Shnabubula Releases NES Jams, Brains Melt

The story picks up immediately where Game Genie ends. A young boy, Tommy, has just defeated his Game Genie, and in its place is a mysterious NES cartridge. Upon placing it in his NES, something wondrous occurs; the message PREPARE TO JAM appears and Tommy approaches his brother’s keyboard. Suddenly, the game and his fingers begin to play music together! Now, this is just a brief summation of the album’s story; the real beauty is the album itself. Just read with me as I take you on an aural tour through the 11 tracks contained on this album. Let us begin.

1. Underwater (Teenage Mutant Ninja Turtles)     2:51

Starts out calm and aquatic sounding… 0:20 brings in some piano work. 0:40 brings in a nice little jazzy part. Pretty nice track; great way to kick the album off. 1:09 kicks off a bit of a calm section, and 1:18 or so is where it really kicks off with some nice arrangement. The piano and the NES accompaniment work phenomenally together. 1:56 or so brings in a series of crescendos. 2:10 is where you can tell the end is coming. Everything keeps on getting better and better until the finale begins at 2:44.

2. Temple (Zelda 2)     3:16

Source kicks off right away, of course. Sam keeps it simple, sticking to the source pretty tightly with minor changes with the accompaniment. 0:29 is where the accompaniment takes off, and the keys follow shortly after. The source is held tightly for the first minute, and then some nice arrangement comes in at 1:09 or so. This is probably one of the best renditions of this theme I’ve heard, and I’ve heard a few. 1:52 brings a breakdown, and it starts to pick up once again at 2:04 or so. 2:16 is where some real awesome piano comes in, and it only gets more awesome from there. The source is loosely held throughout this segment, and comes back in full force with crazy accompaniment at 2:56 or so. Final at about 3:09.

3. Alien Lair (Contra)     3:06

This one starts out kinda tense. 0:17 changes that in an instant; some big stuff is going down somewhere. 0:37 brings even more tension in, with force put into each and every piano note. 1:06 brings a very brief break. This song definitely has a nice feel to it, one that captures quite a few intense emotions in its many layers. 2:04 brings this point home, and even moreso at 2:15. The accompaniment goes pretty nuts from here on out. The end is definitely near at 3:01.

4. Night Sea (Little Nemo the Dream Master)     3:45

And now a well-placed calm spot; don’t be fooled, it’s just the calm before the storm. Shnabubula actually released a video of this track on his Youtube channel as a teaser for the album; it was the second such teaser. 0:32 brings in some nice bass. Nice work on the keys at 0:56 or so, and great accompaniment at 1:04 on. This song definitely has a great flow, one that makes me just want to sway back and forth to the rhythm. Some nice solo at 1:55 or so; back to the source at 2:10 with some embellishments. Naturally; wouldn’t be a Shnabubula track without them. Okay, so maybe not so calm; 2:40 or so brings some pretty crazy piano, and it calms down at 2:56. Very calm at 3:10 or so; it remains this way until the end of the track. The true finale begins at 3:34.

5. Dwelling of Doom (Castlevania 2)     3:16

Funky, just the way I like it! It starts getting even funkier at 0:22 or so. Even crazier parts begin at around 0:56; this song is focused mostly on the keys and the accompaniment only adds to the experience. It starts getting pretty crazy at 1:30 or so; breakdown at 1:50. It really picks back up at 2:07; signature Shnabubula insanity comes in not too long after. I’m still amazed that he can moves his hands as fast as he can; seriously, he must be part machine or something, because this skill is near-inhuman. The finale begins suddenly at 3:10.

6. Kung Fu Alley (NES Original)     4:42

This is completely original, and completely lacks the keys of all the other tracks. Fitting that it’s the middle track; five are before it and five are after it. Very nice rhythm, and very nice to listen to. Apparently, the track was supposed to loop at some point, but it wouldn’t. Ah well, it’s a great song nonetheless. Pretty nice part at 1:32 or so. Short breakdown at 1:58 or so, that goes into another great part; sounds like it could be a stage set atop some cliffs or something. 2:28 brings in some nice duality between dominant parts in the track, and 2:42 brings in some nice backing effects. 3:06 adds in a whole different part that fits in perfectly. Again, the song has some great flow and rhythm to it. Everything fits together perfectly, and it sounds phenomenal. There’s a feeling of something coming at 3:56 or so; probably signaling the finale. And the finale does come in at 4:28 or so.

7. Title (Double Dragon)     3:34

This was the first song Shnabubula released as a teaser on his YouTube channel. Source comes in at the ten-second mark. Very fast-paced, and great to listen to. 0:32 brings a slightly slower part. 0:54 kicks off more source usage and also signals the beginning of some awesome arrangement; check out 1:24. Just when you think the source is gonna kick off again at 1:38, Shnabubula switches it up with a rather beautiful breakdown. It starts picking up again at 2:02. Everything that follows is just pure greatness and insanity, especially at 2:32. Source leaps back in at 2:43, maintaining the same speed from the insanity. The finale kicks off for this song at 3:14. Yes, a 20 second long finale. Great work though.

8. Gemini Man (Megaman 3)     3:57

This is probably one of the more underrated MM3 tracks; let’s see what Shnab can do with this one. Some nice flair comes in at 0:12 or so in the form of source usage. More source usage at 1:06 or so. The accompaniment on this song works so well with the keys, and really helps to set the mood. 1:38 kicks off a nice arranged section. 1:59 brings in a breakdown, and it starts to come together once again at 2:17. 2:51 brings the source usage back into full force, with the usual additions and arrangement. 3:08 is where the accompaniment really adds a feeling of finality to the track; the end is definitely near. 3:24 on reinforces this point, and the finale finally begins at 3:48 or so.

