in particular wanted to redo it himself and I guess he decided to whip something up quick. I’m really happy with it, he did it pretty quickly but it’s infinitely better than what I had before.  Many thanks to him.”

When asked about the contributing factors to his musical style, Amphibious noted that “This particular album had a lot of influence from David Arkenstone. He did a lot of world and Celtic music such as the tavern music in World of Warcraft, but he released a chillout album that I absolutely love. ‘Plunge’ in particular draws influence from that.  I would also say the Metroid Prime soundtrack has had some influence on me as well.”

The track “Pelagic Fortress” on the EP started off as an entry for a composition competition.  Amphibious shared his thoughts on time-constrained musical gatherings: “When I first heard about compo, it seemed like a cool idea, but two hours sounded so short.  However once I tried it, I was pretty amazed at what I could come up with in such a short time frame. ‘Pelagic Fortress’ in particular fit the theme of my album very well. Overall the compos definitely have helped me with efficiency. And having a theme given to you is sometimes a helpful way to come up with new ideas.”

Oceans EP is currently available at Bandcamp for free, or pay-what-you-want pricing. Amphibious is pleased with the response to the release, noting that “I’d still consider myself a bit of an amateur, and there have been some fair criticisms, but some people have really enjoyed my stuff and I’m very pleased with that.”

ProjektZero – Getting to Know You

Matt “ProjektZero” Rittinghouse identifies with the nerdcore scene, though his music has recently gravitated away from his rap roots and toward groove-based, melodic pop songwriting. His EP carries a unifying concept, as he expressed that “the theme with Getting to Know You is that I wanted each song to provide some glimpse at me as a person, or the things I feel. ‘Loop On’ deals with relationships; ‘331’ and ‘Mannequins’ deal with friendships and isolation; ‘The Stand’ deals with my geekier tendencies; and ‘Fake It’ deals with this sort of transition out from my teenage years.”

Untested Methods and zircon are credited with mixing on specific tracks. Matt explained how these collaborations came about: “I met Eric (Methods) at Nerdapalooza 2010. I’m a huge fan of a lot of his remixes, but I’m probably a bigger fan of the chiptune-infused synthpop style he has developed in his independent work. He and I are both music production geeks that use FL Studio, so we’ve been chatting fairly regularly since Nerdapalooza, and we’ve tried several efforts at collaboration along the way. This was just the first one that made it to a finalized, published product.”

Matt considers zircon and the OC ReMix community to be a great motivation and influence on his production. He elaborated on zircon’s contribution to the EP: “I’ve had zircon on my contacts list since he did a series of FL Studio production tutorials a few years back. I had been struggling very, very hard to mix ‘The Stand’. I’d worked on it for eight hours a day, for three days straight, and had finally just fallen into despair over mixing the song. So I shot zircon a message, and he graciously offered to help me out. He pretty much saved that track from falling apart.”

Getting to Know You includes a cover version of a song by Brad Turcotte called “Fake It”. Matt expressed his desire was to cover this song, and include it on the EP. “Through my old school nerdcore ways, I’m hip to a place called SongFight, where Brad is a regular competitor. I feel like I’m a broken record for saying it, but I’m a huge fan of his work, and his entire album Out of It is absolutely classic to me. I specifically chose ‘Fake It’ because I felt like it sort of encapsulated the changes that I went through in college. I think that song feels like every twenty-something’s anthem.”

JG Hollowell, also known as Mithurn, provided the second rhythm guitar heard on “Loop On”. Matt talked about how they both became acquainted: “JG is an old, old friend of mine. Probably since before I started making music, or at least somewhere around that time frame. I met him through an MMO, but it just so happened that he lived in Charleston close to me. I went off to college, but met back up with him shortly after I graduated.” Matt also remarked on their collaborative process by saying that, “He presents a whole different dynamic to songwriting when I work with him. I can’t just fall back into sequencing; I have to work live. I’m playing guitar and singing, trying to come up with melodies or chords on the spot. He has a lot more of a free jam session background, and I strongly respect that. ‘Loop On’ evolved from a jam between us.”

