Music Moments In Time (With Andrew Elmore) | Sound Test

[00:00:00] You're coasting with Fine Time

[00:00:24] Hello, party people!

[00:00:26] It's your boy Dre, per usual

[00:00:29] And the music you're hearing this intro actually is by my guest today

[00:00:34] So I'm really happy to have him here

[00:00:36] His name is Andrew Elmore

[00:00:38] Thanks a lot for joining me, man

[00:00:40] Hello! I'm honored, thanks for having me on, man

[00:00:43] I'm really glad you're doing this

[00:00:45] This is great

[00:00:47] I wanted to do this kind of topic for a while

[00:00:49] It was banging around in my head

[00:00:51] Then you stepped into my life like a shining beacon

[00:00:54] Of red book audio

[00:00:56] And now we're here, we're gonna do this

[00:00:58] Right on

[00:01:00] So if you don't mind, tell the audience a bit about yourself

[00:01:03] This is a question I hate when someone asks me

[00:01:05] So I'm gonna ask it with you

[00:01:07] Since you haven't been on Fine Time before

[00:01:10] And just tell us a bit about yourself, please, Andrew

[00:01:13] Yeah, let's see

[00:01:15] My name is Andrew

[00:01:17] I am out here in Seattle

[00:01:19] I'm a designer and composer, I guess

[00:01:21] I make the video games

[00:01:24] I spent the last half decade or so

[00:01:26] Over at Bungie until I very suddenly was

[00:01:29] No longer at Bungie

[00:01:32] So now I'm back freelancing

[00:01:34] This industry, man, I tell ya

[00:01:38] We're in for a ride, man

[00:01:40] Yeah

[00:01:42] It's tough out there

[00:01:44] Well, I hope you land on your feet

[00:01:46] Maybe by the time this airs you will

[00:01:48] How about that? Some good karma

[00:01:50] Thanks, man, I appreciate it

[00:01:52] One of the two

[00:01:54] Fine Time is a good luck podcast

[00:01:56] It's a fine time here

[00:01:58] Did you piss yourself in McDonald's earlier today?

[00:02:00] I would never do such a thing

[00:02:02] That is just a rumor

[00:02:04] That is an unsubstantiated rumor

[00:02:07] Would never do anything

[00:02:09] Going around

[00:02:11] I don't know, man, see that McDonald's sprite though

[00:02:13] I tell ya what, I just can't

[00:02:15] Sometimes I can't help myself

[00:02:17] You ascend to another level

[00:02:19] And you're no longer concerned with things of this

[00:02:21] You know, earthly plane, this mortal coil

[00:02:23] No, this is bodily functions

[00:02:25] Who gives a fuck?

[00:02:27] This meat mech I pilot around

[00:02:29] Oh man

[00:02:31] We're having a blown the Lord's bubbles, man

[00:02:33] This shit ain't nothing to me, man

[00:02:35] Sorry

[00:02:37] Now that I've derailed the train

[00:02:39] Before it even left the station

[00:02:41] We're gonna have many derailments

[00:02:43] That is the nature of this show

[00:02:45] We're gonna have a fine time

[00:02:47] Definitely, I do wanna know about

[00:02:49] You say you're a composer and you definitely are

[00:02:51] I've listened to a number of your projects

[00:02:54] You have a lot of varied stuff

[00:02:57] So it might be unfair to ask you

[00:02:59] Like what's your approach?

[00:03:01] Something so general

[00:03:03] But I guess maybe a better question is

[00:03:05] What's your seed sometimes?

