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/vgmg/ Vidya Game Music General Anonymous 02/11/2022 (Fri) 09:53:39 No.1895
Current pastebin link: https://pastebin.com/Pdr931hQ For the past years, this subject has evolved greatly but it is best to start with something a little simple. Atari, the once mighty giant, had poor design choices after their success with the 2600. They have committed the biggest sin of all, which was neglecting the sound hardware for their 8-bit gaming console, the 7800. While the 7800 had native backwards compatibility with the 2600, it lacked any sustainable sound chip other than the TIA chip from the 2600. However, the designers of the console alleviated this by having developers implement the POKEY chip in their cartridges with little costs. Although, this was dropped as soon as Jack Tramiel bought out Atari and restructured the company. The POKEY chip was primarily used in Atari's arcade cabinets and 8-bit home computers. It was most notable known for being used in Lucasfilm Games's Ballblazer for the Atari 7800. The theme Song of the Grid rip Russel Lieblich had some interesting origins, from the Wikipedia article: Ballblazer's theme music, called "Song of the Grid" and heard between matches, was algorithmically generated, a technique designed by Lucasfilm Games team leader Peter Langston and called "riffology". The lead melody is assembled from a predefined set of 32 eight-note melody fragments, or riffs, which are put together randomly by an algorithm that also makes choices on several parameters including "how fast to play the riff, how loud to play it, when to omit or elide notes, when to insert a rhythmic break". The melody is accompanied by bassline, drums and chords, which are also assembled on the fly by a simplified version of the above approach. In effect the music plays forever, without repeating itself but without straying too far from the original theme. Langston, an experienced jazz, rock, and folk musician, said of Ballblazer's music: "One reviewer, an eminent jazz player [Pat Metheny], said it sounded like John Coltrane did it. I think that's my best compliment so far." The Atari 7800 version was one of the rare releases for the system to use the POKEY additional sound chip. To pose some questions: Who is your favorite vidya composer and why? Which vidya generation, other than the 1st and probably 2nd generation, has the best music? What is your favorite sound chip?
My favorite composer is probably the good old Nobuo Uematsu. I particularly love his more casual tunes, they have this sort of cozy earthy feel to them and are also very distinctly his own, whenever I hear something in this style I immediately think of him. I also really like Hitoshi Sakimoto, he has a very unique, instantly recognizable sound as well, though it's harder to define. He has this sort of iconic mix of violin and flutes, and some other instruments; very breathy and often utilizing choirs.
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Ah yes, fair game admins, i myself didn't make this thread but a user and without explicit request so i am finally free to post stuff in it, although i will procure to downsize the best i can some webms. Very nice OP, i have some backlog of posts i've made years ago (time flies) along with the webms, should i repost in its entirety, screencap and post just a few ones or...? I continued reading and checking some others but never made a concise writing of them, just bullet points waiting for another board to spring up. Anyways: >Who is your favorite vidya composer and why? Hard to say as there's many i haven't truly discovered, i have to say either Follin or Jun Ishikawa despite his relatively few works. >Which vidya generation, other than the 1st and probably 2nd generation, has the best music? Probably 5th generation but 4th one is hard to beat. >What is your favorite sound chip Redbook :^)
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>>1900 >I continued reading and checking some others but never made a concise writing of them, just bullet points waiting for another board to spring up 'tis time.
SNES probably had he most impressive sound chip all things considered , it never stops to amaze me what quality and complexity it can produce.
>>1904 Very well might as well repost a small one, reconverted webms to save space and not get slapped, to gauge interest while i find those notepad files, can't seem to find them lol it's been a bit more than 2 years ago since i planned any related stuff The Sims by Maxis & Will Wright's overindustrious mind, released in 2000 and starting as an architecture simulator, later evolving to the point it became its future disgrace and being sold conceptually as a doll house/agent management simulator, that for some reason or another due to completely retarded reasons wasn't seen as being a profitable idea in either conceptual iterations by Maxis, very ironically saved by an EA executive who vehemently defended the project against everyone citing its freecare atmosphere and already existing userbase (dollhouse/lego users). Shame Wright used A Patter Language instead of Neufert's Bauentwurfslehre but that's another story, his covert operations to hire talented devs in other games' developments and making them work in secret knowing execs hated his idea is a thing to behold. His brainz controlled almost every aspect of the game, making it more detailed as he was educating himself more and more especially after his house burned down and he had to read about remodeling/construction to save costs yet until the end is where the music aspect comes to play. Will grabbed Maxis' lead audio and composing director Jerry Martin, our main subject and someone i will keep posting later to satiate my need to post, and tasked him with music for certain moods. Knowing that, in the first steps, building and/or remodeling the house itself is the most time consuming activity he asked for Build Mode: Inconspicuous music, calm and serene, not distracting and not tensing the player. For this step Jerry wrote some stuff, invited his neighbor and Yellowjacket brass Marc Russo to write some more and polish what they had, and when our lead friendo couldn't play the tunes the way he wanted, invited jazz session piano man John Burr to add the extra stuff. This is the result.
Originally that's all i wanted to post i meant back then but some anon will claim Buy Mode was as good, so here it goes. Jerry only gave instructions, "moods" and chopped down bits to focus and exacerbate the serene parts which made Russo confused on the overly minimalistic nature of it, Burr seemed to understand and went to try channeling a very interesting keyboardist (now that i checked him) called Keith Jarrett, a "new-age" jazz man akin to the general vibe of a name i haven't read in a long time: Windham Hill Records. This info comes from a Vice article, and yeah i know but had no other sources so i had to read it so you don't have to, there's not a lot of info regarding Maxis guys not called Will Wright. Now regarding Buy Mode, Wright gave Jerry a free hand to do anything he desired as long as it represented the pompous nature of spending money, especially antique seaters, grandpa clocks, third reich futurist leather seats and clown paintings. The music is much more upbeat and campy, a bit too campy but it can go downwards pretty quick, especially in Russo's piece remaining untitled, which he claimed an overall focus on "nostalgic", "selling stuff you don't want to let go". His purely own piece for Build Mode also reflects that, and in my opinion the entire doctrine regarding these was adequate, so much it still remains in my opinion the most memorable soundtrack pieces in the entire series, very especially since those things they wanted to recreate became it. I don't know who but i remember a long time ago, at Halfchan's /v/ around Sims 3 launch, some dude shilling a free offer for some music page that sold albums but with full info, as in MIDI and transcriptions alongside the music itself. The link asked for a quick account creation to get the offered gift, The Sims 1 Build Mode soundtrack. I got it as quick as i could and so did a couple anons, i don't recall seeing it later so maybe it was someone close to Big Jerry or a chance encounter as it seems he has his (rather obscure) site with the same specifications. Here's the zip i got, as is, back then. Only with a jacket folder so those pesky algorithms don't get my account. Shame we didn't freegot Buy Mode too but i prefer Build. >https://mega.nz/#!WNJUgS7b!8MO3pAn9Z0YsfN0a8jmVXLyPXfhy2lqBaPkzU9jb710
What the hell, why not a couple more, these first 4 are from the horny-n-jazzy expansion pack Hot Date, the turning point in which The Sims started going more around agent management than architecture, but still done so that it was tasteful. Livin' Large and House Party added objects and furniture along with some zany interactions plus Drew Carey life simulator but this puppy here was the one that made the game a truly "cosmopolitan" experience, adding restaurants, shops, parks and other places along with more in-depth interactions that made possible to kiss that one auto-generated character, burn the kitchens and bang old people in the customized hidden dungeons under the fountain park, all paid by public resources. The last one is a Superstar expansion pack tune, the most memorable for me other than the loading screen and the last gasp before the series went to loonie town with Harry Potter stuff. It fixed itself in 2, and while the first game with all its expansions like sold these days is still a magical experience the series has been known for ups and downs, recently enjoying its most miserable times since Wright was being scolded in meeting rooms for trying to cope with company money for the lost of his house and pets. Hope some anons get to enjoy (or re-enjoy) some old posts in these newer, slower times. Probably will get some other subjects, just a matter of finding some files and re-encode them.
>>1916 Jerry is a master of his craft. Sim City 3000s soundtrack is god tier.
>>1915 I really love this '90s music style. It's so sunny and comfy and distinctly pre-CY.
>>1916 >>1917 >>1918 Great write up anon, you should throw that zip on archive.org so it's preserved.
>>1921 >throw that zip on archive.org Never thought about it, might as well if they are upping other copyrighted stuff. >>1919 He's top-tier, i didn't know he did tons of Sim stuff. Usually i tackle a single subject in one or two go's but i wanted to little by little write about single games or eras of some composers until satisfaction, that was supposed to be so i could post more often rather than once a year lol, with J.M. and The Sims 1 it was my first try then i went with a big dump and Julay went kaput so i never resumed, only ever posted in /shelter/ i think. >>1905 Hey that's pretty interesting, well textured and i don't recall ever hearing something related to that game. Looks like an anime Pinocchio.
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>>1926 > i don't recall ever hearing something related to that game. Looks like an anime Pinocchio. Yeah, it's a fantastic hidden gem, inspired by Pinocchio to an extent. One of the most stunning games of the generation.