9. Stage 1 (Teenage Mutant Ninja Turtles 2)     2:59

This kicks off instantly with a great speed and feel. 0:27 makes you just want to yell out HEROES IN A HALF-SHELL! TURTLE POWER! 0:52 has a pretty nice section of keys. 1:12 has the HEROES IN A HALF-SHELL part once again. 1:28 signals the start of a pretty sweet section, focusing on keys with some great accompaniment. 2:14 keeps the speed going with some awesome section, building and building until 2:35 when the finale starts with the HEROES IN A HALF-SHELL part and truly ending at 2:55. Such a great fast song.

10. Area A (Shatterhand)     3:25

In comparison to the previous track, this song is rather slow. But it’s still great; it picks up at 0:17. Okay, maybe it’s not slow; it’s pretty nice. A really smooth section begins at 0:47; 1:14 or so signals another pretty nice section. 1:38 has some more arrangement, and everything’s put together in a wondrous fashion. A sense of finality almost comes in at 2:17 or so; a small breakdown at 2:24 or so also sounds like it is leading up to the end. Some really awesome piano comes in at 2:46 with great crescendos on the accompaniment. The end is near at 3:10, and the song ends at 3:23.

11. Wood Man (Megaman 2)     3:37

Here it is, the final track on this album. Sticks to the source pretty strictly at the start, then takes off at 0:32 with the accompaniment first, and then it really begins with the piano at 0:42. There’s a great breakdown at 1:14, and it continues for some time. This part loosely adheres to the source, keeping the same rhythm but adding in many many more parts. Great work on the keys from 2:00 on. 2:19 keeps the insanity going. I’m surprised his hands aren’t on fire by now; this is such an insane speed. Some source resumes at 2:42 with more crazy piano playing; it normalizes at 2:55 or so. Some nice accompaniment effects begin at the three-minute mark, really adding to the sense of finality. They pick up even more at 3:22 or so. The finale begins at 3:32, and the end of the album is shortly after.

To help publicize the release of the album, Shnabubula organized a listening party on 3/15, hosted on Noise Channel Radio. The show, run by virt’s wife Truestar, peaked at 100 listeners, and the album is currently at #5 on the Bandcamp top sellers list. It’s actually pay-what-you-want, so if you want it free, you can get it for free. But I’m sure that Shnabubula would appreciate some payment on it; he certainly deserves it. The album can be found both on Ubiktune and Bandcamp; it’s well worth the download, and the money if you choose to actually buy it. Stay tuned for an interview with Shnabubula, among other things. Until next time, game on!

ReMixer Spotlight: Rexy


Everyone in this community knows who Rexy is; with her haunting piano renditions of favorite tracks, she’s rather well known. I recently had a nice chat with her, bringing about another long-awaited entry in my Interview with a ReMixer series. Here’s the result of an interview that almost never was. More on that afterwards.

[EXPAND Click here to view my  exclusive interview with Rexy!]

Mirby: What started your interest in video game music?

Rexy: For games, I’ve always shown interest towards the visual representation and ideas pretty much since the first Sonic the Hedgehog title, though for a long time I had this strange mentality that the songs that came from the systems I played were little more than keyboard demos; not going against the likes of Masato Nakamura or Dave Wise or the likes I was exposed to as a child, but that’s how they rubbed off.  On a music level, I didn’t feel fully drawn into the scores themselves until around 1998, which was when my system of choice was the original PlayStation. The first score I believe I appreciated for more than just a keyboard demo was that for the original Klonoa, which had that sort of Disney movie charm that moved me just as much as the game itself. Games released later in the PS1’s lifespan, including Spyro the Dragon, Ape Escape and even the port of Final Fantasy VI also helped boost that awareness considerably, thus making me start to understand the creative decisions behind writing videogame music scores.

M: Ape Escape is awesome.

R: Yeah, hard to remix because it’s practically a DnB score though. 😛

M: I would imagine. What started your interest in remixing?

R: My interest kicked in not long after I discovered OverClocked Remix back in around 2003, no thanks to my research on the subject of Sonic Crackers which led to the discovery of Malcos’s “Dirty Beta“. At around the same time, I was already taking up Saturday afternoon music tuition, which was split half-and-half between piano tutoring and handling of MIDI sequencers. So by discovering OCRemix, and seeing how the user submissions came together, I had this ambition from the start to try myself but I had no idea on what would be considered the right tools for the task. I did however keep focused on the weekend tuition, hoping that one day I’d be able to make a remix out of  my tutor’s tools, which finally happened not long after he got a copy of Reason.

M: Nice!

R: You really got to get me to think hard about these.

M: Hey, it’s my journalistic duty.

R: I know, not questioning anything

M: I make people use their brains. Haha. Any tracks that you’ve done that you like more or are more proud of than the others?

R: There’s definitely several highlights. Usually I tend to shy away from putting my OWN stuff on my iPod, but when stuff of mine DOES go on there, it’s usually those that I have felt the most proud of. One that I simply “like more” was the first track I ever won a PRC with, the Yoshi’s Island arrangement “Dream an Eastern Peace” with Prophecy; while I acknowledge now that it’s considered too liberal for some peoples’ tastes, the process behind it made it a memorable experience and made  it a great experience within the electronica sub-genre.  I guess “Dream Traveler” on Summoning of Spirits could also have gone that same way; some people might not have understood the arrangement idea behind it (with it being some hidden Klonoa tribute in Tales arrangement form), but those that did understand have interpreted the idea into a really positive way.

For those that I have an immense amount of pride over, I can easily think of three at the top of my head. Working with GrayLightning on the Castlevania: CotM remix “Time’s Anxiety” was one incredible experience, and I had known for a long time when I started out on the arrangement that he wanted to see what he can do with my writing style. The finished production on his end literally made me shiver, and with all the critical acclaim that followed it really made it pay off. “The Feather’s Reflection” on Threshold of a Dream was another strong highlight, though to be fair given the track’s age I had no idea how it would stand against the current-day audience, and to be given a huge amount of critical praise there too (most notably from fellow project musician Benjamin Briggs) really boosted my confidence to the point that I sent it to the OCRemix judges’ panel for feedback, as well as being one of those turning points for getting back INTO the community on a social level. And I can’t go through these “proud moments” without brining up “Hogtied” for The Sound of Speed. I knew from the start that that would be a completely different way of arranging on my part, but my experiences through project manager halc and resulting collaboration partner Brandon Strader ultimately made me feel more receptive to newer blood and the ideas they bring over, and the fan feedback behind the track really amplified those feelings tenfold. So yes, definitely several tracks that I feel extremely happy about. lol 20 minute question.