[00:03:07] Do you just have an idea like

[00:03:09] Oh, I want to create a soundtrack

[00:03:11] For this and then you just go

[00:03:13] Like you have the idea first

[00:03:15] Or you're like the noodle

[00:03:17] You start messing around with stuff

[00:03:19] And then it becomes something

[00:03:21] Usually the second one

[00:03:23] I know people like to

[00:03:25] When people are talking about like artistic process

[00:03:27] Or whatever I know everyone likes to be like

[00:03:29] No, I have this weird abstracted

[00:03:31] Esoteric ethereal process

[00:03:33] That's

[00:03:35] Barely confined within the

[00:03:37] Space of my own brain

[00:03:39] But no, I just like to do it around and make cool sounds

[00:03:41] Unless it's specifically something

[00:03:43] That I'm being paid for

[00:03:45] And like working on

[00:03:47] For a game or whatever

[00:03:49] In which case it needs to fit the game

[00:03:51] But yeah, I mean

[00:03:53] I've had a few releases that are just like

[00:03:55] Here's what if there was more

[00:03:57] Ridge Racer 4 music that wasn't as good

[00:03:59] Or what if someone

[00:04:01] Spent too much money on importing

[00:04:03] A bunch of old FM synthesizers

[00:04:05] And then was like hey, what if I made

[00:04:07] A soundtrack to a fake Mega Drive

[00:04:09] Shmoop and the

[00:04:11] I love that one, I've heard that one

[00:04:13] It's really great stuff. Obviously

[00:04:15] We're going to link all this

[00:04:17] Anything you're talking about here to your

[00:04:19] Bandcamp and stuff in the description

[00:04:21] I apologize in advance to everybody

[00:04:23] It's really good shit guys

[00:04:25] Trust me, he's being far far too

[00:04:27] Humble. But yeah, with

[00:04:29] That said we can get to

[00:04:31] Basically because she clicked on this

[00:04:33] I don't know why I always say that

[00:04:35] I guess I'm going to continue to

[00:04:37] We just want to talk about some music

[00:04:39] Moments in games

[00:04:41] That made us whether it's just like

[00:04:43] We got to a level and it's like

[00:04:45] Oh man, that was cool. It fit the vibe

[00:04:47] So perfectly I'll never forget when I first heard

[00:04:49] That if it's something dramatic from a cut

[00:04:51] Scene, if it's

[00:04:53] Whatever, right? However we want to interpret

[00:04:55] That, that's what we want to do

[00:04:57] Today. So yeah

[00:04:59] I guess we can just get started

[00:05:11] So I guess I'll go first

[00:05:13] I want to start with one

[00:05:15] That a lot of people have heard

[00:05:17] And in a game a lot of people have heard of

[00:05:19] Because I don't want to get too obscure right away

[00:05:21] And we absolutely will

[00:05:23] Get obscure folks, trust us

[00:05:25] Because that's just how

[00:05:27] This show rolls, you know me

[00:05:29] And my guest is probably

[00:05:31] Andrew here

[00:05:33] Does some more obscure stuff than me

[00:05:35] Which is great. Oh dear

[00:05:37] So I just want to

[00:05:39] I wanted to talk about

[00:05:41] The original Resident Evil

[00:05:43] Of which I know you're a Resident Evil fan

[00:05:45] Oh by the way

[00:05:47] I'm going to link this in the description too

[00:05:49] You did a great video on Resident Evil Dead Aim

[00:05:51] Which I fucking loved

[00:05:53] Dude, this thing was great

[00:05:55] Appreciate it. Thank you

[00:05:57] I want everybody to check that out

[00:05:59] It's kind of a video essay gameplay mix thing

[00:06:01] It's really cool

[00:06:03] Of which

[00:06:05] I'm going to tell on this guy here

[00:06:07] His own soundtrack for his own video

[00:06:09] Which is just fabulous

[00:06:11] I'm doing the ok symbol right now

[00:06:13] Just chef's kiss

[00:06:15] Just really good shit

[00:06:17] I'm sorry, I'll stop embarrassing you

[00:06:19] So before

[00:06:21] I get to my experience with Resident Evil

[00:06:23] I want to hear yours

[00:06:25] Because you're younger than me

[00:06:27] I'm an old man

[00:06:29] So I played the original Resident Evil

[00:06:31] As like a teenager like when it came out

[00:06:33] I'm assuming you did not

[00:06:35] It's like a little tyke

[00:06:37] So that was

[00:06:39] 96 when that first came out here

[00:06:41] Yeah, I would have been like 3

[00:06:43] I know

[00:06:45] I feel bad

[00:06:47] Because now I'm having those moments

[00:06:49] Now that I'm 30 and have 2 kids

[00:06:51] And all that crap

[00:06:53] Now I feel like the old guy sometimes

[00:06:55] I don't even know

[00:06:57] I guess that makes it worse

[00:06:59] I'm going to stop talking

[00:07:01] No, you're getting to the

[00:07:03] At the age where you're going to start feeling it

[00:07:05] So it's your turn now

[00:07:07] We're getting there

[00:07:09] I was definitely aware of the franchise

[00:07:11] Growing up

[00:07:13] I didn't do well with horror

[00:07:15] Growing up as a kid in general

[00:07:17] Love

[00:07:19] Love horror now

[00:07:21] As a kid I think I just had an easily

[00:07:23] Overactive imagination

[00:07:25] It was very easy for me to freak myself out

[00:07:27] Get outside of my own head about stuff

[00:07:29] So I think the first

[00:07:31] Full length zombie movie

[00:07:33] That I watched, if we wanted to

[00:07:35] Totally extrapolate this thing

[00:07:37] Dawn of the Dead

[00:07:39] I believe

[00:07:41] And that kind of

[00:07:43] Broke the seal a little bit

[00:07:45] I was way too young and that movie scared the hell out of me

[00:07:47] For a while

[00:07:49] But then after a while

[00:07:51] Sitting with that I was like, I'm good now

[00:07:53] Actually, there's tough rules

[00:07:55] So I think

[00:07:57] I was definitely aware of it being a big game franchise type thing

[00:08:01] But that was throughout the

[00:08:03] Early-mid-2000s

[00:08:05] I had friends that played those games and stuff

[00:08:07] I messed with 4 a little bit

[00:08:09] In the middle of it

[00:08:11] On a buddy's GameCube at one point

[00:08:13] I don't think I actually completed

[00:08:15] A full Resident Evil game until

[00:08:17] I don't remember which one was first

[00:08:19] It was either 4

[00:08:21] Or

[00:08:23] The remaster of the 2002 remake

[00:08:25] Of the first one

[00:08:27] But it was on PS4

[00:08:29] So I did not actually sit down and complete

[00:08:31] A Resident Evil game until

[00:08:33] Not even a decade ago probably

[00:08:35] Because I remember I think

[00:08:37] 2002 Resident Evil 0 came out on PS4

[00:08:39] In 2015

[00:08:41] Or something like that

[00:08:43] It probably could have been then

[00:08:45] Somewhere around there

[00:08:47] At that point I had seen

[00:08:49] What felt like most of the stuff

[00:08:51] In a lot of the mainline games

[00:08:53] And stuff throughout just cultural osmosis

[00:08:55] Of being in and around games

[00:08:57] Yeah

[00:08:59] Since then I've played

[00:09:01] Most of them a couple of times

[00:09:03] A lot of different ports to that first one

[00:09:05] Yeah, no, I just

[00:09:07] I love that series and it's weird and stupid

[00:09:09] And I love it when it's at its stupidest

[00:09:11] Hence the dead-aim video

[00:09:13] But yeah

[00:09:15] That is a stupid game

[00:09:17] And it's

[00:09:19] It's really good

[00:09:21] Honestly it's hard

[00:09:23] But yeah, that's cool to hear

[00:09:25] That you came at it from that angle

[00:09:27] And became a Resident Evil

[00:09:29] Appreciator versus like

[00:09:31] I'm 14 and I'm just like

[00:09:33] Oh, Resident Evil, it says Capcom on it

[00:09:35] I guess I'll buy it

[00:09:37] What the fuck is this?

[00:09:39] You know? Cause I'm going to the arcade every week

[00:09:41] And playing Capcom games

[00:09:43] And I buy one at home

[00:09:45] This isn't what I signed up for

[00:09:47] You know? What's this survival horror shit

[00:09:49] But yeah, I fell in love with it quickly

[00:09:51] Once I understood what the game wanted from me

[00:09:53] And

[00:09:55] I think everyone's first

[00:09:57] Experience with the old 10 controls

[00:09:59] Or as an evil might go something like this

[00:10:01] Where

[00:10:03] You're stuck

[00:10:05] You're in a real rough spot

[00:10:07] You're on the second floor

[00:10:09] You have like seven bullets left

[00:10:11] In your gun, you have like two shotgun shells

[00:10:15] What the hell am I going to do?

[00:10:17] I don't have any keys to get in here

[00:10:19] There's zombies in every hallway

[00:10:21] Cause I couldn't really kill them before

[00:10:23] I need to get safe

[00:10:25] I need to get out of here

[00:10:27] You need to exhale for a minute

[00:10:29] Yeah, and you need to have that

[00:10:31] Like I need to get back to a save room

[00:10:33] But then you're like oh shit

[00:10:35] If anybody is anything like me

[00:10:37] They're like where the fuck am I going

[00:10:39] You don't want to really look at the map

[00:10:41] Because sometimes I have the thing

[00:10:43] Where I look at the map

[00:10:45] And then I'm like oh shit

[00:10:47] I didn't realize this guy was three feet away from munching

[00:10:49] On my neck

[00:10:51] So like I forget stuff like that

[00:10:53] While I'm looking at the map, my lizard brain puts it out of sight

[00:10:55] So I'm scared to do that

[00:10:57] So I'm just kind of going by sight here

[00:10:59] I need to get safe, I need to get back

[00:11:01] Should I go down the hallway? Should I go back downstairs?

[00:11:03] You know, so you might have a scenario

[00:11:05] You choose to go back downstairs

[00:11:07] You dodge that one zombie, you have to get around

[00:11:09] You see the next door

[00:11:11] Holy shit, I hope this is it

[00:11:13] And it's it

[00:11:37] That music washes over you

[00:11:39] That save, that save room music

[00:11:41] It is like some

[00:11:43] I'm telling you

[00:11:45] There's a lot of games that rely on your fear

[00:11:47] Of stuff, not literally something

[00:11:49] Like a horror game but just like

[00:11:51] Oh man am I going to make it

[00:11:53] Oh shit I'm there, like sometimes you can feel that

[00:11:55] In a harder uh

[00:11:57] Castlevania where it's like

[00:11:59] Oh man it's a save room or at the

[00:12:01] Oh man here it is right

[00:12:03] But that doesn't have the music

[00:12:05] This has that calming soothing

[00:12:07] I don't know if it was intentional

[00:12:09] I'm sure it was just a signal to the player

[00:12:11] Hey, there's a

[00:12:13] Typewriter here and there's a box

[00:12:15] Here you can get your shit or whatever

[00:12:17] I'm not sure they intentionally

[00:12:19] Meant like oh man

[00:12:21] They might be on the run

[00:12:23] Oh here's a save room, this is really going to relieve them

[00:12:25] Maybe they did, I don't know what the genie

[00:12:27] Is this a cat on reviewing

[00:12:29] I would assume they did, that seems like a game design thing

[00:12:31] Yeah, definitely

[00:12:33] Really? What makes you say that?

[00:12:35] If you're making a game that's designed to stress people out

[00:12:37] All the time wouldn't you want some contrast in there?

