Tag Archives: MUSIC

Triple Triad: Mykah’s EDM Final Fantasy Tribute

Triple Triad is now available from GameChops
Triple Triad is now available from GameChops
Final Fantasy is widely known for exceptional characters, superb storytelling, and memorable music. The music is so loved that many groups have adapted it for live concerts, including five distinct tours over the past decade. Today, the team of electronic dance musicians at GameChops have released “Triple Triad,” a twelve-track remix album playing tribute to Final Fantasy and the music of series composer Nobuo Uematsu.

Spearheaded by UK producer Mykah, Triple Triad takes inspiration from three classic games in the Final Fantasy series, VI, VII, and VIII. To many, these games were an introduction into the series. To others, these games serve as a fond memory of when story, mood and music took precedent over graphics, hardware and spectacle.

Triple Triad contains a multitude of genres and styles to fit any electronic appetite; styles range from latin dancehall to drum ‘n bass to house and dubstep. Mykah shows his versatility as a producer, while the compositions of Mr. Uematsu are proven, yet again, to be powerful in any context. Whether you’re a long-time fan of the series or a casual listener of electronic music, Triple Triad is something special.

Listen and download it today from GameChops.

Follow Mykah: Soundcloud, Facebook, Twitter

GameChops is a record label started by Dj CUTMAN that produces electronic cover songs of video game music. GameChops acquires mechanical licenses to the compositions contained within their albums. Music is available on GameChops.com, Loudr.FM, iTunes, and other major marketplaces.

Life as A Freelance Video Game Musician: Part 1: What It Takes

beatscribe007ySQURWe’re starting a little series on here that takes a look at what it’s like to be an indie video game composer, offering tips for the business side of things as well as insight into the process of designing music and sound for video games.

Years ago, the prospects for an indie game composer – especially one influenced by chiptune and classic gaming tunes – were slim. If you weren’t an uber-talented genius with the right connections, it was not a viable way to make a living. While it’s still not the easiest lifestyle, I can say it is possible. Read on to find out exactly what it takes and feel free to add any questions you have to the comments.

I have spent the last year and a half supporting my family on freelance endeavors in the gaming world. Right off the bat, I want to say that I don’t consider myself the top-of-the-line expert in the world or production and sound design. I have a background of playing in ska bands as a kid and just being nuts about game music since the NES came out. I’ve never worked on an AAA game, I don’t have an agent or a $50,000 home studio. That being said, however, thanks to the explosion in video game design and advances like the iOS market, I can make a decent living doing what I love.

This series will answer questions like, “what’s the bare minimum you need to get started?”, “how do you find clients?” and other things like that. Feel free to post in the comments any topics you have questions on. I plan to consult with other indie musicians for feedback as well.

Part I: What It Takes

Flexibility

If you’re thinking of having a go at making music for a living, there are some things you need to make sure you are aware of. First off, you probably will have to make types of music you don’t know or particularly like from time to time. For example, if all you do is dubstep or chiptune, you’re narrowing down the type of clients and the type of games you’re music applies to. Be prepared to emulate everything from classic orchestral tunes to hard-driving electronic and industrial music. You can’t be picky, this is how you make your living, you might be making nothing but little kids game music for months. You have to be able to make it your own and find some fun in the process if its not the music of your choice.

Continue reading Life as A Freelance Video Game Musician: Part 1: What It Takes

Bringing the 80s Back to the Future: A Review of One: A Telefuture Compilation Album

One: Telefuture AlbumAmidst the commotion of fast-paced 21st-century life, 80s-inspired record label Telefuture reminds their listeners of a more optimistic time, when we could only just begin to glimpse at what technology might become. Over the last year, Telefuture has strived to keep alive the ideals and sounds of the 80s.  A celebration of the label’s first anniversary, One: A Telefuture Compilation Album is an hour-long musical ride that pays homage to the golden age of wayfarer sunglasses, hairspray, and video arcades.  The eleven songs showcased in this album re-imagine 80s auditory tropes for the listeners of today by capturing neon-lit nostalgia through the use of classic analog sounds and samples.

The album leads off with “Gemini,” an exquisitely introspective track by Nashville-based Makeup and Vanity Set. The song draws us in with its subtle buildup of atmospheric synths coupled with delicate percussive pops, while also sparking Cosmos-like visions of exploding stars and faraway galaxies. Moving on through time and space, the album next invokes the era of the Brat Pack with Le Cassette‘s “Tonight.” No album inspired by the sounds of the 80s would be complete without a throbbing vocal ballad and Telefuture’s inclusion of “Tonight” definitely does not disappoint. Flashing back to an electronic love affair long gone, “Tonight” shines bright as the only song on the album with vocals at the forefront; the track blends buttery backing synths with smooth vocals into a delicious sonic simulacra of an 80s-style ballad.

One leverages the combination of different musical artists to great effect; the songs combine old and the new to the point where it is difficult to tell where one era stops and the other begins. With its bouncy, upbeat synths and delightful underlying rhythms, Arcade High‘s “One Year Ago” summons up an especially jubilant acoustic throwback to the coming-of-age films of the 80s.

While there are many bright moments to be savored on this album, not every song completely hits the mark. Planted squarely in the middle of the album, Swedish musician Linde‘s “M.Y.S” clocks in at just over eight minutes. Wading through the track’s psychedelic echoes and ethereal arpeggios, though they are at times gripping and always interesting, constitutes an exercise in patience. By the seventh minute of languid electro synths, there exists an almost palpable desire for a jolt of musical rejuvenation. Thankfully, this jolt comes in the form of the track that follows “M.Y.S.” – lpower’s Passage.” “Passage” recovers the album’s energy and recaptures the spirit of chiptune as it draws upon the power of bassy and driving melodic synths to pack in an energetic, addictive blend of dance beats, chip harmonies, and an intense boss fight wrapped up all in one.

The end of One does not impress as much as the beginning; this is not to say that the latter songs on the album do not deserve as much credit, but in the wake of the earlier musical heavy-hitters they remain at an auditory disadvantage. Overall, the album is a fantastic and thoughtful tribute to the sounds of the 80s, where the sincere efforts of the musicians on the album pack a punch as powerful as He-Man himself. With one ear in the present and the other in the past, any listener will find Telefuture’s first anniversary compilation to be a memorable musical marvel.

Find out more about Telefuture on their Facebook page, Soundcloud, or bandcamp.

It’s Got Great Music But…

There are some games out there that had incredible music, but just missed the mark in some other ways. Here’s a list of games that you definitely want to pick up the amazing soundtracks for, but might want to skip itself.

 

Awesome NES Rock but…It’s Impossible

Silver Sufer just bumped into a wall, or a tiny rubber ducky (not kidding), or maybe he just found out about this game….
Silver Sufer just bumped into a wall, or a tiny rubber ducky (not kidding), or maybe he just found out about this game….

Silver Surfer has some excellent NES music. Check out that level one guitar noodling! It’s Epic!  However this Gradius-clone fails in almost every other way. The level designs are impossible, often leaving you little space to maneuver your giant silver surfer board. It’s also unclear of what is in the background and what you’re going to crash into. Oh yeah, touch anything and YOU DIE instantly.

 

It’s hard for me to fathom how the programmers thought this game was ok. It could have been better if they had just given you a life bar. It’s a pretty sub-par side view and overhead shooter but the fact that your board is humongous and you can’t always tell what’s a wall ruins everything. But seriously, get the soundtrack, it’s amazing.

 

 

Continue reading It’s Got Great Music But…