M: Hehe. I do enjoy chth’s comment on The Feather’s Reflection [This being the comment: Ben Briggs: “see, if (The Feather’s Reflection) had played during eagle’s tower instead of the original music, I might not have wanted to ragequit so many times” – Mirby], and I know people who agree with it. Myself included.

R: You know feedback is awesome feedback if you chose to sig it.

M: That is true. Are there any remixers you’d like to collaborate with in the future?

R: I’m personally holding out for a collab with CarboHydroM personally (!!), but I know he’s that busy he might not have time for much beyond his own personal projects. That aside, I could probably see myself working with any male vocalists or saxophone players depending on what I run into, not to mention having some temptation on working with Sixto and Level 99. But since most of my collaborations tend to materialise more by chance, it would actually be difficult to say where my next collaboration experiences may go.

M: A very good point. Although a collab between you, Sixto, and Stevo (both of whom I’ve interviewed before, coincidentally) would be quite epic. Do you have a favorite track from a game?

Another 20 minute question? (I had waited about 15 minutes for this question; I’m keeping these in partially for comedic effect, partially as an insight into the interview process and to keep in vital text that would make no sense without this chronal context. – Mirby)

R: I find it so hard to judge BGM [background music] as they tend to cover so many different scopes depending on what you’re looking for. Most of my favorites have a tendency to have shown origins on 32-Bit systems and beyond, which have included “Blue Knife” from Bust-A-Groove, the boss music for Dr. Neo Cortex in the Crash Bandicoot series (most notably its incarnation in the third game), the Staff Roll music from the original Klonoa (part of the inspiration for “Dream Traveler” btw), the infamous Bathroom Rap from Parappa the Rapper (if only for the novelty behind it!!), and one of the most stand-alone-awesome tracks ever form that era – Gran Turismo’s “Moon Over the Castle”, which I thank KyleJCrb for raising awareness behind that track! There have also been some scores that I have shown appreciation for different reasons than listenability, including the scores for Ristar, Live-A-Live and Katamari Damacy, though like all forms of music they’re there for listening to when the time is right. Not another 20 minute question, a fucking hard one.

M: Heh, these were written nearly two years ago. Guess I did something right back then.

R: You certainly did.

M: If that one was hard, get ready for the penultimate one! Do you have a favorite video game composer?

R: For a long time I’ve been a sucker for the works of Yoko Shimomura due to her ways of writing according to feeling, which is what I sometimes feel about myself as an arranger as well. The awareness with her really peaked when I started playing through the original Kingdom Hearts, and after being able to see some of her other scores since, her works in general have somewhat of a mesmerising quality to me most notably with the writing. Other composers I have shown a huge amount of appreciation for in the past have included Stewart Copeland from the Police (Spyro 1-4), Mutato Muzika (the Crash Bandicoot titles on the PS1, and due to Mark Mothersbaugh’s involvement it also brought in awareness for Devo!!), Spiralmouth (Crash Twinsanity), Koichi Sugiyama (Dragon Quest) and Tenpei Sato (the Disgaea series). A little easier, actually.

M: I had no idea that the Spyro composer was from the Police.

R: He played the drums.

M: This means that Spyro could conceivably be linked to Kevin Bacon then.

R: I wish I understood that gag. Oh wait…

M: Final question time! What do you enjoy most about remixing?

R: What I enjoy most about remixing is being able to grow not only as a writer but also as a person as well. In regards to writing, one may think that they’re shoe-horned into a certain writing mentality, but by being able to branch outside of the box every now and again and experimenting with new methods, you may discover various techniques that you thought you would never have had. That to me is the way that people ideally would grow as arrangers, by being able to dive into new challenges thrown at them and see what happens. As for growth as a person, the way of life as a remixer is a very difficult and grueling process, and if you don’t toughen yourself up to both constructive criticisms and unjustified hatred then you may struggle to last long at all. I’m still not the most emotionally stable person in the world either, but by knowing about the mature mindset, getting along with other arrangers and site members, and just having fun about your writing, that kind of cooperation would make you feel both safe and secure in regards to writing. In other words, I enjoy mixing because of the wonderful community at large, and all the pursuits that can ultimately emerge from it.

M: Everyone seems to love it for the community, and no surprise; it’s a great community. And it’s all thanks to Lord Pretzel… oh wait…

R: The OC ReMix community, definitely. 🙂

M: The greater community is also pretty nice too…

R: Yeah, bit of a shame that VGmix is out of the picture though… But alas, thank you very much Mirby! Good timing too, because I gotta run for the bus!

M: It’ll be reborn as something new, I’m sure. Well, thanks for your time. This has been one of my longer interviews but it was fun.

R: Not a problem, it was definitely a firm process.

M: Also, the only other person who had to leave quickly at the end was djpretzel. Leave with that on your mind. Thanks again!

R: No idea you interviewed djp, but I’ll see some of your other interviews during lunch hour if I can. Cheers![/EXPAND]

It was a rather fun interview too, but alas my IRC app didn’t save the log so this almost never was pasted. Thankfully, Rexy gave me the log, so now you all get to read the awesomeness! You can read more about her at her artist profile Viewing Artist: Rexy. Until next time, game on!!

 

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!

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!!

It’s a halc-stravanganza!! Double Review Number Two!