And here's an oddity, 2000's Vanishing Point for the Playstation and Dreamcast, i had this sucker pirated for the PS1 back when i was a kid, had a love-hate relationship with it due to the fact that it messed with my mind as the game had a serious problem in my opinion: Lack of homogeneous creative direction, translated to young age ideas as "this feels very uncomfortable to play" and music played a big part around it, yet it wasn't bad. Here's a little context about this: Acclaim wanted a slice of the newly-coveted racing genre in the late 90's and threw a bunch of talented dudes into a bowl, the result was this piece of software that boosts a very interesting set of aspects that collide strongly with each other. This starts when you are greeted by the cover itself, 2 cars (a Lotus and a Romeo i think) portrayed from a dutch angle competing with each other inside a futuristic tunnel, on a cold colour palette render with the vivid and contrasting logo above. Personally i find it very tasteful and still easy to identify, problem is that's the only good thing about this game other than the music and the 3 or 4 cinematics, the X-Ray ones probably done by the same guy who did the cover art. When you are inside the game the UI turns into a very crude menu with a little more than half of the options disabled due to online shenanigans, and when you pick a single player mode you are shown that almost everything is locked behind a point and unlock system that basically gives you 5 cars to choose. The devs had a well-thought idea behind the racing concept of the game, according to the manual this pony is not just about doing laps, but to push the limit of the cars themselves, each car has a different speed, weight and parts for the player to understand and find the sweet spot to speed and steer nicely, a "knife edge" detail in each car that will make the lap time better or like these guys said "the artful balance of steering and throttle that guides the car through the slide as smoothly and as fast as possible". Hence the name Vanishing Point, the thin-line between driving and going around like a banshee… also because the game features no pop-ins (a novelty back in the d- hell even today). Sounds nice but here's a kick to the knee for a lot of folks back in the day, the game itself is not about racing against AI opponents, you race against time on a track with other AI cars/obstacles who are also driving to beat a determined time limit, this was done for the player to always find company even if flying around on 1st place for a while. But here's the real kicker, the car selection and the actual performance of the art of balancing were done absurdly: Because the game wanted to give a strong sense of progression it makes you start with casual city cars, which is no problem but the choices were bizarre and some of them were arguably among the hardest maneuvering ones. The 1995 Lincoln Town Car and 1999 Ford Explorer were the most notorious culprits, and you read that right, the classic fancy taxi rides of the day.
And that's where things get interesting, the elegant proto-Forza Motorsport presentation quickly collides with the intro cinematic that is more akin to a Burnout game than this fella, featuring an aggressive race between a dude on a Mini wanting to PIT a Lotus with a smiling lady driving on a curvy tunnel road, failing to do so, getting slammed by a tanker due to lane invasion at the tunnel exit, flipping at full speed out of a bridge and most definitely dying, said tanker crashing at the tunnel and all-out exploding. Then after this grizzly sight you get a bootleg 50-in-1 cartridge menu, everything is disabled, pick the few things you can, then realize it's a damn time attack game, you are driving a truck well-known at the time for casually losing both its wheel axis mid-drive, at full speed against sports car traffic and sliding at 45+ degrees but traveling on a straight line IN A NEED FOR SPEED-STYLED TRACK. All the while oppressive trance music is playing on top. If this doesn't scream what the fuck is going on then i don't know what to say. Finally the topic at hand, the soundtrack was certainly one of the biggest headaches in the mix. Composed by Pete Horsham when he was 21 years old (according to a comment made by him on a YT video) the whole thing seems to be inspired by Leftfield and Trance stuff galore, which is pretty cool but one has to wonder if he was informed of the game's vibe or anything at all because the contrast becomes very jarring, for example Chase around half-way makes the whole thing have no sense, feels like a drug-addled teeth screech when driving a blue Lincoln on Death Valley… well now that i think of it… This one definitely possesses some style, the swirling notes that appear in most tracks has to be the trademark of Horsham (alias Kraymon around these days) and it's a shame he didn't work on vidya after this job which was also his first probably due to Acclaim's demise after a series of bad decisions and investments LIKE THIS ONE. Here's a link if anyone is interested, got it from KHI because i went lazy when trying to rip it, please excuse me desu. >https://mega.nz/#!WcBCGYra!Vwtue-jsGHxwUvQsQt8YcqETjHG5zsMrC_OCCICNhXM
>>1953 Never heard of Granado Espada, is it good? Cool OST, like that style.
>>1955 its a MMORPG from 2006 (wich still gets updates from time to time), think theres only one official server functioning by now, and some private ones. The music is very interesting . Goes from Classical to jazz, to electronica, think most of teh OST is up on YT.
>>1956 Gook OSTs are often very unconventional.
>>2018 Never heard of these games.
Here's a contemporary one, a personal favorite of mine after spending too many hours in the white void back in the day, Forza Motorsport 3. The overall concept of the menu/UI of this game, in all its facets, is a great example of minimalism in all the art forms it has touched. The developer Turn 10 mentions the big emphasis on the UI design which was a highly refined form of the original one from the first game, that one had Junkie XL doing a hard rock/psychedelic rock experiment which was very surprising more on that another day but instead of that feeling from the previous games these guys said they wanted to isolate "sophisticated" and "clean" along with the feeling of serenity of a "relaxing break from the battle". Big words but they quite did it visually, they just needed the audio and they called Lance Hayes aka DJ "Drunken Master", an experimented fella in the commercial industry doing sound, music and bumpers for MTV/VH1, NatGeo, Discovery Network, A&E, Travel Channel, Nike, Comedy Central, you name it, along with one of his songs appearing in The Animatrix. These clients imply this guy knew how to tackle a lot of feelings and atmospheres, there might've been a problem with the songs' length, but according to the devs he seemed to "get it" almost instantly, calling it "Hipster Hotel" (?) in an affectionate way. The drunk one gives a quick note on his philosophy, while not really original it very well encompasses what these threads are all about: >A good soundtrack becomes a souvenir or placeholder from a larger experience that we take into our lives. I hope that this collected work helps you recall your in-game experience fondly. I was pleased overall while reading these (short) album notes but one got me surprised, a section mentions the main audio dev stopped playing the game just to hear the music, implying it was the team's favorite track "Road Side" later on; i had that reaction because i remember very well doing the same thing around the second third of the song back when i was playing the first time. Turn 10 and Lance Hayes would work again in the next game, probably the best in the series, but wouldn't try the same visual concept for my rotten luck, replacing the white void and "baked light" previews for a car collector's hangar garage and real time lightning. No doubt it would've been in my top 5 if they did it again, Lance would try to replicate the vibe, a little more playful, but i still prefer this one which i feel has more consistency. A corny post but i thought someone would like this, now that we are going personal. A basic re-upload with tags AND 3 extra songs that were not released in the official soundtrack for some reason. >https://mega.nz/#!iFwRSabb!hJJBcN2j6W0JIsdx-DswxmNLZ3csn4j0eXMRL-hZNnA
>>2019 MMOs all of em
There was this indie metroidvania named Marrow. Thing had no maps, and you have to jump with a lot of precision. It was kinda hard for the sake of it. Music was kinda interesting.
>>2041 >indie metroidvania what a shocker
>>2042 yeah, but it was hard, like "fuck you player" hard Think tehres only 1 full playtrough of it on YT
>>2072 >fuck you player" hard I prefer hard through good design, not meta hard.
Man I don't care for Doom at all as a game but why does it have such an amazing OST https://www.youtube.com/watch?v=0gEkNVq1ct0
>>2129 Bobby Prince is a DOS gaming legend, he did stuff like Doom, Duke, Keen and more. John Romero gave him some heavy metal and told him to do that for Doom but he also created more ambient tracks as well. Those records clearly had some influence because the soundtrack has a lot of 'tributes' to other songs.
>>2130 Metal definitely defines the game.