[00:12:39] Otherwise, you know

[00:12:41] If you're redlining all the time they can't

[00:12:43] You can't keep breathing in

[00:12:45] You know, you have to breathe out

[00:12:47] To be able to breathe back in

[00:12:49] So I think if you're making a game that is about

[00:12:51] Uh limited resources

[00:12:53] And inventory management and

[00:12:55] Uh you know intentionally

[00:12:57] Trying to scare people

[00:12:59] You want to be able to give them at least some kind of

[00:13:01] Solid ground right

[00:13:03] A room that's not going to cause any problems

[00:13:05] Where they can just like chill for a minute

[00:13:07] Um and do all their inventory management

[00:13:09] And like save and like

[00:13:11] Feel rest assured that like my progress has been recorded here

[00:13:13] Um

[00:13:15] And even that like it's still Resident Evil

[00:13:17] You're still balancing ink ribbons in your head right

[00:13:19] Depending on the game I guess

[00:13:21] But if we're talking about like you know

[00:13:23] OGS, Biohazard, Ask Resident Evil

[00:13:25] Um which I always am by the way

[00:13:27] I only like the tank controls era

[00:13:29] So that's

[00:13:31] I love tank controls

[00:13:33] I played through six like a couple weeks ago

[00:13:35] And that game also rules I will happily talk about

[00:13:37] That all day long

[00:13:39] I was out by then

[00:13:41] I never actually tried six so like

[00:13:43] It's nuts

[00:13:45] Um yeah I hear

[00:13:47] You defending against the uh the one star reviews

[00:13:49] You're about to get apologies

[00:13:51] Um send them directly

[00:13:53] To uh me

[00:13:55] Care of Andrew Elmore

[00:13:57] Actually type them out on a typewriter

[00:13:59] Um and deposit the sheet of paper

[00:14:01] Directly into your toilet and I'll get it

[00:14:03] It's fine

[00:14:05] Don't make any typos

[00:14:07] You'll have to use another ink ribbon

[00:14:09] If you want to write it over

[00:14:11] At that point

[00:14:13] That's an interesting question

[00:14:15] If you make a typo while saving in the Resident Evil world

[00:14:17] Do you alter the timeline

[00:14:19] Ooh probably

[00:14:21] That gets into a multi-

[00:14:23] Yeah you'll fall into like a black hole

[00:14:25] That's how Wesker did his whole thing

[00:14:27] I'm not going to worry about it

[00:14:29] I'm going to take and thank you for your uh big brain

[00:14:31] Uh I make video games

[00:14:33] Uh mind on that because honestly

[00:14:35] I wouldn't have thought about it that way

[00:14:37] Because I would just think it was kind of a happy accident

[00:14:39] But you know what? You're right

[00:14:41] There's no way

[00:14:43] Yeah I think you're right

[00:14:45] I think you are experiencing the attendant

[00:14:47] Look even the stopped clock

[00:14:59] Okay

[00:15:01] Let's talk about one of yours

[00:15:03] A game moment

[00:15:05] A music moment that really

[00:15:07] Hits you in a way that you won't forget

[00:15:09] In this lifetime

[00:15:11] Sure

[00:15:13] Um I guess we'll start with the first one

[00:15:15] I sent you, why not

[00:15:17] Unless you have a plan

[00:15:19] No you can do whatever you want

[00:15:21] You can do whatever you want

[00:15:23] You can do whatever you want

[00:15:25] You can do whatever you want

[00:15:27] No you can do whatever you want

[00:15:29] Um yeah so when you

[00:15:31] Gave me this prompt I was struggling to think of

[00:15:33] Something that felt as like

[00:15:35] Front of mind iconic

[00:15:37] As a Resident Evil save room

[00:15:39] And the first thing that I thought of

[00:15:41] Was the game over music

[00:15:43] From Sunsoft's Batman game

[00:15:45] On the NES and Famicom

[00:15:57] It's a great one

[00:16:01] That is a great song

[00:16:03] Well every song there is great

[00:16:05] But that is a great one

[00:16:07] It is I like that a lot

[00:16:09] I like that whole soundtrack a lot

[00:16:11] I mean Sunsoft in that era in general

[00:16:13] Was of course unstoppable

[00:16:15] But um

[00:16:17] Yeah I don't know it's

[00:16:19] It's all the music

[00:16:21] It's all the music

[00:16:23] It's all the music

[00:16:25] Yeah I don't know it's

[00:16:27] It's all the music in that game is exceptional

[00:16:29] I think but the first time that I played it

[00:16:31] And game over it because it's also a

[00:16:33] Difficult video game

[00:16:35] That track hit me like a semi truck full of bricks

[00:16:37] Man I do not listen

[00:16:39] Far be it from me to care about

[00:16:41] The batting gentleman

[00:16:43] I'm not into the comic books

[00:16:45] Um

[00:16:49] That's not my scene

[00:16:51] Outside of

[00:16:53] The first two blade movies that's about it

[00:16:55] Those are great

[00:16:57] Incredible

[00:16:59] But yeah and like again my appreciation

[00:17:01] For the 89 Batman movie kind of

[00:17:03] Like doesn't really extend much further than like

[00:17:05] The set designs

[00:17:07] But damn those are some sets man

[00:17:09] They are

[00:17:11] Yeah the game over music from the NES game

[00:17:13] Felt like that was like woven from

[00:17:15] My DNA like it was drawn from

[00:17:17] Some deep dark corner of my heart

[00:17:19] I hadn't explored yet which is all to say

[00:17:21] A chiptune cover of a like

[00:17:23] Cure song from the disintegration era

[00:17:25] Or something

[00:17:27] That's a way of putting it

[00:17:29] But I kind of agree

[00:17:31] Yeah I mean like that's a lot of what I was raised on

[00:17:33] Was like a lot of

[00:17:35] 70s and 80s goth rock

[00:17:37] And early hip hop

[00:17:39] And then like playing a lot of NES games as a kid

[00:17:41] Like that's where I learned hooks

[00:17:43] Was playing Mega Man and listening to

[00:17:45] Depeche Mode and New Order and stuff

[00:17:47] So a lot of the

[00:17:49] That I think about music is formed out of that

[00:17:51] And just something about

[00:17:53] That track just like

[00:17:55] Hits the goth rock vibe so much harder

[00:17:57] Than anything I've ever heard on

[00:17:59] The NES sound chip before and it just

[00:18:01] I remember the first

[00:18:03] I don't remember much about the first time

[00:18:05] That I sat down and played that game

[00:18:07] But I remember just sitting there at the game over screen letting that loop

[00:18:09] Yeah it's a good one

[00:18:11] I didn't really listen to it that much

[00:18:13] Until later in life like when the game came out

[00:18:15] My friend had it and I played it there

[00:18:17] And I was like oh shit this game

[00:18:19] I mean I thought it was a

[00:18:21] It's a really good game as most Sunsoft games

[00:18:23] Of that era are but like

[00:18:25] The soundtrack obviously struck me the most

[00:18:27] Because how the hell wouldn't it

[00:18:29] Listen to that shit my god

[00:18:31] Get out of here so like yeah I didn't

[00:18:33] But like when I got a game over

[00:18:35] I was a kid so I just get pissed

[00:18:37] I just turned it off or something like that

[00:18:39] So like I didn't really listen to that song

[00:18:41] Much until later in life and I'm like oh man

[00:18:43] This is kind of a winner

[00:18:45] And I actually sat down and played that game on my own

[00:18:47] And I think it might have been

[00:18:49] Sometime

[00:18:51] Actually yeah probably in the last decade

[00:18:53] Like early mid 2010 somewhere in there

[00:18:55] I very re-bought an NES and started rebuilding

[00:18:57] That collection and all that stuff

[00:18:59] Okay

[00:19:01] Yeah I'm old so I played it when it came out

[00:19:03] So uh it says established

[00:19:05] I mean yeah I had

[00:19:07] Access to an NES as a kid

[00:19:09] But we called it the old Nintendo

[00:19:11] If that says anything

[00:19:15] Yeah sometimes see sometimes that can happen

[00:19:17] I mean there isn't a whole I mean yeah

[00:19:19] There is old systems older than NES

[00:19:21] But like I think by I played a lot of

[00:19:23] Atari 2600 stuff in like the early 90s

[00:19:25] Because my neighbor had one

[00:19:27] Right and then they still they still had it

[00:19:29] And I had the super Nintendo whatever

[00:19:31] Were up to date but they still had that thing

[00:19:33] So that's how I played a lot of Atari so yeah

[00:19:35] Sometimes like you know you can get the

[00:19:37] Stuff before you know your time

[00:19:39] From some weird avenue

[00:19:41] Yeah totally I had access

[00:19:43] To a 2600 grown up as well that was also

[00:19:45] A big part of

[00:19:47] A lot of that stuff and I think that was also like

[00:19:49] Help me understand a bit of the context

[00:19:51] Of games as a historical thing as well

[00:19:53] For sure

[00:19:55] Growing up having a bunch of quote unquote old consoles

[00:19:57] Around at the time but anyway sorry yeah go ahead

[00:19:59] No um I just wanted to ask

[00:20:01] You what's your favorite song on disintegration

[00:20:03] Aw man why

[00:20:05] Come on I gotta

[00:20:07] Okay I'll tell you mine I'll tell you mine

[00:20:09] Okay hit me it's a title track

[00:20:11] Yeah that's fair

[00:20:13] It's I can't you can't fuck with it

[00:20:15] As far as I'm concerned

[00:20:17] Nor would I dame to

[00:20:19] That is that is mine

[00:20:21] I know it's an impossible question for a lot of people

[00:20:23] But uh for anyone who's into this record

[00:20:25] My uh my buddy Evan

[00:20:27] Introduced me to this record maybe

[00:20:29] I don't know when I met him 20 years ago almost

[00:20:31] Now 15-20 years ago

[00:20:33] I never I mean I knew cure I knew cure stuff

[00:20:35] Here and there but like I don't know and then he's

[00:20:37] Like oh man okay I'll listen to this album

[00:20:39] Oh wait it's everything people says it is

[00:20:41] Wow and then uh but yeah

[00:20:43] The title track can't beat it

[00:20:45] For me

[00:20:47] Yeah that's a damn good one

[00:20:49] I might go prayers for rain

[00:20:51] Mmm but I mean whatever

[00:20:53] Like I the whole thing it's

[00:20:55] You're splitting hairs I know

[00:20:57] Like it's my favorite album

[00:20:59] From my favorite band because I'm nothing

[00:21:01] If not a parody of myself

[00:21:03] So any of them is fine by me

[00:21:05] Uh yeah just one last shout out to

[00:21:07] Naoki Koraka being uh absolute genius

[00:21:35] What I wanted to talk about next

[00:21:37] Was a little thing

[00:21:39] See I'm doing the James Lipton again

[00:21:41] I want to talk about a little thing

[00:21:43] Called

[00:21:45] Air Fortress

[00:21:47] Have you ever heard of Air Fortress?

[00:21:49] Oh yeah. Okay so you're familiar

[00:21:51] So yeah I think you know where I'm about to go with this

[00:21:53] But rare game right?

[00:21:55] Is that rare?