How fitting that the second double review, possibly in existence, contains halc just like the first. And that it’s the Pixel Perfect LP, the follow-up to the EP that was in the first. And one that, looking back at the review for the EP, that I had in fact wished for. As for the second album, it’s The Sound of Speed, halc’s OCR directorial debut. So get ready for the halc-stravaganza, as this double review is dedicated to him!

PIXEL PERFECT LP

1. Recovery     1:01
Pretty mellow track, fitting the title quite aptly. More beats at 0:37 or so. It just keeps building and building until 0:57, when it stops.

2. Next Headache     2:32
The disc flows right into this track. Chippiness kicks in at 0:11. More instrumentation at 0:28. This is a pretty jazzy fun track. Slight breakdown at 1:08 or so and again at 1:23 or so. 1:54 or so brings in happy chippy fun time. Then again, that’s pretty much this whole disc if I’m not mistaken. The finale begins at 2:20 or so.

3. Human Eyes     3:13
This effect sounds like a guitar. Chippiness confirmed at 0:18. Slight breakdown at 0:48 or so. The main melody is pretty hypnotic. Back to the norm at 1:20. Another breakdown at 1:50 or so. Nice little piano solo at 2:12 or so. Return to regularity at around the 2:20 mark, and nice little chipsax at 2:37 or so. I like the sound of that, the chipsax. I’m using that from now on.

4. Floating Higher    2:00
The sequel to Floating Away from the EP? Probably, and it does feel ethereal and floaty. The main melody is pretty mesmerizing. Switch-up at 0:50. Not much of a sequel when it’s a minute shorter than its predecessor. Breakdown at 1:36 or so heralds the impending finale, which occurs at 1:53.

5. Shoot & Spin     2:09
What a jazzy track, upbeat and happy, as chiptunes are wont to be. I think. More instrumentation at 0:32. Slight mix-up at 0:51. Some chipkeys at 1:08. Okay, chip is my new prefix when dealing with chiptunes. Some chipchimes at 1:30 or so. I feel like I’m spinning. Floating and spinning… guess I’m now a helicopter. Finale starts at 1:58 or so.

6. Higher Reasoning     4:18
Slow start, but it works. Still slow and calm at the minute mark, but picks up at 1:19. Has some instrumentation reminiscent of some of bLiNd’s work at around the two minute mark. Breakdown at 2:25 heralds more to come, and it builds up until 2:56, when something big is on the horizon of the soundscape. Sure enough, the impending event takes place at 3:09. Slowdown for the last 30 seconds.

7. Pixel Perfect     2:07
It’s title track time, people! And it’s apparently party time too, judging by the start. Melody at about 0:28, leading up to the inclusion of more percussion at about 0:45. Instrument change at around the minute mark. Change back to the original sound at 1:32 or so, leading up to both at once at 1:44, and then the finale at 1:58.

8. On + On     3:08
How haunting of an intro here; well done with the chipambience. Chipchimes at 0:32, and some percussion in the background. More instrumentation at 0:52. Breakdown at 1:08, interspersed with various effects until 1:42 when instrumentation returns. This song feels like a dream. It keeps building and building until 2:16, when it explodes into what can only be its final form. Slight breakdown at 2:32, which signals the coming end of the track, and subsequently the album. Fades out to nothingness. I am sad now.

THE SOUND OF SPEED

1. halc, OA – A, B, C, Start!     0:33
A simple take on the short title jingle, an idea taken from SnappleMan‘s Project Chaos title mix. Well done!!

2. OA, Scaredsim – The Sound of Speed     3:21
And one of the most familiar tracks in gaming gets a rockin’ facelift yet again. Guitar comes in at 0:18. Dual guitar tones at 0:27 or so! At least this song doesn’t start out with HEY IT’S THE PARTY SONG!! PARTY’S OVER HERE!! Just kidding, I love that part. Anyways, pretty faithful mix. Or at least, it is until 1:54 when the mixage begins. OA and Scaredsim did great on giving this a tropical feel while keeping it rocking. Throughout the solo, the crescendo plays continuously in the background. Back to source at 2:49.

3. halc, Insixfour, ProtoDome – Shifting Islands     3:38
Now my favorite Marble Zone remix happens to be Metamorphic Rock, but this take on it… well, it’s in its own league, and I mean that in the best way possible. Source comes in at 0:18 or so. Violin comes in at about 0:49. Classic halc chiptuna mastery comes in at about 1:25. More violin at 1:53. Breakdown at 2:27 or so, pure chiptunage follows until 2:46 when it all comes back. Simplicity from 3:22 or so until the end.

4. GaMeBoX – Subsonic Sparkle     3:21
And here I was thinking I’d never be able to review a GaMeBoX mix… Silly me, guess I was wrong. With the first of three Special Stage mixes, GaMeBoX puts his trademark style on this classic track. Source comes in at 0:20, with wah guitar at 0:27 and 0:34, and many other places throughout. Nice guitar usage from 0:54 or so until 1:12. The ring loss sound effect is put to good use in this song, along with several other tracks. Some chimes in the background at 1:44, and a breakdown about ten seconds later. Breakdown from about 2:52 until the end, with some elaboration starting at 3:02 until the end.

5. halc – Spring Junkie     3:45
I wonder if the duo of junkie-titled names was intentional… Anyways, pure halc here, just like in the above album. Except for the fact that those are original and this is not, and a mix of Spring Yard Zone. Some source comes in at 0:48 like a flying saucer. Listen and you’ll understand. More source at 1:11 or so. Slight breakdown at 1:30, with some awesome chiptuna at 1:40 or so. Great sound effect usage, a technique that seems prominent with this entire album. Slowdown at 2:25 or so, with source at 2:44. Simplicity reigns from 3:02 until end, with sound effects interspersed throughout.

