Originally published on Pixelitis.net on May 14, 2013.

(Editor’s note: From Metal Gear Solid to Tenchu, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame soundtracks.)

Forget that Sam Fisher had ever turned into a disgruntled ex-agent with nothing to lose. Before all that, the wise-cracking stealth operative snuck his way into one of 2005’s greatest games, Splinter Cell Chaos Theory.

Ubisoft Montreal tapped Brazilian electronica maestro Amon Tobin to craft the music for the third entry in the stealth action series. You could tell that the company was proud of the soundtrack, given that the album was released two months before the game was even out.

While Jesper Kyd of Hitman and Assassin’s Creed fame handled the orchestral tracks played during the game’s cutscenes, Tobin focused primarily on the tracks played during gameplay. What resulted was something fascinatingly unique: an eclectic mix of jazz, breakbeat, trip-hop, drum ‘n bass and the native sounds from his Brazilian origins.

What made his work on the game so unique was the method in which it was employed within the game: each track utilized different parts that varied in intensity. These parts were weaved in by the developers to dynamically change depending on what occurred onscreen.

Demonstrating this wouldn’t be any fun without subjecting your ears to this masterpiece though, so join me as we affix our nightvision goggles and do some split jumps to the tunes of Chaos Theory.

Originally published on Pixelitis.net on April 16, 2013.

(Editor’s note: From Ace Attorney to Xenogears, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame music.)

Let’s talk about the awesome combination of game music cover bands and heavy metal.

One of the fantastic things about videogame music is that the styles and possibilities within the genre are endless. Us VGM audiophiles bathe in a co-culture in which a classical, choir-oriented tune like this can still be lumped in the same category as its Mega Ran-covered, hip-hop conversion.

Next to assembling expansive orchestras to perform renditions of our favorite videogame music in classical arrangements, forming a heavy metal cover band is also one of the most beloved ways of interpreting everything from Actraiser to Zelda II.

Metal fans – and even game music fans – who claim to be “tired” of the abundance of VGM metal covers out there: get pumped, turn up your speakers and prepare to GET YOUR FACE ROCKED. \m/

Originally published on Pixelitis.net on April 2, 2013.

(Editor’s note: From Alundra to Wild Arms, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame music.)

Given how Capcom’s first Breath of Fire on SNES served as the catalyst for my enjoyment of JRPGs and their music, its sequel could only make that flame grow all-the-more furiously.

And that it did. I flipped a lid when I discovered the existence of Breath of Fire II in an early ’96 issue of GamePro. I finally got it for my seventh birthday in March of that year and I was treated to a surprisingly dark story and a musical experience that still resonates with me to this day.

While Capcom’s first massive RPG outing featured several composers from in-house band Alph Lyla, Breath of Fire II’s soundtrack was left to a lone composer: Yuko Takehara, who had previously worked on Mega Man 6 and X and would later handle Street Fighter Alpha, Marvel vs. Capcom, and Mega Man 7 and 10. Takehara continued with the classical and orchestral flair of the first game, while also breathing in her own style in the form of rock-hard battle themes that call to mind her work on Mega Man.

Originally published on Pixelitis.net on March 12, 2013.

We all love videogame music for a lot of different reasons. Nostalgia plays a big part obviously, but the infectious melodies often reign supreme.

The Mystical Ninja series is no exception. In fact, its melodies are so damn memorable that the moment I decided I would write about its first Nintendo 64 outing, I couldn’t get the music out of my head for at least 24 hours. I haven’t been a stranger to writing about my fondness for Mystical Ninja in the past.

One of the brilliant things about 1998’s Mystical Ninja Starring Goemon’s soundtrack is just how much of it there really is. The game easily spans more than eighty tracks, and that’s not even including all of the voice samples. This was made possible thanks to the game’s 128-megabit cartridge, which was a hefty size for N64 games back in the day.

The Konami stamp of authenticity lay in the composition of the music, which was handled by an enormous group of people. Composers like Shigeru Araki, Yusuke Kato, Saiko Miki, Yasumasa Kitagawa, and the “Goemon Production Committee” were on hand to create some of the game’s delightfully humorous anime-inspired vocal tracks.