[00:21:57] Uh how laboratory? Oh that's what it was okay

[00:21:59] Um for anyone who doesn't know

[00:22:01] This is like a funny little

[00:22:03] Exploration Shmup thing

[00:22:05] By how laboratory as I said

[00:22:07] For NES back in the day

[00:22:09] I think it came out in Japan like in 87

[00:22:11] We got it damn near like 90

[00:22:13] Um because I remember when

[00:22:15] I was like 70 years old when it came out

[00:22:17] And I remember having it and it was one of those

[00:22:19] Man that game was like

[00:22:21] One of my absolute favorites it was so hard

[00:22:23] It was so tough and

[00:22:25] But it was just so much fun

[00:22:27] So the cycle of the game is this

[00:22:29] It begins with like a short

[00:22:31] Shmup section to get to like

[00:22:33] The titular Air Fortress

[00:22:35] Then you go inside the titular Air Fortress

[00:22:37] Yes I like to say titular

[00:22:39] Cause it's funny

[00:22:41] To find the core and then you blow it up

[00:22:43] And then you have to escape

[00:22:45] And then the cycle begins again

[00:22:47] There's another shmup level etc right

[00:22:49] So the first level

[00:22:51] Right the shmup section

[00:22:53] Is like dead easy

[00:22:55] They want to get you into the side scrolling section

[00:22:57] To do some like Blaster Master stuff real quick

[00:22:59] Exactly and then

[00:23:01] The Air Fortress itself

[00:23:03] Isn't too difficult

[00:23:05] There's no real twist or turns or anything

[00:23:07] And then you blow up the core and then the exit

[00:23:09] Is like right there so you just leave

[00:23:11] Okay so they get you right into it

[00:23:13] The second level is a much different story

[00:23:15] Yes

[00:23:17] The shmup section is much harder

[00:23:19] The enemies are a lot harder

[00:23:21] And more aggressive inside the Air Fortress

[00:23:23] Like remember that guy that looks like you

[00:23:25] But it's like red it's like a clone

[00:23:27] It's just kind of like if you're not really prepared

[00:23:29] For him he just kind of like

[00:23:31] Shoots you in the face and you're dead

[00:23:33] It's rough man

[00:23:35] You're really in the shit right

[00:23:37] They're not fucking around with you this time

[00:23:39] So finally you work your way

[00:23:41] Towards the core

[00:23:43] You blow it up

[00:23:45] But here's something I didn't mention the first time

[00:23:47] When you blow up the core

[00:23:49] The lights go out

[00:23:51] And it's completely silent

[00:23:53] Except for you hear that

[00:23:55] This bassline

[00:24:15] And it like

[00:24:17] And then it quickly gets accompanied

[00:24:19] By this like creepy

[00:24:21] Creepy tune that go along with it

[00:24:23] Yeah

[00:24:25] This weird like old timey computer arpeggio thing happening

[00:24:27] Yeah

[00:24:29] But it's kind of like a dreamy like Link's Awakening vibe

[00:24:31] Sorry guys

[00:24:33] No no no say you're correct

[00:24:35] It's it's

[00:24:37] It's creepy and it's

[00:24:39] It is dreamy but it's also like

[00:24:41] Unsettling because like I said

[00:24:43] The lights went out you can see

[00:24:45] But it's also like oh man I need to get out of here

[00:24:47] And it's like

[00:24:49] And you better have seen

[00:24:51] That escape patch on your way to the core

[00:24:53] Because if you didn't oh buddy you better

[00:24:55] Fucking find it quick

[00:24:57] You better you better find that thing

[00:24:59] You know and then like

[00:25:01] And as you're getting out

[00:25:03] The screen starts shaking more and more

[00:25:05] And it's like

[00:25:07] Oh man and there's no timer on the screen

[00:25:09] I think that's the scariest part

[00:25:11] You don't know how much time you have left

[00:25:13] To escape

[00:25:15] It's all visual and audio cues

[00:25:17] It's just shaking and you're it's like

[00:25:19] Holy fuck how do I get out of here

[00:25:35] I'm telling ya as a kid there was like

[00:25:37] Nothing scarier it was like

[00:25:39] It was so tense it was like

[00:25:41] For a for a what hell is I 8 year old

[00:25:43] I'm telling you what man

[00:25:45] It was it was something

[00:25:47] Now I'm glad you know of this game

[00:25:49] Like first of all but like

[00:25:51] So actually again like how did you play this

[00:25:53] Is it just like a random like oh man

[00:25:55] I'm just gonna dig through some old like how

[00:25:57] Laboratory or just

[00:25:59] No I didn't have this cart

[00:26:01] Grown up actually probably

[00:26:03] Still don't

[00:26:05] It's definitely it being near the top

[00:26:07] Of the alphabet means when you're doing the channel

[00:26:09] Surfing on an emulator as a kid

[00:26:11] It gets dropped in pretty quickly

[00:26:13] If you're just scrolling

[00:26:15] Yeah so I probably played it there first

[00:26:17] It reminded me a lot of

[00:26:19] The Guardian Legend

[00:26:21] Another NES game that does the cross between

[00:26:23] Shmups and the kind of walking around

[00:26:25] Sections there

[00:26:27] I've never really played it

[00:26:29] That game's nuts

[00:26:31] It's like

[00:26:33] This is a whole like video

[00:26:35] For another day but like there is

[00:26:37] There are a lot of really weird similarity lines

[00:26:39] Between that and near-automata

[00:26:41] That I can get into at some point

[00:26:43] Okay

[00:26:45] I was looking at this a few years ago

[00:26:47] And I was like I wouldn't call this a stealth remake

[00:26:49] But like

[00:26:51] There's some oddly specific

[00:26:53] Things happening here but that's neither

[00:26:55] Here nor there. That's great

[00:26:57] Yeah no Air Fortress is definitely just one

[00:26:59] That I've kind of like goofed around with the first couple stages

[00:27:01] Of but I know the sequence

[00:27:03] That you're talking about and it

[00:27:05] Reminds me of because I actually

[00:27:07] Watched this recently as I've

[00:27:09] Been working I've had

[00:27:11] Second monitor window here

[00:27:13] Just roll into the background

[00:27:15] One Jeff Gershman has been going through

[00:27:17] The entire library of the Nintendo Entertainment System

[00:27:19] Ranking all that stuff

[00:27:21] God bless him

[00:27:23] And he did that near fortress recently

[00:27:25] So that was refreshed for me but

[00:27:27] Yeah it's

[00:27:29] That section in

[00:27:31] That game is

[00:27:33] Cool I think to look at

[00:27:35] Now because

[00:27:37] It's like the flip side of the opening in Super Metroid

[00:27:39] Where

[00:27:41] They are having that time to escape sequences like

[00:27:43] A what do you call it a set piece

[00:27:45] Moment as they're

[00:27:47] Like a big extravagance

[00:27:49] Complicated technical feet

[00:27:51] And

[00:27:53] Making everything look flashy and expensive on the

[00:27:55] Super Nintendo and just being a big cool cinematic

[00:27:57] Blockbuster moment right but it sure was

[00:27:59] Yeah but Air Fortress goes the opposite

[00:28:01] Direction it's quiet and

[00:28:03] It's a word that I'm looking for here

[00:28:05] It's

[00:28:07] It's claustrophobic almost I think

[00:28:09] Yeah and the darkness there

[00:28:11] Because it's like a little bit like that Mega Man level

[00:28:13] But less rushing

[00:28:15] And more panicking because you have to

[00:28:17] It's not just make your way from point A to point B

[00:28:19] It's like navigate your way back out

[00:28:21] Of the fortress alive before

[00:28:23] The screen is shaking so much that you explode

[00:28:25] Yeah and I

[00:28:27] Had just never played a game like that

[00:28:29] Asked me to do anything like that

[00:28:31] You know and it was interesting because

[00:28:33] Like usually the manual will tell you hey this

[00:28:35] How you play the game in very specific instructions

[00:28:37] Okay when you defeat the core

[00:28:39] You have to leave I didn't really read the manual

[00:28:41] I don't think but I knew exactly

[00:28:43] What they wanted from me still somehow

[00:28:45] It was it was interesting

[00:28:47] Maybe that first level sets you up for it where the

[00:28:49] Escape hatch is like right there

[00:28:51] Maybe that's like you know maybe that was like

[00:28:53] Kind of it making the first level like really easy

[00:28:55] So you like okay you got it

[00:28:57] Yeah I think it's a little bit of like

[00:28:59] That first level being kind of a tutorial

[00:29:01] And then also just like I think your own

[00:29:03] Sense of like your own self preservation

[00:29:05] Instinct kicking in a little bit

[00:29:07] Yeah just be like I don't want to

[00:29:09] I don't want to die here man this can't be how I go out

[00:29:11] Oh man it's so

[00:29:13] Fucking terrifying if you don't make it because

[00:29:15] It has honestly the

[00:29:17] Explosion sound that scared the

[00:29:19] Shit out of me when I was a kid if you

[00:29:21] If you fail

[00:29:29] Woo that's such a good like missile commands

[00:29:31] Explosion I still feel it

[00:29:33] I actually I literally got chills

[00:29:35] Down my spine I still felt it when I was a kid

[00:29:37] Like it took me back there

[00:29:39] Oh shit I just realized we were

[00:29:41] Unpacking some old traumas here man

[00:29:43] No it really did

[00:29:45] That game scared the shit out of me but it was so

[00:29:47] Good I you know good kind of scared

[00:29:49] I wanted to do I wanted to try it again

[00:29:51] You know so I've always had an

[00:29:53] Appreciation for Air Fortress

[00:29:55] Thank you I God come on

[00:29:57] Nintendo switch online I cannot believe

[00:29:59] This game has never been re-released

[00:30:01] Not on virtual console not

[00:30:03] Anything it blows my mind

[00:30:05] Come on guys

[00:30:07] Nintendo go to Nintendo man I don't

[00:30:09] I don't know what else to tell you up there

[00:30:11] They got their own way of doing things over there

[00:30:13] They sure do

[00:30:19] Yeah so the next song

[00:30:21] That I wanted to pick is the stage music

[00:30:23] Which kind of goes against our theme

[00:30:25] But I promise I have reason here

[00:30:27] From the

[00:30:29] Go ship level of one castlevania

[00:30:31] Rondo of Blood

[00:30:33] The track is usually Romanized

[00:30:35] Portrait of a Go ship

[00:30:37] That track

[00:30:39] Hit me just the right way

[00:30:41] During a stage

[00:30:43] In which I decided

[00:30:45] That I felt confident

[00:30:47] Calling Rondo of Blood the best 2D

[00:30:49] Action game that I've ever played

[00:30:57] Music

[00:31:13] I think I probably still feel that way

[00:31:15] All these years later having played it

[00:31:17] That's legit

[00:31:19] And I think the music there is just

[00:31:21] Masterful

[00:31:23] It's like

[00:31:25] Castlevania IV

[00:31:27] Super Nintendo was kind of the

[00:31:29] Tipping point I guess

[00:31:31] Where that series like the music went from

[00:31:33] Being like 8 bit orchestrated

[00:31:35] Like symphonic speed metal to

[00:31:37] These weird jazz oddities and then they start

[00:31:39] Kind of mixing and matching these things together

[00:31:41] Over time after that

[00:31:43] But Rondo of Blood I think

[00:31:45] That was probably the first one that shipped on a disc

[00:31:47] With red book audio right

[00:31:49] Yeah it has to be.