6. Benjamin Briggs – Bubble Junkie     3:32
And now for everyone’s favorite stage, Labyrinth Zone. With its deadly waters and awesome boss fight, how can you not love this zone? Okay, so the stage itself sucks, but the music is phenomenal. As is chth’s take on it. Nice magic-box effect at 0:42 for the source to come in with. Also, I don’t care if he’s going by his real name now, he is and always will be chth to me. Spring sound, among others, at 1:11. Bubbly take on the source at 1:55 or so, and mixes with the wah effect afterwards. Remixage begins at 2:30 or so. Nice take on it to coast to the finish, and slowdown for the final seconds, with a sudden end at 3:28.

7. Joshua Morse – Fifty Rings to Ride     4:11
JM takes the second Special Stage mix, with a title that doubles as a game hint. Source comes in at 0:27. Sounds like he slowed the tempo down a bit; it works quite well. Classic Morse instrumentation and jazziness. Sexy guitar, ethereal instruments… it’s beautiful… Ahem. Brief breakdown at 2:05. 2:51 brings in some DO-DO-DO-DO-DOOOO… fits in perfectly with the track. More source usage at 3:17. 3:50 heralds the end of the track.

8. DrumUltimA, Harmony – Under Construction     5:30
And for the longest track on the album, we’ve got the Star Light Zone remix. And it starts simply with acoustic guitar and some chimes. Chimed source at 0:35 or so. And guitar source at 1:14 or so. What I never got was why it was Star Light Zone and it took place in a construction zone. Shouldn’t it have taken place in space or a planetarium or something with that name? Eh, no matter. Da-da-da-da-daaaaa at around the 2:40 mark. 3:20 brings in some remixage, queued up by Doug’s mixer name being sung. And then more guitar and singing queued up with Harmony’s name being sung. With epic drums continuing. I have to say, this song is like ten times more awesome in headphones than via my crappy lappy speakers. It calms down at 4:35 or so, and remains calm until the end.

9. Brandon Strader, Rexy – Hogtied     4:43
Epic boss mixage right here. By the way, last time I checked you could find a midi version of this on VGMusic under Newly Submitted Files, and it’s by Rexy, so that’s pretty cool. It doesn’t take long for the source to start, and Brandon rocks the guitars in this. Main source at 0:54 in epic guitar. The percussion in this keeps a fast beat that makes me move to it. 1:41 brings Rexy in to the main picture with some jazzy guitar. 1:58 has Brandon take his own version of the mix, and it’s pretty sweet. It’s also a segway into Rexy’s awesome take with more guitar over it. 2:49 brings in the start to one of the more epic parts of the song, building and building until it explodes at 3:22 with more guitar source usage. 4:12 brings the start to the finale with rising notes that culminate in brief source usage that fades to silence.

10. José the Bronx Rican – Caos     4:34
And now for the final take on the Special Stage theme. In my opinion, this is the most meticulously detailed one of the three, fitting for OCR’s resident rapper and media man. Source comes in at 0:34 or so. If you listen carefully, you can hear so many things at once it’s insane. More source usage at 1:22 or so. 2:00 brings in the start of José’s remixing of the source, filled with various jingles and brief snippets other tracks from the game as well. 2:46 is the start of an epic piano solo, lasting for an entire minute!! Listen carefully for the aforementioned aural allusions. Background source usage at 3:30 or so. The last minute is very toned down, but it works. After that piano solo, you need a cooldown period.

11. WillRock – Clockwork Criminal     3:28
Starts out with sound effects, and source comes in at 0:30. Trademark WillRock sounds come in at 1:01. Sound effects are in the background throughout the entire song, but are most prominent as the bookends, so to speak, for the track. 1:47 brings in the genesis of what we all know Will loves to do, and that’s rock out like a Brit. And judging by past British bands, they rock out quite hard. 2:17 has his synth guitar squeal that we all know and love. And again at 2:46, albeit briefly. 3:20 takes the sound effects and ends the track.

12. Jewbei – Final Progression     4:36
Ah, bLiNd’s disciple… good guy, good mixer. He’s learned much, and that’s blatantly obvious with this take on the Final Zone theme. Hints of the source come in at 0:31, and the full source begins at 1:41 after a breakdown at 1:11 and buildup at 1:28 or so. Trance-tacular!! Nice usage of ethereal chimes at 2:18 or so for more source. This just builds and builds and builds, kind of like Robotnik’s wrath I suppose. This is Sonic 1, so he’s being called Robotnik. It’s only fitting. 3:38 or so brings a slowdown and gradual removal of parts, until 4:20 when it becomes obvious that this is the progession to the final seconds of the track.

13. Brandon Strader, halc, WillRock – A Hog in His Prime     5:36
The credits medley, always a classic. Starts out with Special Stage usage, and sound effects. What else? Guitar comes in at 0:24. Awesome bass at 0:46 or so. Green Hill Zone at 1:04 or so, and more guitar courtesy of Brandon at 1:22 or so. More Special Stage at 1:49. Marble Zone, with wah, at 2:24 or so. Star Light at about 2:40, with chimes. Guitar starts at 2:52. WillRock’s synth at 3:23 goes wild. This is the solo that wasn’t in Clockwork Criminal. Breakdown at 3:52. 4:06 brings in epic finale, and 4:18 has Brandon showing off his recorder skills. For your information, these were previously seen in Monkeys Disarm Their Kremlings, from Serious Monkey Business, back in 2010. The recorder continues until very close to the end… but unlike most final tracks, this one doesn’t end with a peaceful fade. 5:17 brings in Brandon rocking the OUT OF BREATH jingle that closes out the album.