So what are we waiting for? Let’s “BREAKDOWN!” some of the more standout tracks in this 3D platforming bundle of cooky Japanese joy.

Originally published on Pixelitis.net on February 26, 2013.

The best part of waking up… should be your alarm clock.

For some of us, waking up is like digging a corpse out of a grave. For others, it’s like birds chirp and the sun shines and they just wake up like Susie Sunshine.

But waking up is a part of daily life, and there are ways in which we can spice up the that routine.

After toiling with generic alarm clock noises for several years, my bedtime wakey-wakey (with eggs and bakey) was graciously changed for the better with the purchase of my first smartphone. With our bundles of touchscreen joy, alarm ringtones can be anything you so desire: a favorite song, loud obnoxious noises not related to ringing bells, or if you’re like me — videogame music.

So if you’re looking to enliven your daily routine of waking up with some good old VGMs, you’ve come to the right place. I may or may not have used some of these as my ringtones over the years.

Originally published on Pixelitis.net on February 12, 2013.

(Editor’s note: From Drakkhen to Paperboy, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame music.)

Don’t worry. I haven’t gone off my rocker and decided to dedicate a feature to fishing game soundtracks. Rather, I’d like to delve into a phenomenon known as the SNES bass.

Much like how Konami’s sound team had its own signature “orchestral hit” in its early 90s videogame music, several composers utilized a slap bass sound that’s become synonymous with the sounds of early 90s SNES titles.

The slap bass sample in question is taken from a Korg M1, the same keyboard used for thetheme to Seinfeld composed by Jonathan Wolff. Oftentimes, detractors (read: 90s Sega kids) will use these instances of bass guitar as a source of derision for the SNES’ sound chip. Indeed, the bass sample is an acquired taste. Some may dismiss it as laughably cheesy, and it very well may be in some cases, but that’s not to say that the sample can’t be found in some fantastic videogame tunes.

So bear with me. I’m going to make a case for the SNES bass.

(Editor’s note: From Fire Emblem to Persona, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame music.)

Have you ever heard the saying: “No Stairway” before? Yes, it’s a Wayne’s World reference and jokes about amateur guitarists butchering a Led Zeppelin classic. It can be seen as a snobby way of saying that the song is overplayed. But, that’s how I feel about one of the most popular Final Fantasy tracks ever, “One-Winged Angel.”

Now, I’m not going to flat-out proclaim that the final boss theme from Final Fantasy VII is overrated. It’s a phenomenal and haunting track, especially when Uematsu’s former progressive metal band The Black Mages covered it. I simply feel that there’s been enough obsessive adoration and praise thrown at it, so how about all of those other fantastic final boss themes that Uematsu and his fellow Final Fantasy composers have under their belts?

Final boss themes are the crème de la crème of battle themes in an RPG. The fate of the entire (in-game) world rests on the player and his or her party, so the game better have fitting music to go with it. So join me in my third and final examination of Final Fantasy’s battle themes and let’s talk final battle music. Bring plenty of Megalixirs (and be sure to actually use them, dammit!).

Originally published on Pixelitis.net on December 18, 2012.

(Editor’s note: From Breath of Fire to Ys, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame music.)

In a Japanese role-playing game, boss battles tend to be some of the most pivotal moments in the story. The boss is the encounter that players need to take a little more seriously than one of its minions. In the words of Emeril, the intensity gets “kicked up a notch.”

In this week’s continuation of my three-part series on Final Fantasy’s battle music, we’re going to focus on those catchy rock-oriented boss themes that moved us to take on the insurmountable odds. To save the world.

And rest assured, when the stakes are high and the chips are down, composers Nobuo Uematsu, Masashi Hamauzu, and Hitoshi Sakimoto have got it covered.

Originally published on Pixelitis.net on December 4, 2012.

(Editor’s note: From Grandia to Lost Odyssey, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame music.)

Although the 3DS’ Theatrhythm: Final Fantasy has been out for a good five months in North America, I’ve only started playing it now. And boy is it a nostalgia trip.

As I blasted through the game’s timeline of thirteen Final Fantasy titles, memories of my wonderful times with the Final Fantasy series permeated my mind. Nobuo Uematsu’s (and many other’s) work on the series is such an integral part to the Final Fantasy experience. Going along with that is its penchant for amazing battle music.

