Posted by Nick Meador on May 15, 2009 in MP3s, News
This is an exploration of how video game music has influenced modern musicians. I’ll look at two in particular: Flying Lotus and Crystal Castles. And thanks to my new handy-dandy flash MP3 player, you’ll get to compare and contrast the tracks right here!
Both artists released full-length albums in 2008, but while I became utterly obsessed with Crystal Castles around March ‘08, I didn’t even find Flying Lotus (born Steven Ellison) and his second album Los Angeles until around November. When I started getting into FlyLo (as his fans reportedly call him), I dug around his MySpace page and found a video interview by XLR8R. Part of the video takes place in an arcade surrounded by old school video games, and the conversation centers on Ellison’s identification with the “Nintendo Generation.” He said that video game sounds are even sort of comforting, because he grew up with them and they’ve become such a huge part of our culture.
Audio: “Camel” by Flying Lotus, from the album Los Angeles.
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That reminded me of something I had written. Crystal Castles’ self-titled debut won a high spot on my 2008 top ten list. In that post I wrote, “Those of us alive less than 30 years can describe the phases of our lives in terms of video game consoles, computer monitors, and peer-to-peer networks.” I knew exactly what Ellison meant because I feel the same way — and I think many others do too…especially male Americans in their twenties.
I can remember the specific night in the fall of 1996 when I first played Nintendo 64. We went to our local Blockbuster store and rented a console and the first game released for the system: Mario 64. No game (or game franchise) has ever had greater original music than the Mario games (that is, unless you were one of those Sega types…but anyways, it’s just my opinion).
This culture branches beyond video games. One extension is cartoons, most notably South Park and the Adult Swim programming on Cartoon Network. As many of you already know, FlyLo’s song “1983″ still plays during show breaks on Adult Swim. I thought it was awesome when I found that out. (However, hearing the song “Light Powered” by Michigan’s own Deastro play on AS a few weeks ago was way more exciting. And in fact, Deastro has a place in this video-game-inspired-music discussion, but my hands are already full!) Ellison seems to be a leader of this underground culture, and I say underground in a literal sense, meaning that most of it happens in your basement or some similarly guarded place.
As I learned more about Flying Lotus and became addicted to his sound, there was one specific song that reminded me of the music from Mario 64. The track “Camel” (which you’ve hopefully been listening to already) has a segment that first drops at about 45 seconds into the song. Compare that part to what happens in the Mario 64 track “Powerful Mario” at about the seven second mark.
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Did that blow your mind?! Well I thought it was interesting. Crystal Castles possess more direct similarities to video game music. After all, they did inspire rumors that they had implanted an Atari chip in their keyboard.
Audio: “Through the Hosiery” by Crystal Castles, from their debut album.
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I swear that song sounds like “World Map 4 (Big Island)” from Super Mario Bros. 3:
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Am I taking crazy pills??? Or do I actually have a point here? Well, I’ll leave it up to you. Please comment and share your opinion.
Another interesting thing: “Title Theme” from Mario 64 is basically a watered-down drum’n'bass techno song. You may have seen me talk about Squarepusher recently. The album Hard Normal Daddy came out in 1997, a year after Mario 64. Was he inspired by the fearless Italian plumber? This one might be a stretch, not sonically (they sound frickin’ exactly the same), but more in terms of whether the video game music actually had some effect on the real music. You decide:
Audio: “Beep Street” by Squarepusher.
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Audio: “Title Theme” from Mario 64.
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I’m psyched that I get to see both Flying Lotus and Crystal Castles perform live in 2009. FlyLo will be at Movement Detroit 2009 (aka DEMF) on May 25 and CC will be at Lollapalooza. Don’t miss the opportunities!
Best New Artist: Crystal Castles: I don’t know if they need further argument. In addition to my fondness for their music, I’m also drawn to their attitude. Even the way they’re looking down on the album cover sends a message of indifference towards the world’s response. They don’t need the music media – the old alt weeklies or the new e-mags – to help them find fans; the band handled that on their own. But they don’t really need fans either. Crystal Castles seem to be making music because it’s the best way to spend their time. Whether or not they garner fame for it is irrelevant. They are a testament to what even one or two people can create with a few electronic devices and a lot of pent-up energy.