CONCLUSION

Well, truth be told I’ve reviewed three albums this night. First was DjjD’s Uprising, which you can read about elsewhere on this site. This double review was created to quickly shrink my backlog of albums I need to review. And I think it went well. Pixel Perfect LP was great, albeit brief. But mixed with the EP and you’ve got a damn near complete album. halc’s chiptune skills are definitely improving with age, and practice no doubt, something evident in his recent singles and in his work on these two albums.
As for the others involved with Sound of Speed, they’re pretty awesome too. A lot of love went into all of these tracks, and it shows. WillRock did a phenomenal job with his tracks, and Brandon rocked the holy hell out of what he was tasked with. Jewbei is starting to show signs of matching his sensei’s skills, if not surpassing him, with the potential shown in his, and chth gave Labyrinth Zone a nice spin. I’d request a mix of that from Insert Rupee, but since both Ben and halc have mixed that track on their own, I don’t think I need it. And the three Special Stage mixes were all beautifully done, created by three masters of their style. And the others involved did great as well. Next time I’ll be reviewing ProtoDome’s BLUENOISE album, followed by Benjamin Briggs’s Attention Deficit EP. Until next time, game on!!

The Very Best That No One Ever Was! The Missingno Tracks

DISC 1

1. Fishy – Game On (~Opening~ Demo) 0:19
Starts out with the Game Freak sound effects, and then rocks the main theme like mad!

2. Level 99 РThe Mighty Mighty Pok̩mon (~Opening~ Demo 2) 2:48
Starts out with Stevo’s signature guitar sound! Pretty rockin’ track from the start. 0:30 shows off some source usage. 1:08 brings a breakdown… and then it builds back up without missing a beat. 1:31 brings in a solo. Source resumes at 2:01. Stevo rocks this track right to the very end! YEAH!

3. halc – Shades of Red (Theme of Pallet Town) 3:11
I thought this was a remix album… not a soundtrack. Starts out with almost straight source usage, and 0:18 brings in the remix. halc keeps on improving his skills! 1:25 brings in some solo action. 1:44 slows it down and breaks it down. Source returns with some mixage at 1:54. Everything slows down at 2:30. It all starts to fade away at this point as well…

4. Jaroban, Matt Beckemeyer, Fishy, Sam Cooper, Vralia, Jocelyn Holst, DJ Krisp-E, Chris Stibrany – My Greatest Rival (Battle! Rival) 5:28
Oooh! Starts out pretty ominous sounding… Also, it didn’t take long to get to the requisite mega-collab. 0:13 brings in guitar, and 0:20 brings in an epic voiceover. 0:36 shows source chippiness. Vocal track? No worries, the lyrics are pretty well written, and also pretty funny. 1:25 brings in a backup vocal. That’s great… We’ll see who has the bigger Pokéballs! Best line ever. This makes Gold out to be a loser of sorts and Silver to be a pimp. Then again, Silver is Giovanni’s… err… don’t want to spoil that. 2:50 or so brings in the chorus. 3:22 brings a breakdown of sorts. Whip out your Pokéballs! 3:37 or so brings in a battle scene voiceover with classic sound effects. The lyrics don’t take themselves seriously at all… I love it. 4:20 brings the chorus back. 4:58 ends the song, and ambience starts until the end, with the epic voiceover too… What a hilarious track.

5. ProtoDome – Rain Prayer (Road to Viridian City – From Pallet ~ Guidepost ~ Road to Cerulean – From Mt. Moon) 2:42
Piano, eh? Proto’s still got it. But why isn’t he saving Christmas: The Dangerous Formula? Eh, no matter… 0:22 brings in some chippiness with the piano. What a mellow jazzy track… This is a really good track right here; I love it! 1:25 or so brings in a piano solo. 1:38 brings in a chippy solo. Everything really picks up at 2:04 or so. Everything fades away at 2:36.

6. prophetik – Viridian Vibe (Theme of Pewter City) 3:29
Ambience, eh? Saxophone at 0:16 or so. Some electronica comes in at 0:38 or so. This is a beautiful track right here… 1:24 brings in a solo of the wind instrument. Source resumes at 1:50. The electronic sound in the background works beautifully. It keeps the track together in a cohesive unit. More solo at 2:38 or so. The finale becomes evident at 2:58. Ambience returns at 3:10, and the sax fades out to the end.

7. Cerrax – Out of Antidote (Viridian Forest) 3:41
Eh, eh? Okay, I had to do that. 0:08 brings in source, with creepiness to boot. This is how this track should be done! After all, they say that the forest is a maze. Great work from Cerrax here. What an eerie track; fitting for this creepy forest. 1:06 brings in some more creepy ambience, and is followed by a solo. There’s even more creepiness at 1:30!! Everything slows down and calms down at 1:45 or so, but builds back up 10 seconds later. Another solo of sorts at 2:10, with a breakdown included. It slowly builds up to what is sure to be an epic finale. A hint of the end at 2:48. 3:04 brings a return of the norm, but with a hint of finality. 3:26 proves that the end is near, and it breaks down to the end.

8. ProtoDome, Level 99 – Hope to See You Again Soon… (Pokémon Center) 2:21
A mellow mix for a mellow source. With “duh duh duh nuh nuh”s included. Looks like Stevo opted for acoustic here, and Proto opted for his usual quirkiness. A breakdown at 1:20 or so. The piano in the background is beautiful. 1:50 brings a solo of sorts. Fades to end.

9. Fishy – Battle for the Badge [Battle (VS Gym Leader)] 4:10
Starts out calm, but 0:05 brings in some epic music. 0:16 shows the source in full rockin’ glory! 0:37 rocks it even harder. Distortion at 0:58. This is a phenomenal track right here… just what a remix of this source should be and more! It’s hard to review because it’s so awesome. I only want to listen and not type! Woe… Anywho, 1:57 kicks off the solo; can’t miss that now can we? 2:17 brings in more of the solo, and it sure sounds epic. Source begins to return at 3:00 or so. Still a bit of a solo here… that’s over a minute now. Slowdown at 3:29. Calm music until the end… One hell of a track there.

10. ProtoDome – On the Origin of Species (Evolution) 1:35
This title makes me laugh… well done, Proto. Well done. A mellow track for a simple source. Nice breakdowns and usage of Pokémon cries. Yes, I can tell they’re cries by the sound. Yes, I’m a nerd. No I don’t care. Think I heard a Magnemite in there… Very well done, and very calm. Nice work. Ends with the classic finished sound.