[00:31:51] Think of anything else that would have been earlier

[00:31:53] It for sure is

[00:31:55] There can't be anything before that

[00:31:57] Yeah I'm not talking about like

[00:31:59] Floppies for the X68000

[00:32:01] Or like a compact disc

[00:32:03] Right. Because PC Engine CD was

[00:32:05] Like 88 or something like it was super early

[00:32:07] Yeah and then Rondo was like 93

[00:32:09] And then the X68K

[00:32:11] Version was also 93 but that's not what we're talking

[00:32:13] About. No that's a different game

[00:32:15] Yeah that's different

[00:32:17] Anyway

[00:32:19] So the soundtrack is full of all this incredible

[00:32:21] Like PCM Rompeler

[00:32:23] Work which is

[00:32:25] I'm trying to figure out like how

[00:32:27] In depth and Dorky I want to get about this

[00:32:29] And I've decided I'll just go all the way

[00:32:31] And you can cut it out if it's obnoxious

[00:32:33] No go for it I love this shit

[00:32:35] No go for it

[00:32:37] So throughout

[00:32:39] I would say the late 80s into the early 2000s

[00:32:41] You have

[00:32:43] A lot of music

[00:32:45] Especially with any kind of soundtracks, film, television

[00:32:47] Games whatever

[00:32:49] Out of these

[00:32:51] Rack mounted synthesizers

[00:32:53] That are doing less

[00:32:55] Synthesis and are acting more like

[00:32:57] Glorified samplers that are taking

[00:32:59] Samples and building like instruments out of them

[00:33:01] I guess if that makes sense

[00:33:03] So you have all of these

[00:33:05] Sounds that are like trying to

[00:33:07] Ape the sound of real instruments or just like

[00:33:09] Going all the way out there with stacking as many effects

[00:33:11] As possible and

[00:33:13] Layers and getting like really weird and textural

[00:33:15] With it and

[00:33:17] They're based off of these PCM samples

[00:33:19] And

[00:33:21] Sounds are stored in ROM memory

[00:33:23] So people call them romplers instead of

[00:33:25] Samplers etc etc

[00:33:27] That's where a lot of

[00:33:29] Especially if you're looking at video game soundtracks

[00:33:31] From like the CD era

[00:33:33] All of that stuff was done on instruments like that

[00:33:35] We're talking like the Korg Triton and

[00:33:37] The Roland JV1080

[00:33:41] G's Korg M3R

[00:33:43] Whatever it doesn't matter

[00:33:45] There's a long list of instruments that I have been

[00:33:47] Slowly tracking down because the yen

[00:33:49] Is really weak right now so I've been importing them

[00:33:51] Through proxy sites from Japan

[00:33:53] So that I can

[00:33:55] Use them to make music like this

[00:33:57] For people that are making games that look like PS1 games

[00:33:59] Because that's been what I've been doing lately

[00:34:01] And it's incredibly fun

[00:34:03] That sounds like such a blast

[00:34:05] Yeah, it's huge rules. I love using

[00:34:07] Old crap to make stuff

[00:34:09] Sound fun the hard way

[00:34:11] What am I saying

[00:34:13] Anyway

[00:34:15] Rondo of Blood is all leaning on all these

[00:34:17] PCM romplers for all these sounds

[00:34:19] And I think it's just such a really expertly

[00:34:21] Assembled palette

[00:34:23] Of leaning into the cheesy

[00:34:25] Fakeness of those instruments and using them as their own

[00:34:27] Thing and not pretending

[00:34:29] That you're conducting

[00:34:31] Like an orchestra or a big band or whatever

[00:34:43] That is important, you know

[00:34:45] And I think that's like

[00:34:49] You know I think that's like

[00:34:51] Why it was so important

[00:34:53] As soon as like

[00:34:55] Like

[00:34:57] You know

[00:34:59] I think that's like

[00:35:01] Why it was so important

[00:35:03] As soon as like

[00:35:05] Like

[00:35:07] Like

[00:35:09] Like

[00:35:11] As soon as like

[00:35:13] The lindrum came out

[00:35:15] Prince mastered that shit

[00:35:17] Right away

[00:35:19] Because he never tried to treat it like real drums

[00:35:21] Nope

[00:35:23] And I think a lot of people tried to do that

[00:35:25] And I think that was like the mistake

[00:35:27] I think that was the pitch right

[00:35:29] Like those early days like the rhythm ace

[00:35:31] And the lindrums, I think that was the pitch

[00:35:33] Like here it's just like real drums

[00:35:35] Yeah, but that's like

[00:35:37] Of course he didn't want to do that

[00:35:39] Like he was like

[00:35:41] Yeah

[00:35:43] And he was like

[00:35:45] Like

[00:35:47] Like

[00:35:49] I think that's like

[00:35:51] Like

[00:35:53] Like

[00:35:55] Like

[00:35:57] I think that's like

[00:35:59] Like

[00:36:01] Like

[00:36:03] Like

[00:36:05] Like

[00:36:07] Like

[00:36:09] Like

[00:36:11] Like

[00:36:19] Like

[00:36:20] Like

[00:36:22] Jung

[00:36:24] Like

[00:36:26] Like

[00:36:29] Like

[00:36:31] Like

[00:36:33] Like

[00:36:35] of them had an Xbox port. But like, I never really got into a lot of the quote unquote,

[00:36:39] Ega Vanias. I've never played the like mobile games or whatever. I'm a huge Castlevania

[00:36:45] head, but almost all of that is pre-Symphony in terms of stuff that I have played the most.

[00:36:51] I like it all basically. So yeah, no, totally. I just haven't played a lot of the other

[00:36:57] later stuff as much yet. Yeah, you will. You will. I think you would like some of the

[00:37:03] later DS stuff like Portrait of Ruin or Order of Ecclesia especially. I love Portrait of Ruin

[00:37:09] especially because you can tell when it's like one of the Yuzo tracks right away. Like it's unmistakable.

[00:37:17] Like he only did like a handful of songs for each of those games. He didn't really do the whole

[00:37:21] soundtrack, but when it's his, you know it. You know. It's so good. If we can go off on a Yuzo

[00:37:28] tangent for a minute, I love that dude has been just going through and taking all his old,

[00:37:32] I think it's probably stirred on a little bit by what he did for the Etrian Odyssey remasters, but

[00:37:37] he's just been going through all these old tracks and like running his old midi through

[00:37:41] different old instruments and putting that stuff up on YouTube and stuff. Like that dude is living

[00:37:45] the dream. He's living the life that I thought was impossible for mere mortals, but maybe he

[00:37:51] isn't one. Oh no. He's ascended way beyond us. He is the act razor. We're the floating baby.

[00:38:00] It's fine. Yeah. Yeah, we are.

[00:38:18] So Andrew, it is high time we talk about Shinji Hosoi. Let's do it because he's maybe,

[00:38:27] I don't know. It's hard to say who is the best ever. I mean, we just talked about Yuzo, right?

[00:38:31] But for me, he's like top three. It's up there. Up there. Top three for me, for sure. His music

[00:38:37] hits me in a way that before I even had words for it as a kid did. And that's because his music

[00:38:45] came to me through Dragon Spirit, the classic Namco vertical schmup where you're a dragon.

[00:38:51] As the name implies, that's why it's so cool that it's like it's not just the usual sci-fi

[00:38:56] stuff. It's like a fantasy schmup. You get to go over mountains and caves and volcanoes and

[00:39:03] stuff like that. Raging rivers. Yeah, man. Raging rivers. It's so cool. That jungle area just is

[00:39:09] so otherworldly. It just makes you feel like, at least it makes me feel like it's just

[00:39:15] something not of this planet because it's not. It's the Dragon Spirit planet or whatever.