The track “Mannequins” on the EP originated as a track ProjektZero made for a compo. Matt expressed his thoughts on the composition competition experience, stating  “I absolutely feel that the compos benefited me. I’ve put out six albums since I’ve started doing them. Of course, most of those directly came from the compos. This new EP is more refined, but it wouldn’t have been possible without the compo experience. The advice and the high pressure trial-and-error was just invaluable to shaping my songwriting.” He agreed that the mannequin concept from One Hour Compo was somewhat unusual, but felt that “that’s what was liberating about it. I couldn’t get lost in the theme, specifically because it was obscure. So to really thrive with mannequins as a concept, you had to make it your own. And I think that’s what made that week’s theme probably my favorite one of the entire series so far.”

Getting to Know You is available now at Bandcamp with free or name-your-price options. The cover art was created by Brett Houston.

Triple Review!!! Benjamin Briggs, ProtoDome, and WillRock!

She’s done the normal single review, she’s possibly created the double review… what will Taylor Brown do next to top herself? Nothing but the logical evolution of this series. Much like how Pokémon Black and White introduced Triple Battles to the series, I shall now attempt to fuse the two into a new thing. And there’s nothing else to call it but… THE TRIPLE REVIEW!! And no, this is not just a hasty way for me to clear my backlog. Maybe. Regardless, in this edition I shall review Benjamin Brigg‘s Attention Deficit EP, released much earlier this year; ProtoDome‘s BLUENOISE, also from earlier this year; and WillRock‘s Refraction of a Dream. All three of these come from wacky people well-known around the community who are quite talented in their musical stylings, and much like fine wine have only improved with age. So, without further ado, I present to you… THE TRIPLE REVIEW!! Woohoo!

BENJAMIN BRIGGS – ATTENTION DEFICIT EP

1. Too Soon – 4:06
Starts off pretty nice… nice rhythm. 0:17 brings in some more melodic parts. At 0:32, it all changes, and by 0:40 the main meat of the track kicks in. 0:55 brings a brief breakdown. 1:20 or so brings in a change with Mario fireball sounds keeping rhythm. Nice idea there, chth. It starts to come back together at about 1:58. Chippiness at around 2:20. The fireballs fade away at 2:30 or so. Another breakdown at 2:40 or so, followed by another buildup. 3:18 brings in a pretty cool effect that keeps the track going. Much like the title of the album, these instruments keep changing as rapidly as an ADHD kid’s focus of attention. Ends with racecar sounds.
2. Benji Needs A Lawyer – 3:47
OBJECTION! Oh wait, my bad. Starts off with the basic rhythm, and 0:16 brings in another layer intermittently until about 0:34 when another layer is added. 1:04 brings in the bass. 1:20 brings it all together. This is a good track; makes me start to move and groove. 1:48 brings in some nice chipchimes. Remember, I’m now using chip- as a prefix. Nice mixup at around the 2:10 mark, followed by a slight breakdown and solo at about 2:44. Chippy awesomeness right here. Breaks down at about 3:15 in preparation for the end. At 3:35, the end is definitely near.
3. Troll 4 Life – 3:51
The previous track flows right into this one. Nice chippy effects at 0:35 or so. Even cooler ones at 1:04. This track seems to be just a rhythm with random sound effects, which is fine by me. It proves me wrong at 1:31 with some melody. Johnny Bravo sampling at the 2 minute mark! Okay, this track is now about 500% more awesome. Solo at 2:32. Reminds me of the old Sonic tunes a bit. It starts to fade out at 3:20. Beavis and Butthead sampling at 3:40.
4. I Can Has This Dance? – 3:55
No, you can no has this dance, chth. But you can has a review! Great usage of sound effects again; in this case, it sounds like the Mario 3 death sounds, both the enemy and Mario’s sounds. The main melody slowly builds in the background until 1:07 when it explodes in awesomeness. 1:40 brings in another layer of instrumentation, and 1:48 throws one more on top. It’s a beautiful haunting melody, that almost reminds me of Lavender Town from the original Pokémon games. 3:04 brings a gradual fade, with the sounds of Mario coming back to the forefront.
5. Love The Game – 3:51
Starts out awesomely. Nice ambient howl-thing at about 0:24. Think I heard this same instrument in VVVVVV’s soundtrack. Breakdown at 0:54. Chipchimes in the background sound great. It all explodes at 1:32, bringing a much fuller soundscape. Slight breakdown at about 2:08. Buildup at 2:18, which explodes at 2:30 with singing. Is this chth himself? I think it is. Not too shabby, even though I think I heard a faint hint of autotune. More howl at 3:05. This heralds the final part of the song, which starts to fade out at 3:34.
6. I’m Nobody (feat. Cornelius Rawness) – 2:54
And now for the final track of this album, which starts out with rough and muffled chiprhythms. At about 0:20, singing comes in. It’s pretty good; I’m enjoying it, and the effects help it fit right into the atmosphere of the track. Great writing; not many songs use “codependency” in their lyrics. The main music is pretty good too; well done. 1:46 brings in Cornelius’ part. Nice usage of the Sonic sound effects. 2:24 brings the chorus back. “I’m nobody, I’m nobody, I’m nobody… at all…” Finale at 2:46. Great work, Ben!