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In 1998 Insomniac Games would release its first major hit with Spyro the Dragon. The non-linear hub based collectathon brought to the PlayStation a game that was directly comparable to the revolutionary Super Mario 64 in a way that more linear, focused titles like Crash Bandicoot weren't. The developers knew that the dreamlike fantasy worlds of their creation would need a soundtrack to match, to which they looked towards the music industry. The Police are a band perhaps best known for the often misunderstood Every Breath You Take and their front man Sting, however it was in legendary drummer Stewart Copeland that Insomniac would find what they were looking for. Copeland's methodology for Spyro was documented in a segment from the PlayStation Underground magazine: https://www.youtube.com/watch?v=tQq6rXdFGwE Armed with a Kurzweil keyboard, an early build of the game and a helpline, he played through the levels so that he could get a feel for the vibe of each world. With this understanding he was able to craft music that not only felt appropriate for the location it was used in, but also held up to repeated listening as the game looped them during play. The first game has the strongest sonic identity I feel, there's a consistency in instrumentation that helps to build a specific sound: https://www.youtube.com/watch?v=4uLj_lReW5M https://www.youtube.com/watch?v=lKczoBt91PU https://www.youtube.com/watch?v=_jN82yomf68 The soundtrack of the first game was considered one of its highlights, so Insomniac wisely chose to bring Copeland back for the sequel, Ripto's Rage (aka Gateway to Glimmer). Each game would see an evolution in his style, the most notable changes here being the tranquil hub music, acoustic guitar and integration of more digital glitchy elements: https://www.youtube.com/watch?v=JSDOCaUhDHA https://www.youtube.com/watch?v=PEM-pYocKnI https://www.youtube.com/watch?v=fetkAVhvFDo Insomniac's farewell to the purple dragon would also be Copeland's final solo Composer credit in the series. Development on Year of the Dragon was more rushed than the previous games, which meant that the original release was missing some tracks that were incorporated in later editions. The music here definitely feels a bit more experimental, more electronic, a bit more minimalist than what came before: https://www.youtube.com/watch?v=Y970Xb5Gb7k https://www.youtube.com/watch?v=AP9LeI1OUZQ https://www.youtube.com/watch?v=WZXWuRI9vuI Spyro was still a hot property by the time Insomniac had moved onto their next big thing (Ratchet & Clank) and Universal certainly wasn't interested in slowing the gravy trolley. The next main Spyro title would be the ambitious but unfortunately rushed Enter the Dragonfly, developed by Check Six and Equinoxe in their only release before shutting down (fun fact: they were also working on the original version of Aliens: Colonial Marines). This time Copeland would be joined by Kenneth Burgomaster and Peter Neff for music duties before leaving the franchise and video game composing in general, and I have to say that this is definitely the weakest soundtrack of the 4 (some of it is straight up garbage, which I can only assume is thanks to the additional collaborators): https://www.youtube.com/watch?v=091WZHPsHSw https://www.youtube.com/watch?v=7FalxKjkvXQ https://www.youtube.com/watch?v=HR__VVu1QR4
>>2145 The story doesn't end there however, as Stewart Copeland's time working on Spyro had a broader impact on him and his family. In an interview with gamesTM (https://web.archive.org/web/20180815001044/https://www.gamestm.co.uk/interviews/talking-spyro-with-the-polices-stewart-copeland/ ) he revealed how he used to play the Spyro trilogy with his kids, his son Patrick even going on to work at Insomniac Games! Spyro also influenced Copeland's other work, the credits theme for Nickelodeon's The Amanda Show (something of a precursor to Drake & Josh, both being created by Dan Schneider and sharing a number of cast members) is very obviously based on Wizard Peaks for example: https://www.youtube.com/watch?v=xZPG4zycYSw Or how about the track Stark Naked from his band Gizmodrome, which sounds a lot like Dream Weavers: https://www.youtube.com/watch?v=-Znl0JPeZ8M https://www.youtube.com/watch?v=2keoHzJFieY From here Spyro languished as a series, being rebooted twice, once as the more edgy The Legend of Spyro trilogy and the other as a way to use a familiar name to sell the 'toys to life' Skylanders games. The entertainment industry knows that nostalgia is a powerful drug however and the 20th anniversary of the 1998 original was drawing closer, so the developers of Skylanders were chosen to remake the Insomniac titles, this resulted in the release of Spyro Reignited Trilogy. Now, for some inexplicable reason Toys For Bob decided to redo the soundtrack for all 3 games, a job they gave to employee Stephan Vankov. To say that he made a shit sub of the affair is an understatement: https://www.youtube.com/watch?v=Y08Psj6UQV0 https://www.youtube.com/watch?v=rrUHmJ4QQ9c https://www.youtube.com/watch?v=A98YtKjQw20 As a result of the backlash, the original soundtrack was included as an option in Reignited. On a more positive note Copeland did at least create a new title medley for the collection, bringing things full circle: https://www.youtube.com/watch?v=L7Rqf4s8KQ0
>>2145 >>2146 Great post, i always heard about Spyro but never got to play them outside the small demos from magazines, recently fuck, a few years at this point when i tried to collect i went for them and the Crash Bandicoon ones but they are pretty tough to find in good conditions. I like the soundtrack for Ripto's Rage the most there, pretty ethereal which matches their world designs. Although that Fireworks track from the third game is a blast. Also should i keep reposting lol
>>2185 Thanks anon. This board could always do with more quality posts so repost away!
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>>2187 Very well, took a bit more despite having the webms already because i used the web archive and for some reason my browsed crashed and lost 1600+ tabs with mostly images from many threads and an investigation the off time was because i was mad as fuck but i am mostly ok if a bit livid now :^) Well then, here's a short joy ride: Jun Ishikawa's non-Kirby days We will suffer what (>108429) well said, lack of english documentation because it's fairly easy to find interviews, he gave 3 taped and 2 magazine ones, but it's all in moonrunes so we might get high while we are at it. HAL Laboratory's Jun Ishikawa is highly regarded for composing and arranging, in most part, one of the most emblematic soundtracks from its era (in my opinion): Kirby Super Star, along with most of the series itself. This guy seems to have advocated all his brawn to these games, but in the early days he had to prove himself and he somehow did so in a quick way. Most of his work has been collaborative as i've realized lately with the japanese, but his style became palpable later on to the point of being synonym with the aforementioned series. It's not rare to find his work recalling certain "Kirbiness" due to using the same fonts (trumpets, horns in general, dramatic strings), fast repeating backing and well, being composed by the same brain of course. But that head usually worked with other, here we will see his 2 partners, the famous junior and the forgotten senior. Worth to say that Jun later on seemed to have varied a little with Picross and BOXBOY, which i did omit to make it below 50 webms, i apologize desu. The so-called senior was Hideki Kanazashi, aka Kanagushi aka Escaper aka Zap Rodeo aka Jumper. Man was an early composer for HAL alongside his own senior, HAL's founder sound drive engineer Hiroaki Suga which is most well known as one of the rabid programmers-turned-business men who managed to seize power inside corporations, this alongside his other junior in HAL who was around by the name of Satoru Iwata. Mr. Zap Rodeo Jumper entered around 1983-84 to the Laboratory but didn't go by the same luck or disciprine and disappeared in true japanese corporative fashion around 1994, but left behind some famous gigs and gave old Jun enough ley line to hold his own. Here's 4 to recap who he is/was, and safe to say someone (Suga, Iwata, Ando) paid tribute to him in Melee with the first webm's remake.
Ishikawa was hired by the Lab around 1990 and was paired with Escaper Kanagushi at haste to pull a couple of games, Space Defence Force and Adventures of Lolo 3, which is actually the 2nd one and they were called Eggerland but anyways. Here we can hear Hideki still having a grip on the situation.
After these jingles, they went to do score a sequel to an early game, Jumbo Ozaki in Hole in One Professional Golf, aka HAL's Hole in One. Masashi Ozaki aka Jumbo was a golf juggernaut in Japan, known to be a big quiet guy who moved seemingly slow but was a monster player, at least according to my uncle who played Golf. He said and was certainly proved with a couple of videos that the fella had a sword style swing, meaning he had a very strong left hand grip with most pressure in his pinky, while the right hand had a general grip with the thumb going flexible to give direction and extra push mid-air, all this just like swinging a katana or tachi according to kenjutsu basics. Pretty overly complex at the time (after future talks it seems uncle said it was complex in mainstream explanations because the brits already did the pinky force while others merely did a complete palm pressure one) The tracks do the mental picture of him justice even when the american version got his image lost in translation, other than the oversized pixel man in the SNES. Eerie songs and certainly eerie signs to our boy Jumper Escaper as this was effectively his last score for the company other than the recycled songs for a Game Boy port later on. By 1991 HAL had hired Jun's future butt buddy Hirokazu Ando, the so-called junior, who went to be Kirby's co-composer and the main guy in the first 2 Super Smash Bros. A big name on his own, i did read in one of our dreaded websites with a decent source that his method of synergy with Jun was basically doing the opposite, and because this ride is about Jun Sound i guess i skipped his work a little. Ishikawa proofs most of the jingles start from his hammer, but when i backtracked to include Ando it seems his only other work is Smash a Bro including sound effects, i think we've heard those quite a lot so i will give it a rest, but by no means is this feller lesser.
Hole in One sounds like the balanced way between Kanazashi and Ishikawa after we hear their isolated styles, for some unknown reason the former was not heard again and Jun got the grip to score HyperZone, a near-launch title for the SNES (in America at least) using the famous Mode 7 to compete against good old F-Zero. And it shows… artistically at least Now with Ando at his side working as the junior, even when Jun himself had only been there for a year, the little guy pulled something pretty unique that distanced him from his early work by a mile, laying some bebopy jazz riff at times along with chilled melodies, probably inspired by the competition itself.
If we didn't catch the "kirbiness" in the previous work, in the RPG/Dungeon Crawler Card Master: Rimsalia's Matriarchy aka Arcana it will be a little more obvious with the instruments and boss theme. By 1992 HAL seems to have completed a genre buffet with another RPG, an ambitious project taking into account the company almost went to sleep a year before due to the financial costs of Metal Slader Glory: A big Famicom monster adventure game that required special chips due to its size (one damn megabyte of power), coming from the content it had, namely the advanced graphics that wanted (and accomplished) to port manga pencilwork to the machine, along with other features that had to be placed in the manual of the game itself due to details and lore. This was the job of manga artist Yoshimiru Hoshi, who impressed Satoru Iwata and was asked to do the job on the Famicom, but as the good artist he was…many economical and schedule problems arised, along with Nintendo short supplying everything since times immemorial, left HAL to produce a small run and bite the free market pillow as the game was released after four long Gen 3 years of development, in the middle of the SNES vs. Mega Drive war and Final Fantasy IV release. HAL had to sell/liquidate its publishing section and when it was ready to cut heads something came in, Nintendo offered them a Greece deal, meaning that they would claar ell denbts if they promised full support and Satoru Iwata as the president of the Laboratory due to exemplary conduct at the face of being raped by time. Little did Nintendo know that this was only the beginning of HAL's ladder war into Nintendo's echelons, but i guess that's another story. So, yeah Arcana, that one is supposedly a good game, made by a bunch of vets who survived that last story. It's also Ishikawa + Ando's most famous score besides the Pink Cosmic Joker and Mega Hit Cousins, and i can see why, there's memorable lines here and there but i think its strength comes from the atmospheric pieces and punch songs coming up in crucial times of the plot, meaning that for someone who hasn't played the game it might be a little conceptual. Nevertheless there's good stuff here.