[00:39:20] But for just gameplay-wise, for anyone who is curious, it's like one of those ground and air

[00:39:28] attacks sort of like Namco's Game Xevious. Yeah. But it's just now it's a dragon.

[00:39:34] So it's a fantastic game. But I did not fall in love with Dragon Spirit from the arcade.

[00:39:41] For me, it was the NES port slash remix called Dragon Spirit, The New Legend.

[00:39:48] And that's where I fell in love with the soundtrack. So are you familiar with this NES

[00:39:53] version of Dragon Spirit by any chance? No, I'm played like TG-16 and...

[00:39:58] Yeah. So I've played ports of the arcade version a bunch. I've never seen a cabinet.

[00:40:04] And then yeah, I've played the PC Engine version a lot. I currently have... Shout out to

[00:40:08] Brandon Sheffield. I have his copy of Dragon Spirit on PC Engine.

[00:40:12] But that is the version of that game that I've played the most.

[00:40:17] I just have a basic bitch turbo mini and I've played it on there. So yeah.

[00:40:20] Hell yeah, dude. Yeah. I got one of those and those came out too. That was a big entry into a lot

[00:40:26] of PC Engine stuff for me. But... Me too, man. It was a lot of just like, okay, I need to catch up

[00:40:32] on... Like I need to... I need someone to curate a list of games to check out.

[00:40:37] And they sure did. I was going to do it. Yeah, no, there's some great stuff on there.

[00:40:41] Especially for shooters. But no, you've never played this NES version.

[00:40:43] But no, I've never played the NES port. I have no idea what you're talking about.

[00:40:46] Yeah. So it's very... It's essentially the same levels and everything, but it's...

[00:40:52] You know, you're putting on an 8-bit system. You have to make some compromises.

[00:40:56] But this is one of those games that we've talked about before where

[00:41:02] limitations breed sort of... Not necessarily innovation, but it breeds... Like, okay,

[00:41:07] I only have this. So what can I do with this? I have to crunch it down to this.

[00:41:13] And Dragon Spirit probably does that better than any arcade port I've ever seen.

[00:41:19] So it's not the arcade game. It's almost like... We'll see, we were just talking about Rondo.

[00:41:23] I almost wanted to say it's like Dracula X SNES. It's not really. That's not like a great comp.

[00:41:29] I like Dracula X SNES. I'm not trying to dunk. But I just think that this is one of the best

[00:41:35] crunched-down to something else ports I've ever seen because it's so unique. And so this comes to me...

[00:41:42] The song I want to talk about in the form of Cave Road, the fifth level, because as you know,

[00:41:50] exactly what it sounds like. It's a mountain pass. It's really deep down.

[00:41:54] And you have these jagged walls that can move at will. Yeah, it's a canyon.

[00:41:57] Yeah. It's very like Life Force slash Salamander in that way, I think.

[00:42:02] Yeah. It's the other like, infortically scrolling any shooter, I think, of where the

[00:42:06] walls are moving in on you and stuff. Exactly. So it's not something you see very often.

[00:42:11] And so... And it's accompanied by this sort of pensive, not dangerous tune, but just sort of

[00:42:19] resolved, I guess, feeling to it. And it sounds like this at the arcade.

[00:42:31] And, you know, obviously you hear that. You can't crunch that down to a 8-bit sound chip.

[00:42:53] So what they went for, they stripped out a lot of the elements, especially in the level itself.

[00:42:58] The level is just a black background and the walls. And like the pillars that may come up every

[00:43:05] so often, of course, like the spiders or whatever. So it's really stripped back, but it has this

[00:43:10] surreal effect because it's so bare bones. It actually works as its own thing. And then,

[00:43:16] of similarly, the song is pretty bare bones itself because they have to strip it down.

[00:43:21] And now... I'm missing a bunch of instrument tracks.

[00:43:23] Exactly. So now it sounds more like this.

[00:43:59] Yeah, it's so weird to hear it like this. Yeah, it's so wild.

[00:44:05] It's kind of like a... Do you ever listen to the Famicom Disk System startup screen for Zelda 1?

[00:44:12] Yes. Yeah, there's like a whole other channel with another melody there. It's like,

[00:44:15] what? That was it the whole time? Yep. Ooh, that higher pitch is cool. Yeah.

[00:44:32] And I think to me, it's like the definitive version of the song. It adds this like...

[00:44:38] Because you can't do as much, it adds this level of... Almost what I said before, like

[00:44:44] resolve and just sort of like... It has a touch of... I don't want to say sadness. I feel like

[00:44:49] that's too overused, right? But maybe it's just a bit more morose than before.

[00:44:54] Or melancholy. Yeah, melancholy, right? It has a certain air to it that I think to me makes it

[00:45:02] like the ultimate version. I love the arcade soundtrack. I think Dragon Saber is even better.

[00:45:08] Yeah, probably. I love Dragon Spirit and Dragon Saber music so much. But for some reason,

[00:45:14] this particular NES version of this particular song, Cave Road, is the one that hit me. And

[00:45:21] of course, you know, the NES version is so easy. I felt really proud of myself like it was the

[00:45:25] first shmup I ever beat, you know what I mean? It was my afterlife force. I used the 30

[00:45:31] lives code, but yo! Dude, I beat Salamander on TurboGrafx 16 Mini. I fucking got up and jumped

[00:45:39] up and down. I thought I would... Punch a hole in the ceiling. Holy shit. Yeah. I was so excited for

[00:45:46] that because you know, because like the ending sequence, I only had like two lives left. I

[00:45:50] feel like there's no way I'm going to fuck this up, right? That when it's going to start

[00:45:53] speeding up, I have one more life than I thought I could. Oh, you're running through the

[00:45:57] like Trench Run or whatever. Yeah, exactly. And I had one more life than I thought I did

[00:46:01] because I crashed. I'm like, oh, that's it. Oh wait, I saw another life and then I made it out.

[00:46:06] Oh, that's awesome. I freaked out. It was the best. It was the best thing that happened to me

[00:46:12] during lockdown. But anyway, yeah, that version of Cave Road, I think is just absolutely sublime.

[00:46:21] I want to give a shout out to Masakatsu Maikawa who appears to be, as far as I can tell,

[00:46:26] the person who did that arrangement. Okay, good. Because I wasn't sure if it was Shinji Hosoe

[00:46:31] himself who did the in-ass arrangement or someone else. I figured it was somebody else.

[00:46:35] I have to imagine that dude has been working too much nonstop his entire life to have time

[00:46:39] to sit down and do a Famicom conversion of a bunch of trackers. That's what I thought,

[00:46:44] right? But you never know, right? Well, I mean, it sounds like someone took the time to sit

[00:46:48] down and like do this quote unquote bespoke Lee, you know? Like it's got that like fake

[00:46:54] delay, like the echo thing once the second phrase comes in. And someone spent a lot of time making

[00:46:59] sure this was appropriately, I don't want to say unsettling because I feel like that's a little bit

[00:47:06] short selling what's actually happening there. I think it's more complicated than that. But

[00:47:10] it's just a good combination of melodic stuff. And I think they took out the right elements

[00:47:16] to make it fit the very different energy level of this version of that stage, I guess.

[00:47:25] Because none of the NES versions have drum tracks. So like, yeah, no, none of them do.

[00:47:32] So it's almost like Rygarde in which it relies on the bass track to like really carry this rhythm.

[00:47:38] So all none of them have any drums. So it's such an interesting take.

[00:47:43] Coincidentally, I rely on Rygarde to carry my rhythm as a human being.

[00:47:51] Rygarde is my favorite NES soundtrack straight up. There's there's that is my answer. My favorite

[00:47:55] 8 bit soundtrack of all time is Rygarde. There are a lot of answers to that question

[00:48:00] that I think I would just be like, yeah, sure. All right. Yeah, this is one of them.

[00:48:04] So you said Rondo earlier, favorite 16 bit action game. I'm like, yeah,

[00:48:07] you know, and mine is you know, mine is a leisure drag good. And it's like, yeah,

[00:48:11] another perfect video game.

[00:48:13] Yeah. So the last one that I wanted to share is specifically the in game remix version of

[00:48:41] the area five track in res, which is a mix of Mindkiller by Adam Freeland. And it contains

[00:48:52] that Marlene Shaw sample in there that was cut out of all the official releases and stuff. But

[00:48:57] I think you kind of have to find it on YouTube at this point. But you sampled her track California

[00:49:02] Soul because it's like following the exact same core progression anyway. So just like,

[00:49:06] it fits really well. So find that version if you can. I don't know if you're dropping

[00:49:10] that in the show notes or what, but like, oh yeah, slightly more interesting version of that track,

[00:49:15] I think. But

[00:49:40] I'm

[00:49:46] Rez in general, like I mostly picked this song to

[00:49:51] try to represent all of res for me.

[00:49:55] Red, red, please talk about res. Can I make a confession first though? I've only ever played

[00:49:59] like the 360 version like a little bit that's like my entire history with res for some I

[00:50:06] imported a lot of stuff for Dreamcast. I never got around to res for some reason. So like that was

[00:50:11] the like the only time I ever played it. I don't know how different that version is from other ones,

[00:50:15] but that's that's my only res. No, that's fine. That's where I first played it. I knew of it

[00:50:22] before that, but I didn't have a ps2 during the ps2 era. And that's the only way it was

[00:50:26] released here in the States was on ps2 for a while. Yeah. Actually, you can't see what

[00:50:30] this current camera angle hold on me. Let me just scoot this a little bit. See if we can.