PROTODOME – BLUENOISE

1. Hello World. – 1:07
Atmospheric!! More atmosphere at 0:31. Nice finale at 0:57.
2. 9am Skies. – 2:21
Did I just start listening to an Animal Crossing song? 0:15 shows that I didn’t, with a mix of Proto’s chip mastery and jazz stylings. I don’t think anyone else could do chipjazz quite like ProtoDome. Nice melody. Slight breakdown at 1:18, and another 1:27. This is reminding of Pilotwings now. Another solo at 1:51. The end is near at 2:07.
3. Blueberry Jam! – 2:17
Nice rhythm to kick it off. 0:17 brings in more music. He really is jamming right here. No sign of blueberries, but this is a nice jam. 0:43 or so brings in a breakdown, which ends at 0:57. The chippiness of this song is epic. A change-up comes at 1:26 or so. Breakdown at 1:48 or so which heralds the end.
4. Bitmap_Blues. – 1:56
How many songs do you know of that use underscores in their titling? I can only think of this one and a few on Reanimation. Ooh, jazzy! This is soooooo 8-bit, I’m loving it. Nice work at 0:36. I want to play an NES game with this music. And just pause it so the music plays indefinitely. Nice solo at 1:20. The end is in sight at about 1:35.
5. Heat Death – 2:54
IT BURNS!! IT BURNS SO GOOD! If I died in a fire, this is what I’d want to hear in my last moments of consciousness. Nice job setting up the atmosphere. 0:30 brings in chippified vocal samples. Breakdown at about 0:58. This is such an ethereal track, it’s beautiful. Chipvox comes in again at 1:24. Beautiful breakdown at about 1:48. Changeup at 2:04, which seems to bring in more real instrumentation. Chips return at 2:34 to bring in the end.
6. Her #0000ff Eyes… – 2:54
I think that’s… blue? Bumpin’ bassline, Blake! Chips at 0:24. Slight breakdown at 0:55 or so. Bassline remains quite prominent, and a nice key solo here. More chippiness at 1:14. Nice solo at about 1:38. This song has me movin’ around while reviewing. The rhythm is infectious. 2:29 brings about the finale of the track.
7. Zero-G Lemonade. – 2:09
And now for the finale of the album. How would Zero-G Lemonade even work? Would you float around with it and drink the suspended lemonade particles? Ahem, back to the review. Nice instrumentation in this track. 0:44 brings in a vocal sample stating the track’s name. Hard to hear but it’s there. Nice piano parts interspersed throughout this song. 1:43 replays the chipvox. 1:55 heralds the end of the song, and thus the album.