Great-sounding battle music is integral to any JRPG. You’re going to be engaging in countless battles throughout the game, so the tune you’ll be forced to listen to better be enjoyable. Thankfully in Final Fantasy‘s case, the battle themes never disappoint.

Let’s face it, you can’t lump the entirety of the Final Fantasy series’ battle, boss and final boss themes into one article or list. Consider this to be part one of a three-piece feature dedicated to covering the series’ rich library of monster-fighting music.

So assign your best job classes, strap on that materia, junction those spells, and update your sphere grids: it’s battle theme time.

Originally published on Pixelitis.net on November 20, 2012.

(Editor’s note: From Dragon Quest to Suikoden, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame music.)

I could sit here and type endlessly about the brilliance of Nobuo Uematsu’s work on Final Fantasy IV – VI, or how in-depth Koji Kondo’s Super Mario World compositions really were, but those are instances of SNES music that have been endlessly praised and examined for nearly two decades.

One particular score that holds up as highly as the others is Breath of Fire. Developed and published entirely by Capcom in 1993, with a North American localization handled by Squaresoft a year later, it marked the company’s first foray into a JRPG market already being dominated by the likes of Final Fantasy and Dragon Quest.

As a personal fan of the Breath of Fire series, you can see why its epic score, diverse cast of characters and a world filled with dragons, sorcery and conflict, would make a very strong impression on six year-old me.

Originally published on Pixelitis.net on October 23, 2012.

(Editor’s note: From Castlevania to Turtles in Time, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame music.)

If you were a kid of the 80s and early 90s, then you were no doubt exposed to the musical phenomenon known as the “orchestral hit.”

For the uninitiated, the orchestral hit (or stab depending on your lingo) is a sound created by layering several orchestral instruments that play a sole staccato note or chord. In other words, it’s a quick note followed by a quick rest or pause. Its use by hip-hop artist Afrika Bambaataa in 1982 set off a whirlwind in the music business where every pop album had to use it.

And so did Konami.

The orchestral hit (particularly the “Fairlight Orch5” sample of it), to quote Joshua Kopstein, is “the musical equivalent of the Wilhelm Scream,” and boy did Konami have quite the field day with it.

Originally published on Pixelitis.net on October 9, 2012.

(Editor’s note: From Parasite Eve to Silent Hill, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame soundtracks.)

When it comes to horror games, music creates an interesting duality. On one hand, it can be one of the most essential parts in enhancing the game’s atmosphere, while in other titles (likeClock Tower), it’s the lack of background music that heightens the tension.

In the 1998 survival horror classic Resident Evil 2, the score is rife with the the sort of horrific ambiance you’d expect to hear in a horror title while also taking into account the more adrenaline-induced, Hollywood-style moments that the game entailed.

Originally published on Pixelitis.net on September 25, 2012.

(Editor’s note: From Final Fight to Maximum Carnage, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame soundtracks.)

After celebrating the revival of Double Dragon two weeks ago with a look back at the fantastic soundtrack to Double Dragon II, my eyes, hands, and ears proceeded to be graced by the delight that is the recently-released XBLA/PSN title Double Dragon Neon and its stupendous music.

Back-to-back Double Dragon Liner Notes? You better believe it. WayForward Technologies’ first foray into the Double Dragon universe brought with it a fantastic score that has easily become one of the best game soundtracks of the year.

So don your power glove and get that pencil ready to rewind some audio cassettes: we’re about to relive the glowing ’80s.

Originally published on Pixelitis.net on September 11, 2012.

(Editor’s note: From River City Ransom to Streets of Rage, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame soundtracks.)

WayForward’s Double Dragon Neon makes its debut today, revitalizing a series that hasn’t seen much action in the last ten years. Thus, it would only be fitting to look back at one of the greatest things about this classic beat-‘em-up series that’s not named Abobo: the music.

All of the Double Dragon games have their fair share of kickass tunes, but the one I’m going to focus on happens to be one of my favorite entries in the series. Technos’ NES version of Double Dragon II: The Revenge was better than its predecessor in a bevy of ways, from a major upgrade in the graphics department to most notably incorporating two-player co-op, as if that shouldn’t have been a requirement for the console outings from the start.