[00:50:34] Yeah, there it is. Oh, look at that. Look at that fancy. He has a he has a res poster on his

[00:50:39] wall framed all nice and everything folks. It's it's pretty good. It's a retail launch poster

[00:50:45] from 2001 from Japan. I like res. That's super cool. Yeah, you heard of this res thing.

[00:50:54] Yeah, res is a formative work for me. It kind of the formative work for me. If you

[00:50:58] know what's not familiar, it's a weird like rhythmic on rail shooter. Think like Panzer

[00:51:05] Dragoon or whatever, but musical and cybery and of the, you know, precipice of Y2K era

[00:51:14] made by a team of art dorks within Sega called United Game Artists kind of during Sega's peak

[00:51:22] weird era in the end of the 90s there when they were just throwing things at the wall to see

[00:51:26] what would stick. This was developed kind of in tandem with Space Channel 5,

[00:51:32] which is another musical rhythm game by a lot of the same team members just very, very different vibe.

[00:51:38] The kind of I don't know if this is a joke or a real thing, but someone on that team mentioned

[00:51:42] the practice of like, yeah, we'd work on Space Channel 5 during the day and then, you know,

[00:51:47] five o'clock, the lights go out and the music comes on and it's res time and I'm sorry,

[00:51:53] Space Channel 5 by day res by night. Exactly. And for the longest time, it was a,

[00:52:00] I don't want to say trapped on old hardware because like you can still buy it on Xbox Live or

[00:52:04] whatever, but like it's not easy to come by and throughout most of the like 360 generation

[00:52:10] of stuff, I didn't have Xbox Live because buying a Wi-Fi adapter for the Xbox was expensive

[00:52:16] and I was a kid. I had to spend that money on guitars. I spent a high level of money on bullshit.

[00:52:24] Yeah, and the router lived on the other side of the house, right? So back in the day for me,

[00:52:28] it was like, Kono Trigger costs $80 so you're only gonna get like game every so often, right?

[00:52:34] Yeah, exactly. Better make it last, right? So I, yeah, I didn't have any way to like do

[00:52:41] any of that. And then I found the, the, the cubed disc at some point, QUBED, which is a release of

[00:52:47] three games from Q Entertainment, which is the, yes, I don't want to call it like a revival,

[00:52:53] relaunch or whatever of UGA, but it's Tetsuya Mizuguchi, who if you don't know him from Rez

[00:53:00] and more recent stuff, like the other things like enhanced experience has been doing,

[00:53:04] you probably know him as the Sega rally guy. We don't need to get into all of that stuff

[00:53:10] at the moment, but Mizuguchi is a cool cat. He's an extremely cool cat. Rez is my favorite thing.

[00:53:22] Pure, like it's like game or just like work of art in general. And consistently over these long

[00:53:29] years, it's been my biggest source of just like creative inspiration and refreshing. And

[00:53:35] that game will pull me out of a depressive pit real easily, which is nice. It's very short. It's

[00:53:43] like an hour long to play through the whole thing. But it's kind of a score attack thing. It's not

[00:53:48] hard. It's a very easy game, but you can make it hard on yourself if you want to.

[00:53:53] It's very, I think elegantly designed that way. If you really want to start

[00:53:56] score chasing and like combo building and all that stuff, you can do that.

[00:53:59] But just like getting through the game point A to point B is not too bad for a kind of arcadey style

[00:54:06] Sega game of that era. And yeah, so there's five stages, the fifth one being this big like

[00:54:14] extended thing with like a boss rush at the end and all that stuff. But the fifth one is where

[00:54:18] the game starts getting weird and artsy. And it kind of instead of trying to can like put

[00:54:25] you inside a an artist rendition of a computer like some like Johnny Mnemonic I need to get online

[00:54:33] shit. It's cyberspace like actual physical like yeah, it's really war and shit like that. Yeah,

[00:54:39] like a lot of the aesthetic of res is kind of defined by just a black empty void and a lot

[00:54:48] of vectors. Everything is built out of like vector art and it's beautiful and I think what

[00:54:57] Rez is actually trying to do is get at the core of some slice of the infinitely broad human experience.

[00:55:08] A lot of the quote unquote research for Rez was like, let's go do a bunch of hallucinogenic

[00:55:13] set of festival on the other side of the planet and take a bunch of pictures and just

[00:55:15] you know see what happens. Yeah, like there's a lot of in development diaries and stuff. There's a

[00:55:22] lot of like, oh yeah, we wanted to make a like the video game equivalent of a Vasily Kondinsky

[00:55:26] painting or it's just like, yeah, we want to want to give people synesthesia or like try to

[00:55:32] simulate that and just connect as many senses as possible. So like every re-release of Rez

[00:55:38] has had some weird thing attached to it. Like when it came out on PS2, which by the way,

[00:55:43] don't play it on Dreamcast if you can avoid it kids at home. It runs at like 20 something FPS.

[00:55:47] It's not, yeah, I know it was like, yeah, I know that the PS2 version usually like 60 on PS2 and

[00:55:53] everything up. Yeah, we're not like great at the time, but yeah, it's 60 on PS2. So definitely.

[00:55:58] Yeah. And it's also in the States on PS2. So, um, yes, I mean, at this point get Rez infinite

[00:56:03] on like anything, anything at all. It's on everything. Yep. Um, and it has a lot more

[00:56:08] stuff. It has new game in it. But anyway, Area 5 of Rez is when it gets out of the like darker,

[00:56:18] like more, I don't want to say oppressive parts of computer space, but like it starts getting really

[00:56:25] into that good, good hippie shit and it starts getting really, like, first of all, it goes from

[00:56:30] black to white. So everything is like this empty instead of an infinite void, it's like a place

[00:56:35] where like life is being birthed and they're like doing all these weird cuts to these like

[00:56:38] awkwardly translated phrases about like the conception of life itself on earth and all this

[00:56:43] crap. Like it's getting really like heady in a way that's super dorky and adorable.

[00:56:47] I love it. It's so good. I love when games just embrace, okay, this is what we are. We just

[00:56:52] got to go full, full bore. Yeah, it's, you know, it's absolutely like stoned at Denny's philosophy

[00:56:59] kind of thing, you know, like it's

[00:57:02] it's true. No, it's true, but it's great. I love that shit, you know, I really do.

[00:57:07] But like it's not trying to get too deep and stuff with it. It's not like Joe fucking Rogan or

[00:57:12] whatever. Congrats to that being the first time I've dropped an F bomb on a podcast.

[00:57:19] We said before this, it's okay.

[00:57:22] Quiet down. I don't know what you're talking about. Okay, I've never sworn to custom my gosh damn life.

[00:57:26] I

[00:57:50] I yeah, but no, I felt I felt the same way when I first played it or rather,

[00:57:55] I guess the only time I played it.

[00:57:56] I got into Xbox life and I played it like the one time I was like, oh man,

[00:57:59] I should really play more.

[00:58:00] And I just never, I don't know why I really, I really want to play that game again.

[00:58:05] But yeah, I remember when it went from black to white and I know exactly

[00:58:08] what you're talking about.

[00:58:09] It just it not just filled in the space, the void.

[00:58:11] It's like it just made it feel like, okay, we're getting to somewhere now.

[00:58:17] Yeah. And it's also like there's weird things that are not really spoken.

[00:58:20] I mean, nothing's really spoken in that game for the most part.

[00:58:22] But like throughout the game up until that point,

[00:58:26] enemies are these just like weird polygonal masses of like it looks like

[00:58:30] how someone would depict like a visual depiction of like a computer virus or whatever.

[00:58:34] And I think that's the kind of quote unquote narrative conceited.

[00:58:38] The game is that you're trying to get through a like primordial computer

[00:58:41] basically and do some hacking or whatever to save it or whatever.

[00:58:46] I don't know. It was the 90s.

[00:58:48] Yeah, it didn't come out till 2001, but it's the 90s.

[00:58:52] It's still the 90s.

[00:58:53] Yeah.

[00:58:55] It was enemies in that level start to resemble more organic things

[00:59:00] and you're seeing them birthed out of the ground in front of you.

[00:59:03] Like they're coming out of these little like

[00:59:05] little volcanoes that are springing out of the water

[00:59:08] and they move like something biological a little bit.

[00:59:13] Like they're still built out of these like this kind of like low poly

[00:59:16] vectory aesthetic a little bit.

[00:59:18] But these things are like life is happening around you, I guess.

[00:59:24] And it's it's dedicating itself to a bit of some kind for better or for worse.

[00:59:33] And just this song is just a jam.

[00:59:34] And it's it keeps going through the whole like 15 20 minutes of that level.

[00:59:38] And it just keeps building and expanding and exploding.

[00:59:42] And there's just all this really cool, huge set piece stuff happening throughout it.