WILLROCK – REFRACTIONS OF A DREAM

1. Fatigued – 1:42
Ooh, ambient. I feel fatigued just listening. 0:27 brings in guitar reminiscent of Pink Floyd. Or at least, that’s how it sounds playing off the background music. Great work here, Will! 1:14 ends the guitar for a changeup that presumably sets the stage for the rest of the album.
2. Down The Rabbit-Hole – 2:24
Oooh, nice bassline. Nice chimes at 0:09. I like the increasing speed of the chimes, and how they stop at 0:30 for more ambience. OH GOD I’M FALLING INTO A HOLE!! A HOLE WITH WEIRD AMBIENT SOUNDS AND STUFF! Also weird voices at 1:09. This song is extremely weird; the visuals on my media player aren’t helping. I really feel like I just fell into another realm, one that is far different than our own. 2:08 brings in breathing. Not nearly as creepy as effects I’ve used before.
3. Pool Of Tears – 2:11
This album flows cohesively. Nice chimes and acoustic guitar. I’m glad that absurdity is over, fun as it was. Electric guitar at 0:33. Speed increases at 1:15 slightly before stopping seconds later. Bass picks up at 1:28. Nice rhythm at 1:48 that slows down as quickly as it starts. No doubt prepping the next track.
4. The Garden Waltz – 0:53
Kicks off immediately with what could be used as a game over effect. Waltz rhythm at 0:11. I never thought I’d hear Will make a waltz but hey. Should’ve been an epic guitar waltz. It ends suddenly at about 0:35.
5. The Caterpillar – 1:24
Bassline at 0:15. Building guitar that stops at 0:35 or so. Nice woodwind at 0:48 or so. Reminds me of Easton from the original Mario Land. The end comes quickly at about 1:16.
6. Tulgey Wood – 1:44
It flows right into this track that begins with piano. Slow, somber piano. It stops at 0:30 and replaces it with intermittent effects. Piano returns at 0:54 with a fuller soundscape. More effects at 1:22, straight from the ’80s. Chimes at 1:30 or so.
7. Lost – 1:44
It’s birdcussion! Piano kicks in almost right away with drums. Awesome guitar at 0:26 or so. Piano comes in at about 0:54, with woodwind shortly after. It ends at 1:40.
8. Don’t Step On The Mone Raths – 1:24
Will, it’s spelled “mome raths.” Eh, no matter. Trippy effect here. Is this the sound mome raths make when you step on them. This track is just full of ambience. It’s well done, don’t get me wrong. But there’s a lot of it.
9. Refractions Of A Dream – 2:06
Title track time!! This song is fuller than the previous, complete with synth rhythm almost right at the start. Guitar at 0:46. Guitar cuts out at 1:22 or so, only to be replaced by some more ambience. It slows down at 1:40 with more ambient sound effects. The last seconds set up the last track.
10. The Queen Of Hearts – 4:11
Nice rhythm to kick it off! Dramatic beat at 0:22. Chimes at to the rhythm, and 0:45 brings in chippy awesomeness!! Slight breakdown of the chippiness at 1:15 or so, only to return at 1:28 or so. This is a weird song, as it seems to end at 1:58, only to pick right back up. Screech at 2:14 brings the track to a halt. Guitar screech at 2:43. More trippiness follows. Honestly, I have no idea what is going on, but I’m a little scared. Seriously, great mind-trick performed by this track. Easton-esque woodwind rhythm comes in for a second, only to be replaced by ticking, and more ominous ambience. It ends at 4:08.

CONCLUSION
That… Well, I think the whole triple review thing worked out well. It was only 23 tracks, taking up a total playtime of less than an hour. First off, Ben’s album. I enjoyed it immensely, and it was a really fun listen. I hope that he comes out with more stuff like this in the future, because I loved it that much. As for Proto’s album BLUENOISE, it was more of the same from him. But that’s a very good thing, since it was full of really nice tracks that showcased his abilities with the chiptune style of music. Also, the track names were awesome. Lastly, Will’s album. It was… well, I’ll be blunt and say it was the weirdest album I have ever listened to, one I never thought I’d ever hear, and one that I don’t think will ever have anything even remotely similar to it. It really did mess with my mind a little, but you know what? That’s okay. The song titles obviously allude to Wonderland, and with that connection, I wouldn’t have it any other way! Excellent work, Will!
In conclusion, these three albums have been out for quite some time now, waiting to be heard, waiting to be reviewed. And it wasn’t until now that I decided I would review them. Now that I have listened to them and reviewed them, I’m happy that I did. All three showcase the artist’s talents. In Ben’s case, it’s paying homage to the classic games of yesteryear, when the technology on the system only allowed very few simultaneous sounds. For ProtoDome, it’s his talent to just keep creating wonderful music in styles he’s quite skilled with. And in Will’s case, it’s his talent to just create something off the wall, so outside the box it’s kilometres away. I think that’s what they use in Britain. Anyways, all three demonstrated that what they do, they do well. And it’s my sincere hope that they continue to do so in the future. I’ll be uploading new reviews every day this week, so stay tuned. And until next time, game on!!