11. Benjamin Briggs – Drowning Blue (S.S. Anne) 3:13
Piano/chiptune hybrid is evident in the first 20 seconds. Classic chthonic goodness here. 0:56 brings in some source usage. Slowdown at 1:22, and solo from there. Slight speedup at 1:44 or so. It works wonderfully. Also a bit of a solo at this point, until 2:27 when the source returns. Fadeaway at 2:54 to end.

12. Rozovian – Spume (Sea) 4:43
Oh, Rozo, what have you done here? Let’s see! Sonar blips? Nice ambience… signature for Rozovian. Everything keeps building and building up until 1:11 when more ambience comes in. What a buildup.. 1:26 brings in some source usage. I knew it was building to something! What a happy track! Scratch that, what a bipolar track. More so than Bipolar Bird from Essence of Lime… 2:12 brings in more source usage. 3:07 slows everything down, and brings back the sonar blips. 3:18 brings it all back again though. I like the tempo of this… Everything slows down for the last minute, and returns to the ambient beginnings of the track. Nice job, man!

13. Tweek – TEEM.ROKIT (Team Rocket Hideout) 4:31
Tweek, master of epic stuff, tackles the Team Rocket Hideout on his own. Err… the song, not the place. 0:20 proves the epicity of the track is easily evident. 0:44 brings in some heavy drums. What an epic track! No surprise though; it is Tweek. 1:14 or so brings a breakdown, but with all breakdowns it builds back up. Source usage is littered throughout this breakdown. 2:10 brings in some more solid source usage. 2:26 has the classic sound of the source that is probably ingrained in the memories of youth who played Red and Blue for hours on end. Gold and Silver too, for that matter. 3:00 or so shows another solo. If Team Rocket was this awesome, they just might have succeeded in their goals. Instead, they were foiled by a sixth grader. 3:50 shows that source one last time. Fades to end starting at 4:10.

14. pu_freak – Clash of the Titans [Battle (VS Trainer)] 5:55
Piano rendition of the battle theme? I’ll take it. 0:26 brings in some source usage. The original battle themes were the best. This is a pretty awesome track. On par with Rexy’s best, methinks. 1:15 or so is a bit of a solo. 1:30 brings in the source again. Speed up at 1:55 with more source. This style fits the source wonderfully… like a skintight bodysuit or something. Yeah, it’s that good of a fit. 2:50 or so has a slowdown, but 3:00 brings in more of the source. 3:25 or so breaks everything down to the simplest form… pure, slow piano at its best. This continues until 4:24 or so when it starts to build back up… slowly but surely the intensity increases with each key, each note, until 4:52 when it gets back to the source. And at 5:10 it is on the verge of exploding with the pressure and intensity. At 5:30 it explodes, and the remnants of the track fade away to the finish. Beautiful!! Bravo!!

15. Rozovian, WillRock – Blue Haze (Road to Viridian City – From Pallet) 5:21
Once again, ambience. This is also Will’s first track on the album, and his signature synth sound comes in at 0:48. This track keeps on building like so many others before it. Then again, that’s fitting for a Pokémon remix album. Have to build your monsters up too, right? 1:38 continues the building of the track… WillRock uses Source! It’s super effective! Listener takes 2:10 damage because that’s the time it begins at. 2:37 brings a hint of more to come. The title is apt; there’s certainly a haze in my ears with this song. And then at 3:00 or so, the main song cuts through the haze like a Razor Leaf. At 3:39 or so, WillRock uses Solo! It’s super effective! Yes, I’m gonna continue these jokes. With this album, it’s kinda mandatory, ya know? Everything builds up after this solo until 4:38, when a hint of the end reveals itself. 4:50 slows everything down to it’s base level. Ambience to finish. Great way to end the first disc.

DISC 2

1. WillRock – Champion’s Horizon (Route #26) 4:47
Starts out rocking right out the gate. Classic WillRock sound permeates this track, as with most of his other tracks. 0:29 brings in calm source usage. 0:39 is the return of the synth sound. 0:54 has the classic screaming guitar sound that is so beautiful. 1:17 brings in a solo. 1:53 or so brings more source usage. 2:12 has some piano; a rare calm spot for a WillRock track. But 2:25 proves it was just the calm before the storm, as everything intensifies tenfold from here on out. This is truly one heck of a track, and truly fantastic. 3:19 brings in some triumphant sounding guitar. 3:50 or so has a victorious solo. More calmness at 4:05 or so. 4:22 says PIKA!! And repeats a few more times until the end. Cute and unexpected.

2. Insert Rupee – Precious Metals (Goldenrod City) 2:25
Ben Briggs and halc team up once more for this song. Very evident source usage. Very happy as well; the musical glee is reminiscent of Why So Serious? More source usage at 0:58 or so, with a bit of a personalized touch. 1:12 has a solo using some classic sounds and Pokémon cries. 1:42 has another solo. It all breaks down to simplicity at 2:07, and continues until the end.

3. WillRock – Slowpoke Shuffle (Azalea Town) 3:49
Ttthhhiiisss tttrrraaaccckkk iiiissss sssslllloooowwww…. A very mellow track; very well done Will! I’m half-tempted to review this song in the conclusion as a joke, but I won’t. Source is very evient throughout this track. 2:00 brings in a slow solo… a slowlo if you will. Source usage returns to dominance at 3:00 or so. Calmness continues to the end.

4. Mattias Häggström Gerdt, GSlicer – Casino Lounge (Goldenrod Game Corner) 4:43
Anso’s electronic expertise and GSlicer’s skills combine for one trance-tacular track. Rhythm appears at 0:30 or so. Source usage at 1:45 or so. This is a very rhythm-driven song; it works though. A bit of a solo begins at about 2:10. It’s like Rain Dance and then a water move; one part emphasizes the other. Nice work. Source returns at 3:30 or so. Calmness begins at 3:58 or so, and then builds up to the finale. Solo beat at 4:18, and then fadeout until the end.