Double Dragon II’s music may not be the definitive musical experience for its genre, but its tunes have stuck to me and many other game music aficionados for quite some time. So slick your hair into an Elvis-style ‘do and don your tightest spandex, ’cause it’s time to listen to some mother-effing Double Dragon music!

Originally published on Pixelitis.net on August 28, 2012.

(Editor’s note: From The Legend of Zelda to Bastion, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame soundtracks.)

Whenever the Final Fantasy series is brought up in conversation, there’s usually a quick list of the greats. Final Fantasy VI, Final Fantasy IX, and yes, even Final Fantasy VII all get rattled off in rapid succession. Yet whenever Mystic Quest gets brought up, it usually tends to cook up derision from everybody I talk to.

Released in 1992, Final Fantasy: Mystic Quest features all the trappings of a very simplistic Japanese role-playing game, with a rudimentary turn-based, two-party battle system, linear world map and plot, and visuals ripped straight out of the Game Boy’s Final Fantasy Legend III.

And while Square intentionally developed the game that way to bring RPG newcomers into the fold, the tactic would ultimately backfire. After all, it failed to both appeal to newcomers or Final Fantasy fans.

But you know what? Despite being a “baby’s first JRPG,” I enjoyed its simplicity. It exudes a sort of oddball charm that you don’t always get with recent JRPGs. Most of all, however, I revel in the game’s soundtrack, which remains one of its biggest highlights.

Originally published on Pixelitis.net on August 14, 2012.

(Editor’s note: From Super Mario Bros. to Metal Gear Solid, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame soundtracks.)

There are certain soundtracks that any self-respecting game audiophile pretty much has to love. Whether it’s the same composer over a number of titles or a one-shot that stands out, there’s usually something that catches the ear.

Take the Castlevania series, for example. Since its beginnings in the 8-bit realm it has provided exceptional music. Loving it usually comes with the territory; it’s just too good. With the 16-bit era, the gothic series entered with the loud crack of a whip.

Originally published on Pixelitis.net July 31, 2012.

(Editor’s note: From Super Mario Bros. to Metal Gear Solid, everyone’s got at least one videogame tune stuck in their heads. Enter Liner Notes: a Pixelitis feature in which our writers discuss their favorite videogame soundtracks.)

The Vandal Hearts series may not bask in the popularity of other turn-based tactical RPGs like Final Fantasy Tactics and Tactics Ogre, but it’ll always have a special place in my heart.

Konami’s sequel to the 1997 cult-classic Vandal Hearts is a touchy subject among fans of the series. Released two years later, some fell completely in love with the game’s art style, twisting plot, and engaging characters; others felt it was a major disappointment in not living up to the original.

But if there’s one thing fans can agree with, it’s that Vandal Hearts II had an incredibly majestic soundtrack. It’s one that in my opinion features some of the best tracks to ever grace the original PlayStation.

Originally published on Pixelitis.net on July 11, 2012.

(Editor’s note: From Super Mario Bros. to Metal Gear Solid, everyone’s got at least one videogame tune stuck in their heads. With hours spent exploring Hyrule or shooting fools in Moscow, it’s no surprise there’s a massive fanbase of the music in games. Enter Liner Notes: a new Pixelitis feature in which our writers discuss their favorite videogame soundtracks.)

When Capcom unveiled the reveal trailer for the GRIN-developed Bionic Commando: Rearmed back in 2008, I went nuts. One of my favorite NES action platformers, retaining its 2D gameplay but with the added benefit of high-definition visuals!? Yes, please!

As I ogled at a revamped Nathan Spencer swinging about just like he had in 8-bit form, my ears picked up on the trance-esque version of the classic, triumphant Bionic Commando theme pumping out from my speakers. It was a very interesting new take on the original chiptune, one that I had not seen coming.

Original composer Junko Tamiya (credited as “Gondamin” in the game) had made a very melodic and militaristic-sounding soundtrack for the NES version. With Rearmed, composer Simon Viklund eschewed that militaristic, orchestral feel (leaving that for the 3D Bionic Commando), instead remixing it in an electronic style that’s reminiscent of modern breakbeat and house music.

Viklund essentially worked the game’s classic music into something both unique and familiar, and in the end, it wins out. Incredibly.