Best Michigan Artist: Deastro : Deastro is actually Randolph Chabot of Sterling Heights, Michigan, and Keepers was billed as a compilation of his previous work. To me this is an example of the type of creative energy I know exists in Michigan, but (up until recently) has never had the proper outlet. Chabot is definitely a talented musician, taking a lot of flashy styles from the past three decades and molding them into a modern synth pop lens. Ghostly International will release Moondagger — the first full-length album on that label — in early 2009. Cheers to them for supporting Michigan music. Now might I recommend Jeff’s Holiday (aka my musical brother).
Overrated Artist of 2008: MGMT : It’s not that I dislike MGMT. In fact “Kids” was one of my favorite songs of the year. However, I think they might be a band that we regret liking a few years down the line. Musically speaking, their songs are pretty simplistic. They even have a cheesy ass key change on “The Youth.” Their complex and funny lyrics are a saving factor, especially on “Time To Pretend.” Still, I think they were almost as over-hyped as M.I.A. was last year, and they’re destined to spend the rest of their band life on alternative FM radio stations. Plus, they bit it at Lollapalooza, and everyone ditched them for Booka Shade next door.
Favorite Live Performance: Animal Collective at Pitchfork Music Festival : Up until July 19, 2008, I couldn’t get into Animal Collective. I wanted to oh so badly, ‘cuz I could recognize that they were pushing the limits of American experimental music. But the singer’s voice got on my nerves and the music made me itchy and paranoid. Then came this live show, three men standing at the front of the stage, one holding a guitar and singing, two using keyboards, synths, drum machines (and one of those with a flashing headlamp on his noggin). Their set was one continuous performance, melding various songs together with seamless transitions. I began to approach the band as electronic artists, and their albums just as one interpretation of a greater artwork. I also realized that I like Sung Tongs and Feels a lot more than Strawberry Jam, but I’m still extremely excited for their upcoming 2009 release.
Favorite Festival: Rothbury : Four days of incredible music. 75-and-sunny weather throughout, and not a drop of rain. A magical place called Sherwood Forest. Notable efforts for sustainability. A memorable event for Michigan. It went extremely well for a debut festival, and if they stick to their mission statement, it should be equally enjoyable in years to come. And I’m tiring of Lollapalooza’s over-blown ego (fed by the everlasting ego of Perry Farrell). For more on Rothbury, read my essay published on Supraterranean.com.
Best Soundtrack: Gonzo: The Life and Work of Dr. Hunter S. Thompson : I haven’t gotten a chance to see the film yet, so that probably made this soundtrack more rewarding. It’s basically a compilation of HST’s favorite music from the wild “Gonzo” years, with interspersed recordings of Johnny Depp reading Thompson’s work. There’s also a song written by Thompson and Ralph Steadman: it starts like an outtake from Fleetwood Mac’s Tusk, but then changes to a Pink Floyd The Wall sing-along. It’s weird.
Best EP: The Twilight Sad – Here, It Never Snowed. Afterwards It Did : A short release mostly containing quieter reinterpretations of songs from their 2007 debut album. Ultimately shows that they are brave enough to scale back the intensity of their regular shoegaze style. It also reveals a wider array of influences and presents a greater scope of opportunity for future releases.
Best DJ Mix: Cut Copy – So Cosmic Mixtape : The band released this on their blog back in January, but I didn’t find it until around May. DJ mixes have become one way that I keep up to date with the world of electronic music. This mix didn’t serve that purpose as well as others, like the continuing Fabriclive series, but So Cosmic has other virtues. For one thing, they offered it as a free MP3 download. I loved how transparent the band was being about the influences that went into In Ghost Colours. I’m not familiar with most artists on the tracklist, but just seeing the names Aphex Twin, Fleetwood Mac, and Alan Braxe & Friends together is enough to make me curious.
Best Album of Remixes: Sally Shapiro – Remix Romance, Vol. 1: The first of two remix releases from the Swedish duo that goes by the name Sally Shapiro. This one contains awesome reworkings by artists I had heard of (The Juan Maclean, Junior Boys, Lindstrom), as well as some I hadn’t (Tensnake, The Cansecos). The second album was less focused and also less danceable, with inclusions from the likes of Russian Futurists and Dntel.