And here we are, 1993's Alcahest aka Arukaesuto, the anomaly; if the previous works didn't sound trademark, this one will be a blunt hit in the ears. Just like Metal Slader Glory, this one was released only in Nippon-koku and had an english translation only very recently, it was made by HAL Laboratory and published by Square(soft), mainly because the game played very similar to Legend of Zelda and Nintendo wanted none about publishing a potential competitor, this was in the days when they weren't so confident in HAL being loyal to them. Jun Ishikawa had already scored one of those projects for Nintendo a year before, the short-but-great Kirby's Dream Land, created by Masahiro Sakurai and programmed by Satoru Iwata, and by this point Hirokazu Ando was arranging Jun's songs for Kirby's Adventure. It can be say that here, alone with the Super Famicom for a couple of weeks and after having created the first set of the Kirby sound, that Ishikawa started polishing his style for the next years and certainly one of his most distinctive soundtracks. A top-down action game about a red ancient evil who was sealed away by a valiant swordsman, the game sets us with our hero about to be executed by reptilians, with a Piccolo-lookalike fella as their leader and ancient evil assistant, when a light orbs/holy spirit appears to save him and inform him that he's the reincarnation of the old warrior. So our guy here sets to fulfill the prophesy of kicking this devil out to space with a set of trusted allies, which might or might not be reincarnations of the old warrior's allies. The music certainly lifts the whole thing up, and while i don't know that much i personally think this is one of Jun Ishikawa's best works. It does sound repetitive after a while but for a fan this is a treat. To this day i don't think many know why this game didn't come out in the west.
This one's a double-dipper. And that's it for the 90's, Ishikawa would score something else 15 years later, Ando would become a big name for himself and both would be surprised by Kirby's Epic Yarn original composer Tomoya Tomita I think i forgot to post something but oh well, might post it later sure thing buddy. And now my papers begin again no college now but manual labor these days.
>>2191 And i screwed that last webm, here's the intended one
>>2188 >my browsed crashed and lost 1600+ tabs Bookmarks anon, bookmarks! Anyway this is good stuff, hopefully this place is a more long term home for it.
How the Grabbag from Duke Nukem 3D could have sounded like in the Genesis port.
Time to squeeze some of those servers with a dump, sorry mr, overlords, at least it's content: Bjørn Arild Lynne is a norwegian fellow from the eastern area of the country, the shiny waterfront, who had a very serene upbringing or so it seems, he formed part of his school's band from an early age playing clarinet and learning very basic music theory like note reading but "forgot about it on latter age" due to dropping it out around his teenage years. He kept a small Casio synth and one day he picked a ZX Spectrum with a MIDI interface, later he added the additional "SpecDrum" plug and along with the keyboard he started meddling with "computer music" for recreation. Around 1987 he got his hands on an Amiga 500, which started his journey as one of the premium Amiga composers and sound effect technicians, along with a very interesting yet underrated career worth noting. Like i said back in /vg/ i found this guy by accident when checking some soundtracks, and wanted to give it a go because i found it funny he crossed roads with both our subjects Jesper Kyd and Tim Follin. In the end i researched more because this guy is legitimately good on his own, perhaps not as savant or creative as the former subjects but he has an easy to identify and digest style that commands at least a listen. While i would say Kyd is a percussion specialist, Follin a jack of all trades and master of many, Ishikawa a brass section monster if we want to include the nihonjin, the trait of Lynne in his career would be his B A S S M A S T E R antics which are tasty yet elegant, he doesn't brag about it like Wooten up to 11 but he certainly always comes with a decent line in most songs. Yet in his early days he was also known for his indulgent use of samples, coupled with the bass this guy can win the moniker of the nordic little J.M. Jarre, but better known in the Demo scene back then as Dr. Awesome. In this song, Space Deliria, probably his most famous one from the Amiga years (and perhaps his entire career) included in tons of tracker compilations and demo disks, we can hear the direct influence of the frenchman. The piece itself, while minimized in importance by Lynne, opened a contact opportunity with a group of developers that would, later on in a swing of destiny, give him his gravy train ticket and become the big white elephant in this nord's musical conversation.
To celebrate/put an end to his Amiga memories Bjørn released a compilation with a gnarly cover in 2014 gathering the most famous songs under his Dr. Awesome moniker, and because it's a bunch of songs i picked 3 groups by thematic and another as miscellaneous. In this first group let's go for a somewhat action fantasy setting, starting with his second most famous song 12th Warrior and going along with some of his first songs made in the AMG machine, ending with Zirkonium Theme which features a particular vocal sampling style very akin to Jarre's zany Zoolook. So, back in those 1987 days when he got the Amiga he started to create some Soundtracker files as personal recreation due to technological amazement one can suppose, but after meeting with some dudes who were also devs they made a small group called Crusaders, who introduced him to MOD files, and he went to share some of his work for their tech demos which subsequently started his MOD adventures as he was visited by friends, friends of friends and even curious strangers on his parent's house to hear his machine work, to the point he was requested and mailed to make more by the public.
This so-called public later refined themselves and became known as the Demo Scene, which gathered sometimes at "Demo Parties" or in their early days called "Copy Parties", with dozens of dudes hauling their Amigas all over towns to meet and exchange tips and, in shady corners of these rental places, code and software cracks. Bjørn went to create 450 MOD(ule) files and became a founder of the "Eurochart" scene/sub-group that spawned Scandinavia, some German places and England; In this journey he met many Amiga composer comrades who would be partners in future adventures, form in-groups like The Pornos and the IFF (International Fart Federation) while also meeting mythical figures like it supposedly happened with the Crionics group music man, the dane Jesper Kyd. Here we have 5 more tracks, quite a moody grouping featuring the great Oblivion, the ominous as hell sampling masterpiece. Certainly a high point in his catalogue.
After that hail of fire let's rest in this funk trip with a groovy group, starting with a Bruce Lee/David Chiang sample remix and going through some of his B A S S tracks which would feature at times in menus for cheap game compilations. About those feature appearances, since the first days Lynne had offers to use his music for different products like compilations, independent games, games with very low budget and software cracks but sometimes he also got his shit grabbed and used in unlicensed stuff and bootlegs, like Space Deliria. But still the idea was there, he later on went to describe how writing a song on free time, then loan it after a one-time fee was given and with the ability to loan it to multiple people due to not being quite associated with a specific product AND still being the full owner of the piece seemed attractive enough to try it often, which would be quite the silver chalice much later in this trip. This seems to also be a factor in why he was popular with small developers and a big factor in why half of his catalogue is not easy to find on the web, my guest is that what you are going to see here in terms of games is just half, if not less, of what he did and licensed, as many, many obscure european PC games employed him or used tracks from some of his stock albums not found on the web for free
But offers to compose music for specific games from scratch were still around, scarce but it happened. Being part of demo scene gave Bjørn the space to make contacts, grab beers and hang around with other artists, which in a more serious note also brought around the opportunities to form non-joke (or not so much) groups, apart from the Eurochart one which happened to be the Amiga Musicians Freeware Magazine (AM/FM) that shared samples, tips, tricks and discussion regarding the practice of machine music making. This is specifically mentioned because the grouping of seemingly serious individuals gave them serious opportunities like composing offers like we mentioned, one group that was interested in the services of these guys was british publisher 17-Bit Software, which already employed some of the demo scene guys. This company, which was part of the Microbyte computer retailing company, was constantly seeking foreign fellas to use in their small projects to sell them in their stores and get a piece of the quite contested action that was happening in the U.K. computer scene with many publisher-developer companies taking hits at each other as fast as they could, which had grabbed most of the local talent already. One of the early freelancers employed was fellow Am/FM man and seemingly close friend of Lynne's Allister Morten Brimble, which would share many battles with him and who seems to have given the nord his golden opportunity by featuring Space Deliria as the ending theme in his soundtrack gig for Project X around 1991, proving a popular decision and becoming crucial in Bjørn's future. In these final misc. tracks we can hear the little King Size, the full 90's Tranze Seven and an oddity worth noting, MEM-Saver, which is so far the only non-sampling, full chip song i've found from the man (that i remember of). Showcases his usual ability in a field in which he was belittled a little for seemingly never trying, the chiptune, the art of the small sized tracker file. Also featuring here Am/FM's rave song, a sampler of samples (wat) used to demonstrate the sounds in a CD bundled in the group's special issue magazines. A cohesive group, Bjørn would be an usual guest in Amiga conventions and was active on the MOD scene in the entirety of the 90's, along with appearing a couple of times in the 00's.
