Sunday 20 May 2018

Soundtrack Sundays (Sorta)

William Scott - Five Pears (1976)

As has been the running theme for a while now, this week's selections are all based around soundtracks. That's not 100% true though, as this first tune doesn't actually appear on a soundtrack, but rather comes from the grammatical mess of an album called Ghost In The Shell Tribute Category: Techno Style. And that title isn't exactly accurate either, there's a whole host of genres on the two compilations released, with one song in particular bordering on being Gabba of all things. But anyway, we're talking about the second tune that System 7 and techno heavyweight Derrick May have on this compilation. I don't think I mentioned this last time but the sound on show in the two tracks they have here reminds me of why as a li'l Foxbat I became enamoured with techno and general electronic music in the first place, it all sounded so futuristic to my young ears. The compilation's from 2004 but I think it carries that 90's future tech sound and sensibility with it, it'd only be right considering the source material for the tribute after all.

Moving onto something I recently dug out of my back-catalogue, The soundtrack for Metal Gear Solid 2 of all things. Truth be told it's actually really interesting to listen to on it's own, it's an odd sounding (on paper) mix of early 2000s cinematic score and electronic elements, due in part to the involvement of Harry Gregson-Williams. Not to discount the other contributions to the soundtrack though, Norihiko Hibino especially has plenty of tracks across the series that can fall under that category. Take Twilight Sniping for example, I can't say I ever gave it my full attention because the part of the game it plays in is pretty tense (and it only appears that once) but now hearing it separate from it's context it's surprisingly laid back, taking a form more akin to a slower Omni Trio track or the like. There's times where the reincorporation of the orchestral elements sounds a little off but overall I think it works out, that bassline is lovely for one.

And finally, yet another example from Soichi Terada. I think this'll be the third time or so I've told the tale of how he was one of if not the first examples of Drum & Bass I heard thanks to Ape Escape. And like Twilight Sniping above, it takes on a whole new life when separated from the context of the visuals. Coral Cave is a frantic tour de force of Terada's style; I'm fairly certain that it's got the fastest beat of all the Ape Escape OST, but carefully balanced with these aquatic themed synths firing off in the background. It's a short one at two minutes dead, but if you hit repeat on your music player it's clearly designed to loop fairly seamlessly as you might expect from a PS1 game. It's definitely one of the highlights of the OST, the whole thing is worth your time but check this one out for certain.

-Claude Van Foxbat

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