Best Music Video: Empire Of The Sun – “Walking On A Dream” : My brother visited from L.A. last week and introduced this music video to me. Apparently it was filmed on a new type of camera that has even higher resolution than HD cameras. The song is the kind that’s subtle upon first listen, catchy on the second, and addictive from the third to the tenth. Then it requires a break, since the song loops in your head from that point on. The band is an Austrialian duo who seem better suited for the ’80s, by which I mean they seem to take themselves really seriously: filming in Shanghai, never smiling, posing awkwardly, wearing goofy outfits, etc. However, the video looks spectacular and hardly (if ever) repeats itself.
Close Runner Up: Lyyke Li – “Little Bit” (I had chosen this until I saw “Walking On A Dream”)
I’m not entirely sure why I’m posting a Top Ten Albums of 2008. I usually end up disagreeing with my choices a few months later. Maybe I’m going through with it this year because more than half of these were total no-brainers. Once it got to spot eight or nine, I finally had to make some decisions. But then again, maybe I’m just not getting so worked up about this, since – due to the ongoing low traffic levels on this blog – it’s mostly for my enjoyment.
Once I decided to go ahead, I just wanted to make sure to publish this before seeing anyone else’s list (plus, most labels don’t release albums in December). As of now I do plan to post some other year-end music wrap-up stuff, like Honorable Mentions, Biggest Disappointments, and 2007 Albums Still On Heavy Rotation. Well, enough talky talky. Here’s the payoff.
10. The Dodos – Visiter: The easy way to describe the Dodos is to imagine Ben Gibbard (of Death Cab and Postal Service) fronting a backwoods gang of acoustic rockers. It struck my fancy during a summer spent in northern Michigan. Just don’t expect a soft affair; it gets plenty rowdy at times.
9. Scarlett Johansson – Anywhere I Lay My Head: Given that Scarlett’s voice isn’t technically remarkable, and all but one song on the album are covers of Tom Waits (who makes me cringe), I’d say it’s mostly Dave Sitek’s production work that secured this spot. It’s a dark, dense, autumnal trip of magically layered sound (and it helps that SJ is hot).
8. Deerhunter – Microcastle/Weird Era Continued: I’ve come to enjoy the rare occasion when my opinion of a band does a 180. This double album contains just the right mix of noise rock, dream pop, and oldies. Also, the lyrics and overall album feel suggest that members of the ADD generation can actually produce something coherent and relevant.
7. French Kicks – Swimming: I had almost become convinced that French Kicks were on the out path, an under-appreciated relic of the new millennium. Then came Swimming, which finds the band in what seems to be the most comfortable and convincing place they’ve ever reached. I’m still hooked on 2004’s Trial of the Century, but this might be the one that secures their place in this decade.
6. M83 – Saturdays=Youth: One of those albums that is exciting with the title and cover artwork alone. Luckily the music lives up to the concept: the inevitability of longing for innocence and simpler times. It’s indebted to the lushest of ’80s acts, Tears for Fears in particular. By the time Allison Goldfrapp arrives to sing on “Up!” the album is indisputable, despite only being halfway through.
5. Fleet Foxes – Ragged Wood: These guys perfectly replicate their vocal harmonies and delicate instrumental parts on stage, which boosts their cool value. Furthermore, this album provides what I had hoped for (and more) from My Morning Jacket’s recent flop. Nothing cuts to the core quicker than humble musicians plucking acoustic guitars and singing in celebration of open spaces.
4. Cut Copy – In Ghost Colours: I was among the fortunate few to see this one coming, having become addicted to their previous effort around late 2006. It works best as a dance party soundtrack, but they also appeal to people who shy away from electronic music. That’s likely due to their wide array of influences, from Fleetwood Mac to the somewhat obvious Daft Punk. And one gets the sense that this is still a stepping stone en route to something even more accomplished. Here’s hoping…
3. Beach House – Devotion: Me oh my, I need to get this one on vinyl. I think the band’s goal this time around was to develop more complicated arrangements, modeled after “Master of None” from their debut. They definitely accomplished that, while sacrificing none of what made their self-titled effort special. Of course, Victoria Legrand could sing over recordings of armpit farts and I’d probably still love it. Luckily Alex Scally focuses on making his guitar gently weep, and not…well…making his armpit fart.