And so here we start with the "real" jobs, these ones are some of the first (although not "the first") offers. Marking the beginning of the bad luck that will run through Lynne's efforts towards games that seemingly just don't get released is 1991's Airline made by Software 2000, a german-dane developer founded by the Wardenga Brothers tasked with porting the popular airport simulation game to the Amiga but for contract reasons the deal felt down and Bjørn was left with a couple of tracks, as will be usual later on. Pay first as this man says, they still cut a song due to sample size the cheeky pricks. Then we have 1990's Drivin' Force by Digital Magic Software, one of the many ill fated companies that would get their shit fucked up in the relentless bong computer war that left no survivors. A drift-powered racer using early pseudo-3D graphics, nothing much to say other than some of the developers probably, maybe did another game which Lynne probably, maybe scored, but that's another story.
1991's Cubulus, also made by Software 2000, marks one of the high points in Bjørn Lynne's catalogue. Requested one of his personal tracks, Moongazer, he was later tasked on creating some other tracks to serve as muzak for the puzzle levels in this rubik session on a flat surface. Bjørn went on to say this was the most satisfactory score he did on the Amiga, i agree, it has tons of personality with the basslines, unorthodox leads and Jarresque effects. Shame it is cut short but it's good enough. Software 2000 later on went on to create other cult simulation games, like one of the first football managers in Bundesliga Manager, F1 Manager, a Flying Saucer experience and fucking Pizza Syndicate, the game that mixes the Fast Food Tycoon gameplay with underworld market manipulation, like hitting other pizzerias. The company went for the short games sold cheaply, but sooner or later the AAA pricing scheme took down their formula and they folded around the early 00's. Sending a damn hitman to retire an impoverished rival pizza chef.
A worthy musical sequel would be 1991's Fantastic Voyage by Centaur, one of those studios made and disappeared out of thin air, although contracted by 20th Fox to create this adaptation for the Amiga system. It showcases great art work and a cool soundtrack by the man himself. Supposedly hard as nails, the game didn't fare well even with its lavish production and brand name from the decent movie and novelization, which is about a scientist dying around with brain problems and a team of pros are carried to save him, so they shrink a cute special vehicle called Proteus with them inside and go into his body via blood stream to explore his brain, avoid pesky antibodies, white cells and clean his completely natural health issues OR ARE THEY? Nice picture, for the younglings just imagine a group of aliens (which are really humans) inside an armored nuclear sub going into the Osmosis Jones world and travelling straight to the capital brain while fucking shit up but end up in Solaris when they are starting to reach there. Well now that i think of it, Osmosis Jones is almost 20 years old now... Blood is a personal favorite too, nice going with the dancing melody, and the title theme is also very moody. Better than the movie tbh.
Even with these past cool concepts, on most days this song will be my favorite one on the Amiga... and it doesn't even have a name. According to the info at ExoticA, one day in the summer of 1992 Bjørn was contacted by a programmer that needed some music to sell the software to a company, he didn't tell him the title or the focus but claimed it was "an Oriental-inspired Shanghai-style game", so he went to make some tracks, gave him the files but the guy never managed to sell the game, and thus never paid Lynne. So with these set of new tracks for himself he released them one day on the Am/FM magazine, claiming he never knew the title and always used the placeholder names, so he decided to leave it at just that, Shanghai. Boosting a very unorthodox melody sequence and pitch changes this one is worth the experimental classification, tense yet soothing, pretty strange. Once saw the menu in the Gameboy port of the original Shanghai while looking this, for some reason it was burned in my mind and hence why i used it here although in a custom square form. And talking about unreleased blunder projects, how about another one with Kasei Vallis, a cyberpunk game that was probably based in Mars if the name is to go by, according to the ø-boy some fellow norwegians discussed the game and wanted a bunch of music for it, this happened around the summer of 1991. By mid 1993, when it was obvious it wouldn't get released, Lynne published the tracks on a Am/FM issue, explained the story and some of the tracks. Overall the songs have a dark "atmospheric" feel into them because the concept was not to grab the player's attention too much, just add a layer of tension into the whole thing, making it Lynne's first foray into the ambient music he would later burn out from. One track does stands head and shoulders above the others: The pause song titled Stardance, made specifically to distract or create contrast to the player, molded to be "a disco piece with popping bass, tight drums and whining leads". The song later had some other leads added and published to the Eurochart, which is the version currently posted. Uses samples from a 1990 sci-fi movie called Hardware, personally i didn't know about it but it has Lemmy Kilmister in it, can't be that bad can it.
After these first 5 years jamming and with enough recognition, mainly as a hobbyist with his Doctor moniker, one thing strikes me the most about Lynne's legacy: His famous works, according to forum posts i've read at the beginning while researching his stuff, are easily among the most "interesting" ones to put it elegantly and non-aggressively. Quite frankly i'm appalled that all the Amiga fans i read name only Brat and Qwak as his trademark Amiga pieces under his real name. It might also be an easy explanation, but let's put it inside a bigger, more complicated one for the fun of it: One day at his home his mum got a call, it was some dudes that found his parents' phone number on a demo and called the place so they could pass the notice about an offer, the "foreign languages weirdos" were handing 200 pounds for compositions for a project called Brat. He accepted on the spot. The dudes were from a, you guessed it, small british developer coupled with a bigger but still warring publisher, this time called Image Works. Lynne seems to have been pretty quick and professional, even if the score in my opinion is pretty inconsequential, and got himself some credits as the game became quite popular in the Amiga, that didn't help the publisher from bankrupting a year later but oh well. Supposedly according to his website it was his first paid job, meaning it came very early in 1991 or that he did some of the games >4 free. He recalls being offered 200 british pounds, which shocked his mother and supposedly made her stop nagging the man for playing with his computer. His real name still went into a list of people who delivered, and after Cubulus, something occurred which he mentions lead to his first "big job". IIRC (heard it more than a year ago) it seems he traveled around with his pals in conventions and met some devs, representing Team17. This company years before had been 17-Bit Software, the company that had on their payroll various Am/FM folks, most notably Allister Brimble but also some other dudes in the scandinavian lands. One of those was a swedish guy called Andreas Tadic (ex-yugo?) and after showing some skills with dev he was introduced by a british Microbyte employee named Martyn (with an y?) to a visual artist called Rico Holmes (Rico a british name?) which became friends and along side some other swede names Tuleby they formed a game dev partnership called Team 7. They made a game called Miami Chase, a budget title which seemed successful in the market, Martyn was seemingly scouting them and called his boss, the owner of 17-Bit and Microbyte Michael Robinson, and finally convinced the guy to make a publisher-developer and push the products with the retailing Microbyte, all internally. He suggested Team7 as they were cheap and promising, the man agreed and greenlit the venture, moving a gril sales manager to become their commercial support, an aggressive entrepreneur called Debbie Bestwick. Soon enough Robinson's shit got crazy and the venture decided a merging, calling themselves Team17. Microbyte used their own data to see which genres and games sold the most, then talked to Team 17 and planned a project to capitalize on this. Pretty straightforward although probably not creatively engaging with some, but still it worked and they made some charting projects, usually with Allister Brimble as freelancing composer. In one of these games Brimble would feature his pal Bjørn with his Space Deliria as ending theme for 1991's Project X, making the guy have his name written in bold after the hit with Brat and Cubulus. After talking a while with these Team17 devs they realized this fella was the famous Doctor music guy that also had a string of successes a year ago, so they asked for his contact data and confirmed they would make a call soon. And yeah, they did, he was offered a game called Qwak and wanted a certain kind of feel. He delivered quite the explicit interpretation of the name, attached to this post, which seems to be his most famous work on the system; the man who made Cubulus and Fantastic Voyage is represented in real name as "the guy who did Qwak", and mostly because it sold well and was pushed hard in the U.K., as Cubs was a jerry title no one cared about and Voyage Fantastique is a cash-in for the show, also reviews bashed the shit outta it. All this wall of text is to hype the fact that, after some months, on the Spring of 1995, he was called in his parent's house: Team17 was starting to make tons of projects and needed a musician full-time. And that was that. The Ø was working as a tech support by phone gig, nothing biggie and somewhat hilarious already by his age (29?), after his CD making venture didn't land much money and no norwegian bands seemed to want a keyboardist in the black metal era. This shining opportunity made him, according to himself, quickly sell everything he owned but the machine and some childhood souvenirs, kiss his mum goodbye and head to England, commando style. This marked the beginning of another rollercoasting 5 years that would place Bjørn Lynne as one of the most multifaceted composers around, ditching the Jarre image of sampling and Moog-experimenting into more of a chameleonesque, multi-purpose one.
Not surprisingly as they made him come all the way to England, man got the job and seems to have settled in Yorkshire. Was placed as the full-time composer of the team and later on this would upgrade, but more on that later. His first task was to carry on the legacy of his pal Allister and compose the score for 1995's Alien Breed 3D, the third and seemingly most popular entry of the series ripped based from the Alien franchise. But the catch was that he had to compose this twice, why? Amiga CD32 of course The first version had some pretty decent tracks, but because the game filled the disk already he had to reserve and upgrade them to Redbook, which results in this stereotypical sounding early CD soundtrack which some cool licks here and there. The title theme, The Breed, starts right of the bat with the score's trademark sound, the ominous wailing sirens, that reappear once in a while to remember you in-game that you are going to get your shit fucked from behind by a basketball-american from space. Breed Theory is a slow burner but when it starts, man, you are greeted by some sort of Unsolved Mysteries reimagining, which is something not cool in a game with alien sucker punches in dim-lit rooms. Some time later Bjørn would release some handmade CDs, with permission of Team17, with the tracks of the game along with the unreleased tracks for the classic Amiga version, presented here. The in-game song is unsettling, the growling organ sounds just make you think the entire place is filled with these housebreakers that jump higher than a helicopter. The title theme in my opinion sounds more effective here, the simplicity is better in this case. Trivia about his England stay, somehow he became a Manchester City fan since the late 90's, which a bit of a trivial fact but for football fans this might come as bizarre and unlikely if it wasn't for the fact the guy has old merch to show for it. An interesting choice that's for sure. Also the release of this OST costs a lot for some reason.
