my knowledge of computer game music is far from encyclopaedic, in fact its barely even a footnote on a random page of the great book that is computer game music, it is more like a barely legible scribble in the margins, in greylead pencil, that reads something like “you don’t know shit about computer game music”
but a couple of things have happened this week that makes me think i need to get my head back into that.
first up, while preparing to interview luke disasteradio – yes, theres that name again, he pays me in virtual synths every time i mention his name on this blog – i rediscovered my favourite commodore 64 computer game theme, commando. if you ever played c64, you probably played commando. when we played it during luke’s interview, one of the other announcers came in to the studio saying “i’ve played this game… what is it?!” its a song that never leaves you. this game i played a lot when i was a kid, though i could never get past the first few levels. i didn’t realise it at the time, but now i’m positive, that the reason i kept going back to it despite the fact that i was so shithouse at it was obviously just to hear rob hubbard’s amazing theme song over and over and over:
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what is amazing about this track, and i guess about all computer game music from this era, is how the composers could make such compelling and innovative songs using only the barest of building blocks. they were under such restrictions in terms of the sounds at their disposal – they were literally constructing music out of the tiniest shards of electrical noise. so they squeezed everything they could out of melody and rhythm. recently several groups have rather infamously started transposing the old commodore 64 game themes into orchestral arrangements.. eg the c64 orchestra… but there is actually something about the original distorted proto-digital sound that i find really inviting and comforting. but i guess thats all about memory, as most things tend to be, that really its just the way this song evokes so vividly a piece of my childhood, thats why it gets my rocks off so severely.
the second thing thats happened – and i see this to be some marvellous confluence of mystical energies that led these two things to happen in such temporal proximity – or perhaps it was a coincidence – it actually happened just a couple of hours ago when i got an email from marcus asking me about my EP changes (i hope he doesn’t mind me quoting some of his email here):
Incidentally, have you ever played the video game ‘Secret Of Mana’ or heard the soundtrack? The first time I heard Changes on the radio it immediately reminded me of a song from that game, which is why I like it so much. Listening to the rest of the EP, it sounds like it was very ‘Secret Of Mana’ inspired. Is this the case, or is it a fluke that they have similarities?
this is seriously one of the coolest things i’ve ever heard about my own music! i’ve managed to do a little bit of googling and tracked down some info about secret of mana, which i’ll be honest i haven’t played before. i think it was a super nintendo game – i never hooked into that generation of consoles to be honest. for me it went C64… xbox… neverwinter nights. and not much in between. except for civilisation. railroad tycoon 2- that shit is hot! but i digress. secret of mana:
The game’s soundtrack was composed by Hiroki Kikuta, and is perhaps his most famous work[citation needed]. It is known for its variety of tunes which tend to focus on the use of percussion and woodwind instruments, ranging from a lighthearted dwarves’ polka to a somber, wistful snow melody to a tribal-like dance.
my music sounds like a dwarven polka! if only! though i will admit – “tunes which tend to focus on the use of percussion and woodwind instruments” – this is not so far from the mark given the liberal doses of sampled drums and flutes that litter the track “changes” and also just most of my stuff in general. anyway, thanks so much marcus for making my day!
the secret of mana soundtrack can actually be downloaded in its entirety from this website. i’m just starting to give it a few spins and some of it is great stuff. here are a couple of samples to whet your appetite:
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so much great stuff i have just gotten to hearing. wow.
lets get into it.
principles of geometry have a full length out on tigersushi. apparently their album has been censored on itunes. because it has boobies on it. this mix they did for website allez-allez is possibly the best mix i’ve heard in ever. “their upcoming album on tigersushi ‘lazare’ is an ambitious album synthesis of decades of electronic music incorporating influences like john carpenter, terry riley, wendy carlos and the aphex twin. this hour long mix gives an idea of the sounds that have influenced them. put simply it is stunning.” allez-allez.co.uk
this clip from wellington NZ’s disasteradio is guaranteed to make you feel awesome, but the coolest thing about his brand new album visions is not necessarily the andrew wk meets moroder pick-me-up power pop songs, but the hot fairlight/commodore 64 instrumentals! check this out!
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buy the album visions on mp3 format here. do it now, you fools!
(artwork by cailan burns, member of pretty boy crossover)
these tracks you’ll have to track down your bad selves. please do.
Pretty Boy Crossover – A Different Handwriting myspace
Paper – Mountain myspace
Joakim – Rocket Pearl myspace
Harmonic 313 – Arc Light myspace
TOO MUCH GREAT MUSIC! MUSIC IS THE BEAST THING EVER HEY GERARD
playing zork on commodore 64 was one of the most exhilarating and frustrating experiences of my childhood. calling zork an “interactive fiction computer game” is really just a lame way of trying to sexy up what is on paper a very bland and simple concept – its a text game. it reminds me of those early computer psychologist programs, where they tricked people into thinking that their computer-facilitated therapy was being conducted by a real person when it was actually just an evil computer program called eliza.
hands down the best thing about this game is that there were very limited instructions that came with it – you weren’t given an exhaustive list of text commands, so most of the fun in the game came from trying out different verbs and seeing what it did and didn’t respond to. i never got very far with zork, i didn’t have the patience for it. but the concept excited me so much. i wanted to design my own text adventures.
you can play it online here, or (if you want to get serious) you can download it to your computer here so you can play it anytime, save your game etc. you know i think i had eliza on my commodore 64 too, actually… she warped me, i guess
/// New 6-track Vanderbilt EP features two Faux Pas tracks plus remixes by Crumbs, Aoi, Pasobionic and Lewis CanCut. Its a free download, get it here.
/// My album Noiseworks – featuring “Vanderbilt”, “Chasing Waterfalls” and “Silver Line” – is available here.
/// I’ve been working on remixes for local bands Rat vs Possum, Flying Scribble and Akimbo. These are good people.
/// I’ve started making some new songs – if you want to have a sneak peek at what they sound like, here is the place to start.
Tim Shiel lives in Melbourne. He makes music under the name FAUX PAS, and is also a broadcaster on public radio station 3RRR FM. This blog began in 2005.
1981: Born in Melbourne Australia, life feels empty and without meaning
2005: FAUX PAS created – life still meaningless
2010: Tim writes brand new three-line biography
Press photos:
“Cool Quotes”
“Psychedelic. Balearic. Straight up pop. Call it what you want, this is memorable music.” keytarsandviolins
“Lush, dreamy future pop that just begs you to dive in headfirst, your heart in close second. Just be careful how many times you dip in – you might find yourself blissfully lost in here.” mess+noise
“Impressive elastic strands of plaited sense associations; extract of flashy disco, pastoral swoon and computer exploration.” threethousand
“A total cottage industry – one guy recording, pressing and releasing his own music – and it’s an example of how to do it right from the bottom up.” Stylus
“A manic journey of sounds, bound by neither genre nor era.” Beat
“Cuts-and-pastes big samples with delicately rendered instrumentation. A party jam. Four stars.” Pitchfork