5. Chrono, Dragon Avenger – Divine Olivine (Violet City) 4:15
What a happy beat! If Deia’s involved, I’m expecting vocals to go with a beat like this. Chimes play throughout. Source at 0:32. 0:47 brings in Deia going “na-na-na” more than that recent My Chemical Romance song. This is cooler too. More source at 1:21. Short breakdown at 1:35 or so. 1:56 brings Deia back, with backup vocals by DragonAvenger. Pretty well done. 2:38 brings in some beautiful piano, that brings in even more of the source. 3:14 returns the source that had been used up until this point. Basic beat from 3:55 or so until the end, with occasional chimes.

6. DragonAvenger – Jiggly Choir (Jigglypuff’s Song) 0:42
Okay, creeped out a bit. Damn Jigglypuffs… Anyone else getting sleepy? All this track contains is Jigglypuff singing. Pretty funny for an interlude. Then again, Deia did those on the FF4 album too…

7. ProtoDome – Home Is Where the Luvdisc Is… [Hearthome City (Day)] 1:45
0:12 brings in some jazzy source. Piano is used equally as the brass instruments. A bit of a solo begins at about 1:05. This continues until the end; beautifully done, Proto. Beautiful!

8. halc – My Friend Mudkip (Dewford Town ~ Surfing) 3:13
And now for the only Generation 3 remix on the album. Begins with some nice chippiness, and a great take on the source too. 0:30 brings in some background music. Also, for the record, I do like Mudkip. This is a very happy track, and chippier than a truckload of Lay’s put through a wood chipper. 1:30 brings in the Surfing source. This is even better than Shades of Red, believe it or not. A bit of a calm spot starts at 2:15 or so. A bit like Pacifidlog Town itself. Except this doesn’t float atop a colony of Corsola. Calmness and bass to end from 2:50 or so.

9. The Orichalcon – Argent Vexemon (Ice Path) 3:33
This is a very frigid song; by that, I mean the sounds are very icy. Bells and the like are used. 0:37 starts some electronic sounds. This a very intense song; 0:57 brings in a heavy beat. More source usage at 1:23 or so. There’s a large focus on the main rhythm here. A bit of a solo begins at 2:27 or so. A buildup to the end begins after this solo; the end really begins at 3:12, when it all starts to fade to silence until the end.

10. ProtoDome – May I Have This Swords Dance? [Canalave City (Day)] 2:51
A very calm song… it starts to build right from the start until 0:23 when the source comes in. Some jazziness comes in at 0:37, taking on the source. This is a very well-balanced mix of chiptune and jazz. Chipjazz, if you will, is pretty much Proto’s specialty, it seems. Solo at 1:27 or so, and it’s beautiful. There’s some pitch bending at 1:46 or so; continues until 2:06 when a breakdown occurs. Sax-sound comes in at 2:11 and continues until the end. Piano finishes the track. Nice work by Blake the British guy who’s a bit strange…11. Fishy, Andy Jayne – Super Effective [Battle! Trainer (Johto)] 5:15
Ah, Fishy and Andy. A collab unseen since Summoning of Spirits. 0:20 brings in some epic guitar source usage. This song is even longer than Battle for the Badge; with this much rock I can’t wait to see how much it progresses. More source usage at 1:08. Some solo at 1:27 or so. Once again, it’s hard to review because all I want to do is listen. Mor source usage at 1:57 here. This song is certainly super effective against my musical tastes; I’m loving the dual guitars. More solo at 2:41, and this one sounds quite heavy. Source returns at 3:04 or so. Another solo at 3:17 that quickly returns to source usage. 3:47 brings in some more rocking on the source that is a mix between cover and solo as with so many other parts of this song. This is such a fast-paced song. Slowdown at 4:27 that brings in some piano. Slowness continues until 5:02 when it all starts to fade away.

12. WillRock, ProtoDome, halc – Bullet for My Piloswine [Route #225 (Day) ~ Ending] 4:00
Vocals at the start; Pretty rocking start. Chippiness comes in at 0:25. Also, this song is guilty of one of the most simultaneously horrid and awesome puns for a title ever. Rocking at 0:37 courtesy of Mr. Harby. More chiptunes at 0:53 or so. Heavy guitar at 1:25 or so. Solo at about 1:40. This is certainly an epic track. Piano comes in at 2:08, no doubt courtesy of Proto. Chiptunes at 2:23. More guitar at 2:33. Dual guitar sound at 2:48 or so. More awesome guitar at 3:20. Fade beginning at 3:49 or so until end.

13. pu_freak – Journey’s End (Ending) 3:09
And we come to the final track, with a very fitting title. What an aural journey it has been, too. Very awesome piano, here. Then again, what OCR album these days doesn’t have at least one epic piano track? Very slow track, but the source is highly evident. I don’t anticipate a huge buildup here, as it’s the last track, and relatively short too. But it does start to build starting at about 1:40. The finale is surely imminent. This such a beautiful track… it all starts to decline to silence at 2:30, with very calm piano dispersed throughout this final period. Ends with a classic sound effect.

CONCLUSION
Well, this album has been in the works for 4 years now, right around the time when Diamond and Pearl came out, heralding the beginning of Generation 4 and showing a grand total of 493 unique Pokémon. And now, in less than a week Black and White come out, starting off Generation 5 and bringing the total up to 649. This album has been a long time coming, and that’s a very good thing. A nice balance between jazz, chiptunes, and epic guitar-driven rock, among other things, it comes together nicely. It’s definitely worth a download, and every track has earned its place on my hard drive. A much anticipated album, and the expectations were never too high. The end result met them and exceeded them without a doubt. Great work from everyone involved, and I can’t wait to hear and review the next album, whatever it may be. The only sure thing is that it will be OCRA-0024. Until next time, game on!