His next work was also going to be a legacy job and a nice touch from life... the sequel to Project X: 1996's X2. When i read and heard this game i immediately though about Einhänder, the same thing really, side-scrolling shooter in neon landscapes, space, electronica score, PS1 title, same year even so i guess it was a rip-off... OR IS IT? IIRC this game came first, a full year before even, and wasn't promoted that much other than in PAL zones but it did get a release in Nippon, not in America due to lol Acclaim publishing. Features the only Techno score i know of from Lynne, it isn't very moving to be fair as it was made more around the idea of atmospheric rather than danceable, which is a huge flaw if you ask me, but serviceable enough to be included. It does remind at times with Underground Resistance, especially in Red Planet Approach, The Martian Mad Mike project nod maybe? The game was called trash for being too chaotic and wacky, but its art style and sound effects praised. Einhänder would come later on and be praised to hell and back deserved and this game promptly forgotten, but due to some fixes made by Lynne in production, along with the next game mentioned, he was made the undisputed sound effect specialist in the house. And no surprise, taking into account the monstrous influence that game had...
Yep, the white elephant in the room, Bjørn Arild Lynne will be remembered mostly because he made the music and sound effect editing for the franchise Worms, Team17's beaten-to-death cash cow, starting from its first game in 1995. The story about how this came to be seems more interesting than the hell Lynne went to edit all the voices, come up with something fast and "force himself" into making tracks for sessions that might last for a long time. He also seems to have prepared hard for his spot as he recalls going into a music store after the first checks and buying the cheapest guitar he found along with a beginner's book, then jumping to a bass a month or so later. This heavy focusing would later reap great dividends in the next game. About the story of Worms... this baby was created by a dude called Andy Davidson, one crazy son of a gun lone wolf that had an idea originally titled "Artillery", which was that, artillery-based gameplay with crude placeholders instead of tanks or howitzers. Later on this would evolve into cartoony worms with squeaky voices and the dirt mounds into freaky, zany landscapes. Andy entered this idea, renamed Total Wormage at this point, to a competition run by the Amiga Format magazine, but lost. He sent the game to various publishers, but received no answers. Then one day he visited the European Computer Trade Show, an old times trade show that lasted until 2004, and met some dude called Mark Foreman, a knowledgeable distributor. The lad told Andy to try his luck with Ocean or Team17, which were looking for stuff and had some stands in the place. Sure enough this guy went to Team17 and they were so enthusiastic about the idea they offered developing the game further and publish it. Andy was amazed, he wrote his contact info on the spot and the booth fellows vowed to call him soon. And yeah, they didn't, story says they lost the paper with the numbers written on it and that was that, but it seems someone insisted, so Team17 started searching for him. They discovered Andy entered that one mag competition in which he lost hard, anyways they called the magazine and asked if they still had his info which they did and sooner rather than later they made the call. He was brought onto the ship to start polishing the idea, but the guy had several conditions for the game, one was using his own voice for the worms because he simply could not imagine them otherwise after a long period working on the placeholder audio. Bjørn was tasked with recording the guy again, then coming up with other quirky comments, many made by himself while others had to be taken from the studio's workers, usually extracted when taking the piss and with the idea they should be in the game. Many complied and some of those still appeared in latter iterations (the James Brown worm). Lynne's perk for using samples and experimenting with them went to make him the go-to Special Sound Effects man alongside Composer, his sample hunting for stock gunshots, squishes, dirt mound kicking, water drops and so on made the game varied enough to be tolerable, even when the gameplay was good enough on its own. The game went on to sell 250k units 6 months after release, surpassing the modest figure of "10 or 20 thousand" the devs had projected in the same time span, reaching 5 million copies by 2005 in all platforms released. Coupled with the ambitious administration of Team17, you can bet they never let this game go and beat it with a stick at every opportunity they got, but more work to Lynne i guess, later he would feel frustrated at the title mongering the studio did because, soundtrack wise, there's not much to say here other than the iconic title theme. This particular entry used mostly "ambient" tracks as not to distract the user but it probably was because Lynne didn't have a lot of time to come up with something as he was pestered in the sound effect department; it did introduce what would be a common trend in the series and his catalogue... Ice/Snow level and Space/Alien level ambient styles, something he would perfect over time but in this case it's pretty bland to be fair. Funny how in the ports for consoles, the theme adaptations had to be done by Allister Brimble.
With plenty of time for preparation, with polished skills in the guitar & bass and comfortably enough in his position at T17, Lynne pulled in my opinion the best score he did in the franchise and maybe in his career: 1997's Worms 2. While in interviews he claimed influence from tons of bands and artists, a group of them particularly strike me as interesting: Eloy, Porcupine Tree and Ozric fucking Tentacles. While they didn't really appear that much in previous scores, they certainly do here in the general mix of hard rock fused with plenty of genres, especially when Ozric appears in the track Squish! which is one of those rare examples of jazz, rock and psychedelia that Tribal Tech at times would meddle with, and hearing it in a videogames is much more interesting. Stale Socks keeps going in the same direction, albeit a bit goofier to not kick the musical perceptions of the users, but that falls to the side as those tracks were not released with the game, only appearing in the CD release. A shame really but just shows how much material was produced. Gumbo Gringo goes to Porcupine Tree town too, the guitars give it away soon. In a recent update, it seems those first two songs appeared in an old album under the moniker of Dr. Awesome called Decade from the same years Worms 2 released, so they may or may not be done for the game but that album looks interesting, it comes with the archive of everything the guy did in their original MOD or MIDI files. Now i wonder if many old tracker artists pulled that kind of CDs often.
It's all fun and games until the entire level starts sinking. The real kickers are the hard rock songs, either with guitars or hard brass. Swim like a Brick is just one mean son of a gun with a very Eric Serra orchestration. Attack in Sevens keeps the aggressiveness but with a Fusion taste, maybe it's because of the name but it sounds like All Sevens by Chad Wack. Sometimes the score reminds me of that same year's uber classic Goldeneye, shame this kind of score wouldn't be seen again in the series for some reason or another, maybe because it was too distracting or simply because the long sessions would make it repetitive, but true enough it wasn't seen again. Instead the rest of the games opted for a much, much more atmospheric feeling with tons more of variations but ultimately just ambient background noise. At least this happened, an oddity but a complex one that can stand on its own even as a "real" album.
Team17 went on with making games not Worms but they simply couldn't help themselves, shoving it in a lot of things they made. In 1998's Addiction Pinball we can see that with the marketing, a game with 2 (or 3?) pinball sets with their own music, one which includes the Worms pinball table with tons of modes, very complete... and oh yeah, the others were cool too. It features some of the Worms 2 songs but also a couple of exclusives, attached here. The menu songs in both these games are kicking, but this one sounds like Sega, it has that particular "modern" or millennium arcade vibe. Bjørn was tasked with the whole sound effect shebang along with scoring the modes in the Worms table but next is where things get interesting. Mr. Lynne made the set up for all the tables but only scored one, and others had their own thing with one being particularly cool, Rally Fever Addiction based on the game World Rally Fever made by T17, sound effects by Lynne but scored by a mysterious dude nicknamed "Nooon", who only ever did that game's score and probably this one too, yet he doesn't appear in the credits nor Lynne is named for it, the man just disappeared into thin air. I might make a post just for that game but safe to say it was pretty decent, but why the smoke and mirrors who knows, probably a musician who was with another company making a secret score or a moniker for a scene fellow who never made it past the sobriety of the situation. And figures, soon enough they just dropped the Addiction name and called this Worms Pinball on the PS1, making it a tie-in with our next set of games.
It begins, the ambient track/background atmosphere hell. 1999's Worms Armageddon, the expansion pack turned full-priced stand alone game acclaimed by many, and was supposedly going to be the last in the series, made it into the scene with a radically different approach to music but keeping all the wacky worm one-liners and comedy with the addition of drunk scotswerm. Some of these had a semblance of something going on, like Caverns which is probably the start of the "entertaining" ambient songs, but the rest are just idle. Many sound would re-appear in this next iteration, 2001's Worms World Party, the expansion pack turned full-priced stand alone game acclaimed by not many, made originally as a Dreamcast exclusive but turned multi-plat when good old Sega started to go belly up. This one added the long-awaited international stereotypes much loved since the scots, along with the start of the real deal versions of Snow and Space levels, in this case the Arctic one.