Howard Drossin Backs Splatterhouse Remixes

Thanks to a tip from the amazing Jeriaska of the VGM-based community Nobuooo, we’ve been on a huge Howard Drossin kick lately. I mean, come on – what is there not to like about this man’s talent? Known for his seemingly random (albeit kickass) collaborations with top honchos like jazz composer Terence Blanchard and hip-hop producer RZA, Drossin is especially known in the VGM scene for his continued participation in the Sonic franchise over the years along with an impressive number of other notable scores as Sega’s former music director. If that doesn’t spark your fancy, the fact that Drossin’s work has been subjected as  one of the best OverClocked Remix albums of 2006 definitely should.

Anyway, enough fanboy talk. Even with his limited involvement within the video game industry lately, Drossin has done it again and released not one, but THREE amazing albums on Bandcamp. What really stands out for us, however, is Drossin’s open invitation for other independent game score composers to ‘butcher’ his music from the 2010 Splatterhouse remake. Appropriately titled Butchered by Various Artists, this remix album features several notable musicians like Chris Geehan, winner of Microsoft’s ‘Dream.Build.Play’ Challenge and Crashfaster, composer of the incredibly addictive Knifetank series. Independent Games Festival nominee Mattias Häggström Gerdt and “Make Something RADD” winner Tony Dickinson also make an epic appearance on the release.  In other words, brace yourself for free impressive remixing goodness. Yes, this album also happens to be obtainable for  free download. What are you waiting for?

Butchered by Various Artists as well as Drossin’s other phenomenal Splatterhouse albums (here and here) are available on Bandcamp now for download. Congratulations to everyone involved in the album, as well as Jeriaska for his own involvement in such an inspiring project.

Metroid 25th Anniversary Fan Album Harmony of a Hunter Released

This weekend marks the 25th anniversary of the Metroid franchise. I spoke with Darren, founder of the Metroid enthusiast website Shinesparkers, about the fan arrangement album he directed titled Harmony of a Hunter. The release features thirty-six tracks covered by twenty-four artists paying tribute to the Metroid series in a variety of genres.

Darren expressed his passion for the franchise and detailed his inspiration for taking on such an album project: “I noticed that Nintendo seemed quite focused on celebrating the 25th anniversary of The Legend of Zelda franchise, and I felt that Metroid was becoming overlooked. So I thought to myself that if Nintendo can’t do anything to mark my favourite franchise, then I would. It turns out that I wasn’t alone because a lot of people in the community wanted the anniversary to be marked and this is what gave me the determination to make this project work.” Darren also felt that music of the series was deserving of tribute, as he states  “Metroid has a great deal of memorable music that compliments the atmosphere that the series gives”.

The project began in December 2010 and involved a great deal of artists and other specialists in its creation. Darren spoke of how his communication skills came of use in directing the album, which he felt was an crucial component of directing the project: “In my opinion, communication is the key element to ensuring a project like Harmony of a Hunter works. I worked as closely as I could with people and offered suggestions and critique on certain tracks. I offered my thoughts where I felt they were needed but never pushed, demanded or limited the creative flow of the individual. If I did, the album would never have had the diverse range of talent that we have. I also feel that the project would have become more of a chore than a celebration. Asking for a track to be handed in by a certain date with no further communication just wouldn’t work.”

Harmony of a Hunter carries a wide selection of styles and genres. Darren expressed his views on this eclecticism and the cohesiveness of the release as a whole: “I feel the diversity of the album was important because I wanted an album that would appeal to as many people as possible.” He commended Lee “The Orichalcon” Barber’s mastering of the album under the circumstances, as he reveals that “Lee has done a great job at blending some of these tracks into others which surprisingly, flow very well. Due to the nature of the project this was always going to be a tricky to master, but Lee has previous experience with mastering projects and I trust his judgment and his skills.”

Darren reached out to the OverClocked ReMix community when he conceived the project: “I have always admired musicians such as The Orichalcon, DarkeSword, zircon… and in the early days of the project I wouldn’t have even dreamed that they would have contributed to this. I am so very thankful that they did because their contributions have been excellent.” At one point, some discussion had taken place regarding possible endorsement as an official OC ReMix album; however due to Darren’s goal of releasing it on the Metroid anniversary, this was not feasible.

Harmony of a Hunter is available now at the Shinesparkers fan site, which features exclusive content related to the Metroid franchise. The album landing page was designed with the help of Erik “VikingGuitar” Peabody, incorporating artwork contributed by Nate “FoxxDragon” Horsfall.