2. Crystal Castles – Crystal Castles: Last year I told my brothers that I thought a big “something” was coming in music that would shift the scales. Soon after hearing Crystal Castles, I was pretty sure that this was it. The album came in phases. I became so hooked on the first four songs that it took me weeks to get from #5 to #9, and maybe even months to get from #10 to #18. It felt like a fitting climax to the great dance music from 2007 like Simian Mobile Disco and Justice, while also asserting that – while we’re living in the Digital Age – young adults today have never known anything different. Those of us alive less than 30 years can describe the phases of our lives in terms of video game consoles, computer monitors, and peer-to-peer networks. I guess Crystal Castles are most in tune with video game music, since their sound fed a rumor that they had implanted an Atari chip in their keyboard (which they hadn’t). There was also a rumor that they hadn’t put any effort into the album, since the vocals on “Alice Practice” came from an actual practice session in which Alice Glass didn’t know she was being recorded. I personally think that is reflective of the musical liberation we saw earlier in the decade, only now there’s a greater potential for high production value. Also, the immediacy of the band’s music helped quicken their impact on the international scene. Yes, the beats are a bit samey, but too much tinkering might have ruined the overall energy. Seven months after our introduction, the album still makes me want to jump on couches, scream off of balconies, and head bang to strobe light effects.
1. Atlas Sound – Let The Blind Lead Those Who Can See But Cannot Feel: “So what can beat that?” you might ask. Well, I’m not around strobe lights very often. I’m actually alone most of the time. And the album that made me cherish isolation the most came from Atlas Sound, the solo side project of Deerhunter’s Bradford Cox. It also – along with M83, Beach House, Goldfrapp, and a few others – solidified 2008 as a year of dream pop. Whereas 2007 was a big moment for European house and 2006 was a peak for indie pop, this year has been all about the sounds of serenity. Perhaps that was a natural progression, as more individuals started fulfilling their musical ambitions with home recording software, and songs have been increasingly composed with cut-and-paste methods. I saw Atlas Sound at Pitchfork Music Festival in July, and Cox pretty much just sang over pre-recorded samples. Usually I’d be critical of that sort of thing, but it was a strangely magical experience. This album is also one of the most obvious bi-products of Radiohead’s Kid A/Amnesiac phase. As an individual who feels that that phase was extremely short-lived, I’m practically starving for this sort of material. This is an icy exploration through an unpredictable realm of musical consciousness. I have a feeling it won’t even fully sink in until winter reaches full stride. And if the album still has more to reveal, it can only become more satisfying.
Posted by Nick Meador on Sep 24, 2008 in MP3s, News
Hello MusicEdge fans! It sure has been a while. I wasn’t sure if I was going to continue posting on this blog, but I missed it oh so much. I graduated from my masters of journalism program in the spring, and I spent the summer in Traverse City interning for Traverse Magazine. Now I’m in Ann Arbor full time working on a bunch of web projects and a new internship with Ingenex Digital Marketing.
I don’t have a ton of time to work on this blog right now, but I will at least post a “Song of the Week,” essentially what song, album, or band is stuck in my head at the current moment. Thanks to fancy Web 2.0 technology, I’ll even be able to embed an MP3 player right in the post.
Today’s song is “City” by Lo-Fi-Fnk, a synth pop band (to be extremely brief) from the current indie music hotbed of Planet Earth: Stockholm, Sweden. For those of you who have followed Swedish indie rock and electronica over the past few years, their music won’t sound terribly alien. There are elements of The Tough Alliance, The Knife, and The Radio Dept., as well as non-Swedes like Crystal Castles and Cut Copy.
Thanks to Jeff Meador for the lead! Stay tuned for more new music, concert previews, and album and show reviews.
- The Ruminant Bant by Fruit Bats
- Logos by Atlas Sound
- Psychic Chasms by Neon Indian
- Eyelid Movies by Phantogram
- East of Eden by Taken by Trees
- Ephemeral Exhibits by Starkey
- Immolate Yourself by Telefon Tel Aviv
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