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Not much to say about the past two games, really, development went frantic and the constant overwhelming popularity of the series made Bjørn keep busy with new sounds, voices and different translations being edited into every new game or re-release. But it wasn't all that bad, at this point our fella here had been constantly creating music on his own when the scores were ready and only editing was needed, kinda like he did in the old tracker days, but the output was such that the same thing started to happen like with his Dr. releases, clients (which included his own full-time employer) started to be interested in his own stuff and reached deals for licensing it on a single payment plan. At first it was the usual deals (at least for him) but realizing the variety of music he had released, the clean and frankly stock-like nature of it made the guy move into an idea that would be his future life ticket. At one point years later he described the process of making music for a living as something you can learn over time as you can "force" yourself to be creative or spawn ideas, although it isn't really that adequate nor fulfilling, something that could be seen and will be seen in his employer's gravy train. So pondering about his future one day, in April 2000, he started the Shockwave Sound licensing service. Back in the Amiga days, to reiterate the point given, many games requested loans on specific MOD files in his library for a fee or one-time payment, along many unlicensed and bootleg software devs just taking the files from a tracker/demo and running with it, but still this gave Lynne the idea of a stock music library with people who couldn't afford the risk to pirate assets for their own professional work, serious corporations and executive ventures in short, that would eventually make Shockwave, along with 1Soundfx and Lynne Publishing, later described by him as being profitable enough to hang around comfortably or so to speak, "make it" Team17 had become big as a company in the context given and with the downfall of many british studio-publishers in the bloodshed that happened with the computer scene, many talented workers reached the team to get a job. But the highly corporative nature of the administration was taking its toll, clear ideas on where to go as a studio were simply about Worms and ripping off some popular games, leaving other ventures on the side expecting the newly recruited, experienced blood to do the job. They kinda did for a couple of years, but many of its employees could get away with a bunch of things. Bjørn, at this point having released 12 albums in his name (not counting the game scores) along with another 2 trance albums under the Divinorum name, both groups with a decent cult following (the Alien Breed 3D OST got auctioned for 200 dollars used once), had enough stuff in his vault to share for a fee, making the true figure of his game scoring antics somewhat difficult, especially if you count he got to bring some friends into the plane, like his pal Allister Brimble being the first "signing" for Shockwave, along with many small Amiga dudes in their real names later, and also with some publishing or distributing in his very small firm like Jøgeir Lijledahl. Examples of this "licensing product to my own boss" kinda situation are notorious in the next games, the last hurrah for the huscarl here, and a very grrroovy one too.
Finally, one of the most kicking scores from the catalogue and the game where i discovered Bjørn Lynne... or sorta. 2000's Ford Racing made by Elite Systems under command of Empire Interactive, both british, is a small little racer for PC and PS1 that seems to have been blasted for its gameplay, mostly because it makes you start with compact stock vehicles in really slow turns and you only get to drive the cool cars in the late game, which supposedly not many reached. Oh well, at least it was praised/noted for its contrasting and aggressive sounds. The score seems to be licensed from Lynne's Accelerator (or it may be the album of the game?) featuring half of the songs from it and boy they are feisty as hell, Slicks & Chicks being the first song i heard from the guy and falling in love for it immediately, you can't get much more Y2K than that. Still, originally i found it in the Ford Racing 2 soundtrack, which seems to have been licensed too as a nod to the first game or because they paid two deals, who knows, and in that game you also had as guest the master of the realm, Tim Follin, going for the idea and sharing/licensing his funk music from the Starsky & Hutch game (also published by Empire) so that baby bleeds music and hence why i thought Slicks was a Follin song: The tracks had no names and one of the transitions sounds just like the ones in the score for Arcade's Revenge Marvel game Tim did. Doesn't help another of the songs doesn't really quite fit the trance/dance vibe, going for a somewhat funk rock, and that just fits Tim's S&H so i also confused that one until i checked the credits carefully in the Need for Speed fan site. This one is definitely up there with his best, a complete blast and probably the only reason i might buy Ford Racing 2 if i see it somewhere.
That brings us to another hit, Team17's own Stunt GP, the furious rival to Acclaim's Re-Volt that also adds tons of x-treme tricks for the small RC to do along with improved graphics. There is a problem tho... it was released a year later. So it seems this was going to be a Hasbro venture with Atari Interactive, one of its digital arms, publishing it but after some deals felt through and the Interactive section sold off to the french (this is Atari, after all, there has to be drama) the game stuck in limbo for a while. A full year later the game was released with its main platform, the Dreamcast, dead on the water, and it really doesn't help at all the publishers who decided to do the job were shady to say the least: Eon Digital, which had just a few months in the market and dissolved a year later without paying its bills did the job for PC and the DC (their headman, Mr. Burns, would go on later being an EA and Activision executive after being an Atari one for a long time) with the PS2 version being released by Titus... yep, the same guys who pulled Superman 64, Blues Brothers 2000 and RoboCop gen 6. Nobody bought the thing it seems but hey, at least the score is cool enough to warrant a view, turns out that mysterious funk rock song from Ford Racing was supposed to be here, but cut to make space to the co-composer for this game Marc Pattison, a pretty good session guitarist specialized in heavy metal that later on went to form part of a pretty darned good prog metal album under the name of Futures End (feat. bass monster Steve Di Giorgio). Marc does a good job here, complementing Bjørn's arrangements, i mean Marc is clearly a specialist in the axe (The Loopback is top tier) so not a lot of comparison with the nord's skills but they seem to fare well together. The tracks only composed by Bjørn form part of the other half of the Accelerator album, which seems like an interesting choice in terms of tonality but that doesn't stop it from being licensed a few times, The Hustler (called Wide Wall Chase in the game) has been featured in some commercials and i know i've heard it in a SickAnimation video so i guess even some people still hit n run his tracks from the small free previews. Our man didn't stop just there, he also squeezed a Divinorum track in it renamed as Flying Finish, i mean this is getting silly.
Here's an interesting due from the same year. First let's go with 2000's Siege of Avalon made by Digital Tome, one of the pioneers of "episodic" content so maligned these days but hey, at least they let you keep all the previous stuff and in the end released a complete version so it can't be that bad, can it? they even slipped you the first chapter for free so you could feel the cliffhanger harder. Licensing shenanigans appear again, at least with the track The Fairy Woods, a MIDI rearrangement from a track that appeared in Lynne's catalogue all the way in one of his albums released when he was a tech support dude in Norway. The main star here has to be The Alchemist, too cool. Later on it was supposed to have a sequel but the studio went down, curiously one day the idea of making the thing run on multiple platforms was presented and the devs gave up the source code for the first chapter, which is currently at GitHub supposedly, citing "an extended practical life... and to share our technical learning experience with the game development community" among other things. In 2014 a re-release was planned but the planning company went down too, so i guess these guys have some serious trouble with their management. Our second fellow here is the curious case of Spin Jam, released on 2000 and made by H20 Interactive, a studio by the fellas at Empire Interactive, who even released an ad styled as a manga for this game. I mean that's interesting, makes a step ahead from just using anime-style to promote your stuff to weeaboos to actually making the manga counterpart for those who are cooler than to play the game only, which is a Bust-A-Move-sque game. The cutesy tootsie atmosphere is enhanced with the score, a full-on bubblegum pop that sounds straight out from a Britney Spears album from the era, but at times things get a dreamy turn like what happens in the first in-game song at aroud 40 seconds in. Lynne once again flexing his adaptability, and it's not licensed either!
Yes, after releasing "the last installment in the series" twice Team17 came up with Worms 3D in 2003, and somehow they pulled it. Featuring Lynne's biggest score (5+ hours) it's not surprising that most of it is slow minimalist ambient, and yes he was also told it was too much and the scores later on would have yet another change of concept, which was ambient with a little more pace and not so much in quantity. No wonder the guy was brewing another business if his life was about chopping small samples in languages he didn't understand and forced to play with less and less stuff, but at least he extended stuff easily. Personally i find the Arctic and Space sub-groups here to be relaxing, used them for a while as background noise while playing Mount & Blade, they do work in their intended way. Also features a Junior Senior song that pesters users as it is the default in many menu sections and never goes fully away, sad really as i liked the song a lot and was surprised to see some heat for it. Yeah dude, nothing much to say here again. Also V O I D space in its front cover art style, the infinite white space with neverending blue sky.
Guess what, here's another one, Worms Blast from 2003 is an attempt by Team17 to give some variety to the franchise instead of making other games, i haven't really checked it that well, other than the bloodthirsty cover not matching the puzzle gameplay, but the explanation on how the score came to be warrants a view. There are 4 themes with 4 to 5 variations that differ significantly, they are separated in gameplay intensity (low, med low, med, high, etc) and when things get heated the music changes a little, this gets a transition in the middle of the usual puzzle mechanic sounds that create quite the soundscape which is the standard in most puzzle games, but still got a kick out of it as i don't remember reading such an explicit explanation outside. The 4th theme at Medium, heard here twice, screams like Sega music and particularly Super Monkey Ball. I know one of the songs from the first one starts similarly.
At this point we can deduce Bjørn Arild was getting somewhat burnt with this franchise, especially when i omitted a couple entries. Worms 4 appeared in 2005 and with its remaster in Ultimate Mayhem they serve as the last games in the original run of the franchise. I couldn't find a clean rip or album version of this soundtrack for free so i went with a nasty in-game rip, apologies, although it gives a special vibe in certain songs like Camelot #2 and Construction #1. It has more varied instruments but the essence remains the same: just record something the easy-going background ambient sounds in the middle of slapping worms silly in the vastness of randomly generated maps.
By 2005 our man in Yorkshire was getting really livid about video games and video games music, his last big gig would be the sound effect technician serving as Tim Follin's sidekick in his Lemmings score, which would also prove his last as a professional video game composer... yes, at one point Team17 had Follin, Lynne and Brimble as base or supporting composers, doing little with them. Some time later between late 2006 or early 2008, many of these devs went out and left the company, some deciding not to return (Follin) while others continuing licensing but de-facto never working on it again (Lynne), while others simply lowered output but kept going (Brimble). In the case of Bjørn he shifted his focus entirely to stock/licensing, one of the well-known examples of his music slipping in products is Club Penguin, which features a couple of tracks for the night club and alien abduction sequences. But for the most part it's only stuff for spas, executive lounges, stand-by phone tunes (ironically for him) and shoestring-budget games. After a bunch of people going out Team17 would then have a string of financial bad luck, so they rebooted Worms around 2007 along with producing a couple of games to kickstart themselves again, like Leisure Suit Larry: Box Office Bust which, needless to say, was a not good game so they just ended up making Worms again and years later had to re-structure the whole thing as an indie dev studio only, seeing the founder of it all Martyn "James" Brown go to new pastures while Debbie Dough kept being the de-facto overlor... overlady.
The guy returned to Norway, and even when i read he's an Oslo native he went to settle in the small cozy resort town of Stavern, not far away from the city. Seemingly with everything he needs at walking distance he dedicated himself on managing his business while passing the rest of the day with his family in a decent house on the waterfront. But one day after being slapped with e-mails from a long-time fan the man gave an announcement on his personal zogbook account, screenshot here, in which tl;dr he confirmed calling it quits and just passing the days as a manager while once in a while writing some songs for stock music databases. While this sounds grim if we take into context the things he managed to get i would say this is one of those instances where a person "made it" and decides to live on, in this case chilling around and checking on his family. I can't blame him at all, currently he seems to be playing tennis with his town pals, hiking and camping around Scandinavia, going to Oslo for festivities, i heard he also does fishing... come on now, if you can do all that without worrying about the money then you are settled. About this long wait to post all these being narratively better, i never got to check video interviews on the web until some weeks ago and there's a very decent one on him around 2011 by a russian game soundtrack website, hosted by a mongolian raider called Valentin Kozin. Coincidentally i ended using many pictures and songs they also used in their video (pls no bully, bored minds think alike) but they still went on their way to find very tough to find info. Def worth a check sometime, funny to see a glimpse of Lynne's CD stack, the only album visible not from his own hand or Amiga/Shockwave musician friends is a Jesper Kyd soundtrack for Hitman. https://www.jewtube.com/watch?v=S03tkpDspfA
These are just some bonus ones. Currently the guy has 72 albums released, including the game scores, so tracking his stuff is a little daunting if not for the fact not many of those are found on the open web, so i didn't go balls deep on his music but i did hear all his stuff available in good quality, which is still quite the sum. One particular specialty of this guy is "folk" music or fairy/forest tracks as called on stock, and while not strictly video games some of those tracks went on to appear in certain games or remade after them. One set of these albums are based on some books made by Allan Cole, a prolific screenwriter and spook who made a trilogy of fantasy books, namely the Timura trilogy, in which the albums are based from. They are pretty ok, first one is Lynne alone, second is him with collaborations and the third is him as a band leader, final one is a bit chaotic but i'm not a big fan of Power or Folk rock/metal so cannot judge it for what it really is. Still pretty interesting.
And here's a set of his usual personal stuff, the first one not so much as i read it's from an unofficial collection of the belligerent and FPS/TPS stock work he did with other freelancers, included here because i found it to be a decent comparison of what he would sound like in recent years if he kept going. The rest are his space synth, trance and downtempo stuff.
And there we go, that's the man in a resumed form. Here's the links for his stuff but i have to warn that a good bunch of the albums are dirty game rips, not the official soundtrack releases that contain a bunch of bonus tracks (although not all games had one) that's because i couldn't find them or had a release after i organized them since April 2019 :^) hence why they still have a /vg/ stamp too, rip And ripip Julay/v/ too where i originally posted this two years ago to the date STANDARD >Dr. Awesome's Original Amiga Works https://mega.nz/file/HU4BwYID#Ycv9IdVq0aHmU_9ffAsKcajFCkh6XjL2Gi46vPCzRCk >Airline https://mega.nz/file/6ERkCQqB#RyTSWew2tZAPNPTdY-3UN29eCok4JxQgbA_el3FE8SM >Drivin' Force https://mega.nz/file/fQxliIyD#Vusq2IWJ_ELKailo7u_mt-1LOsillh8pew-bvArGmJ8 >Cubulus https://mega.nz/file/7UxRQabT#TrcU9He4kLqhpEXBcrm5iMx4IwbULQ1AovAC0Nf10tk >Fantastic Voyage https://mega.nz/file/jQ5x2IDA#zCq-ETm3Z3lCRvSTS6Oyxp6IcWs0adT9yGE1aSWx_Hs >Shanghai https://mega.nz/file/DA5DQYSA#0JUqgEjCkfmWh1H4Tk1FLSWF3JwPpZoSzqDn8CXFsuk >Kasei Vallis https://mega.nz/file/ycpB0IhL#iN5jBvVjmMCZ0920jz3HSvT2nX86pSaipjB8LIg4vc4 >Qwak https://mega.nz/file/WIwXHSzT#Mh9L49w818rRkczdxO5OB9ualsMgwHrxtXXkjVm7-Gc >Alien Breed 3D https://mega.nz/file/yd5zBCKJ#wlw30Yo3jHAqGuMSkI5bJHgBfm9oH9Jxhd8-THp84vk >X2 https://mega.nz/file/3IoTxKgB#flrAucmq5jgXWxPWc5DSvSMKOrYyaBWJa5EWlRHzesw >Siege of Avalon https://mega.nz/file/aE4xla7Y#SI47v8r_76bTtjKL7_1cgacvgLeI6VtyGh28_HUecwE >Spin Jam https://mega.nz/file/uIoXESRZ#I3Fiijsiy1Szx1MFiLafMhStoZlczzecT47iIxxtLAM >Ford Racing https://mega.nz/file/GAoR1aoJ#IZ_2vRkmJImz5ZpA5QBY4RX3mOfX1XA0YDov7auwwxw >Stunt GP https://mega.nz/file/HUp3lKpD#Sfxjngf75ekGNpAWEVdsBiaVZh3aKsiK2rlXhJLroLk WORMS >Worms 2 https://mega.nz/file/eUwTharb#jkrKKkHUGfoSAom8aaJ22MSq-re1SB6PSD-ozw330FI >Addiction Pinball https://mega.nz/file/SIAggIKA#4THeTTSn1Uy3jNFpDpzYjrFNxI28hQPw2eFiz4en9F8 >Worms Armageddon https://mega.nz/file/OEpV3QiD#cttUv7rkWQ0DJZIrphGqXdQgqnaar5_UBcGB1fE7sto >Worms World Party https://mega.nz/file/TcIGAahL#JSHvfYIk-mSDRkVm_4c_misHCne0-ACXfKFYGeLwHRs >Worms 3D https://mega.nz/file/SUYkGYRI#NaIllymj-GvFjna1N4L5ajepIhlMgy-TmnXiDM-80b8 >Worms Blast https://mega.nz/file/OJxj0IQQ#srL35CBPOqxRJSgdmIZNy_DLd524ubYtqVE6Vb2EFLs >Worms 4 https://mega.nz/file/mYolxQLY#WxzRuov2LAvsZxDgJrP1-o4PwL-IrrxCzeRVwSUtNX0 How's that for a dump
>>2264 Damn anon, good job! This must have taken a lot of research. Reading about the demoscene is always a treat.
Ico's OST is so special
Dark Cloud has always been one of my favorites. King of comfy.
Arc the Lad Twilight of the Spirits is a rather weird game but the soundtrack is excellent.
Chaos Legion is a cool little pre-DMC3 hack 'n' slash from Capcom. It has a really slapping techno-rock choir sound. Nothing like this is made anymore.
>>2512 Dark Chronicle also has a nice OST, though with a completely different vibe, very Uematsu-ish. Ultimately I prefer the Dark Cloud one but it's still nice.
Open file (3.14 MB 360x360 Burning Spirits.mp4)
Open file (2.95 MB 360x360 Chi arasou.mp4)
Open file (2.01 MB 360x360 Dark Shrine.mp4)
Open file (1.00 MB 360x360 Kesshikou.mp4)
Open file (3.87 MB 360x360 Shitou.mp4)
Dawn of Mana, or Seiken Densetsu 4, is a somewhat questionable entry into the series and being a Square game it has a very expensive epic score that's maybe a tad generic, but there's also this rockish undertone to it spicing things up a bit.
Dark Native Apostle is a rather bizarre 2001 PS2 puzzle/platformer/action game from Hudson of all people. It's one of the earliest games to utilize cell-shading technology but the really cool thing about it is that late '90s techno sound that only a very small portion of 6th gen games managed to catch.
Drakengard 2, arguably the best in the series and more well known for begetting the Nier franchise, has a really interesting score.
Eternal Ring is an early From Software game, from back when they still used to make something other than Souls games. It's somewhat notorious for its eccentric score that doesn't fit anything happening on the screen but that's kinda part of its charm.

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