[00:59:46] And all of your actions, all of your verbs,

[00:59:50] everything that you're doing is adding to the music.

[00:59:53] That game quantizes your inputs down to, I want to say,

[00:59:58] sixteenth triplet notes or something like that.

[01:00:00] So when you're mashing on the fire button or if you're building up combos

[01:00:03] and you know, like you do the Panzer Dragoon thing

[01:00:07] where you hold down the button and paint the cursor over a bunch of enemies

[01:00:11] and it'll lock onto them, then you let go and it like homes in on.

[01:00:13] Yeah, but we'll do that in a way that's musical.

[01:00:16] So you are interacting with the music of the game the entire time throughout.

[01:00:19] So listening to the res soundtrack is a very different piece of music

[01:00:25] than listening to a recording of someone playing res.

[01:00:28] That's everything from just like eight to eight snare hits

[01:00:30] on your blasts or whatever to just like

[01:00:33] bringing entire other pieces of music in and out as it goes.

[01:00:37] It's just really I know now

[01:00:40] that idea is not as novel maybe as it was 23 years ago, but

[01:00:46] it just it works so damn well.

[01:00:49] It's it's really great because it's one of the few games where the music

[01:00:54] becomes you, I guess is the best way I could say it.

[01:00:57] It's it's so it's so cool in that way.

[01:00:59] And I know like it's it felt I was so impressed when I like

[01:01:04] realized what was happening whenever I pressed fire,

[01:01:07] it was making a thing and then I started jamming on it.

[01:01:09] You know what I mean? It's like, oh, man, you play along with it.

[01:01:11] Really? Like, yeah, it's great.

[01:01:13] You're having a jam session with a video game instead of your dumb ass friends

[01:01:15] in the garage. Maybe those is me playing rock band or whatever.

[01:01:21] I just might grow it up like, well, the kid up the street does a drum set.

[01:01:24] That's a lot harder to carry.

[01:01:25] So I'll bring my guitar up there and we'll set up.

[01:01:27] Yeah, thanks. I wasn't told his mom gets home off work.

[01:01:30] So you always have to go to the drummer's house.

[01:01:32] She can't you can't be taking that shit unless you have one of those.

[01:01:35] Oh, man, have you ever played with one of those

[01:01:38] 70s and 80s kind of like the hexagonal like drum pad shits, like the fucking like

[01:01:45] I don't know what they're called.

[01:01:46] But like, yeah, I have something sort of similar to that right now.

[01:01:50] Or it's just like a very small electronic kit that I use as a MIDI controller.

[01:01:53] Yeah, but it's it's not quite as cool as those big ex kids in the 80s.

[01:01:58] No, it's it's it's definitely those were insane.

[01:02:02] They just especially they lit up or did other like things

[01:02:05] have a cool like 1981 or whatever.

[01:02:07] I just thought that was whenever I saw that in a music video.

[01:02:10] I'm like, these are the coolest motherfuckers on the planet or like I need to eat.

[01:02:14] Yeah, just be clear.

[01:02:15] Those objectively correct statement.

[01:02:36] So

[01:02:42] I got one more to end on here.

[01:02:44] Hit me.

[01:02:45] It is also fairly obscure and it is also by how laboratory.

[01:02:51] Have you ever heard of an early SNES game called hyper zone?

[01:02:56] Oh, that sounds really familiar, but not like off the top of my head.

[01:03:00] When you said how I thought you were going to say something very,

[01:03:02] very different to find the name of the track.

[01:03:05] So I don't goof this up because it's crucial that I get this correct.

[01:03:10] OK, yeah, go ahead and talk while I try to find this glorious piece of music here.

[01:03:17] All right. Well, OK, so for since you don't know,

[01:03:22] I'll tell the audience as well, hyper zone is an early SNES game.

[01:03:27] As I said, it's a mode seven rail shooter.

[01:03:30] So like you'd think that kind of thing would be popular at the time.

[01:03:35] But I've never met another person who has actually played it besides myself.

[01:03:40] I got it randomly for Christmas in 91 because, you know, we got the Super Nintendo.

[01:03:45] All I had was Mario World for four months until Christmas.

[01:03:48] I've seen this game. Yes.

[01:03:50] It's got the whichever cotton game it is that does the thing

[01:03:54] with the mode seven on top and bottom at the same time.

[01:03:56] It's I always think of it as the other game.

[01:03:58] I remember that does that.

[01:03:59] Yeah, so I got this game for Christmas in 91.

[01:04:02] Hell, yeah, dude. And I loved it.

[01:04:04] And my mom probably just got it because she saw the box and it's like, oh,

[01:04:07] nine years, like that looks like space hair.

[01:04:09] Your drill love it.

[01:04:10] Yeah. And she and she was absolutely correct.

[01:04:13] You know, I should text her one day and say,

[01:04:15] do you remember getting me this 35 years ago or whatever?

[01:04:21] She probably doesn't.

[01:04:22] She probably just picked it because she thought the box was cool.

[01:04:25] Anyway, so like I said, it's a real shooter.

[01:04:27] There's eight stages, each stage features a fantastic song by one.

[01:04:32] Mr. June Ishikawa and June Ishikawa is now known for Kirby, of course,

[01:04:38] and it's probably mostly done that sense even though we but back in the day,

[01:04:41] he was just a howl laboratory man.

[01:04:43] So he just did whatever assignments he had and this was one of them.

[01:04:47] And I feel like this is probably the last game he did before Kirby's

[01:04:51] Dreamland. You can hear a little bit.

[01:04:54] Sneaks in sometimes, but and it's a, you know,

[01:04:59] what we might call a SPC 700 masterpiece.

[01:05:02] He really he really works that that SNES, I tell you, especially,

[01:05:07] you know, you know what I'm talking about?

[01:05:08] Like the early stuff on SNES before people really knew what they were doing.

[01:05:11] It just sounded so Super Nintendo-y for lack of a better term.

[01:05:17] So I've turned one of my Super Nintendo's into a synthesizer.

[01:05:19] OK. Because my brain is it had been replaced by a tightly packed bundle

[01:05:24] of worms at some point. Your brain is perfect.

[01:05:26] You were trying to say.

[01:05:28] Very normal and functional.

[01:05:30] No, I bought a cartridge that has just like a MIDI port on the back

[01:05:33] and you just stick it into a Super Nintendo and you can use the sound card

[01:05:36] on the Super Nintendo as synth. That sounds so cool.

[01:05:39] And yeah, it has all these built in

[01:05:42] like default pallet of like that slap based sound and those strings

[01:05:45] and stuff like things like the horns.

[01:05:47] The SNES trumpet. Exactly.

[01:05:48] We always talk about it.

[01:05:50] Yeah. And so like a lot of that stuff is built into like the Sony DSP chip.

[01:05:53] I think I might be talking out of my butt here.

[01:05:55] But the at some point you have people like over at

[01:05:59] studios like Square and Quintet and stuff like that are

[01:06:03] you've got people that are going hard making their own samples for this, right?

[01:06:05] Like they're not just making breaks.

[01:06:06] They're they're going in and like cutting out their own sounds to use in this.

[01:06:12] You know, in the Super Nintendo sound chip.

[01:06:14] Well, yeah, see the secret of man and trials of man

[01:06:16] are like clinically insane like with the sample work.

[01:06:20] It's some of the best sample work I've ever heard.

[01:06:22] And it's you know, Earthbound has been talked to death

[01:06:24] and all the weird like sampling stuff going on in there.

[01:06:27] But like even aside from sampling and like the hip hop sense,

[01:06:29] like sampling in terms of like building your instruments,

[01:06:31] like every instrument on the Super Nintendo is just one tiny little split

[01:06:34] second fragment of a sound.

[01:06:36] Yep. Busted down to a very, very tiny file size and then looped, oscillated.

[01:06:42] I don't remember where we were going with this.

[01:06:44] But yes, a lot of the early Super Nintendo games

[01:06:46] just use the default stuff in there before people started making their own

[01:06:48] stuff and making like third party middleware tools to help you make those things.

[01:06:54] Which is what we use now.

[01:06:57] Yeah, but it's just like some of some of them just sound so.

[01:07:02] Do you know the game freak game smart ball for Super Nintendo?

[01:07:07] No, I was hoping you're going to say Pulse Man,

[01:07:09] which is not a Super Nintendo game.

[01:07:10] No, it's one of their it's one of their pre-Pokemon games.

[01:07:13] But they made this and that's like to me

[01:07:15] like the quintessential like early SNES like soundtrack.

[01:07:20] Look up that game sometime and you'll you'll have some nice jam some SNES jams.

[01:07:24] Anyway, Hypersone, I wanted to talk about one song in particular.

[01:07:29] And like I said, there's eight stages,

[01:07:31] but I want to talk about the penultimate stage, stage seven, the bio plant.

[01:07:36] Oh, so before the bio plant, the stage environments were like

[01:07:40] grasslands and deserts and futuristic, you know, like here's the future city or whatever,

[01:07:46] like shit like that flying through F zero.

[01:07:48] Yeah, yeah, exactly.

[01:07:50] And all that changes when you get to the bio plant, because first of all,

[01:07:54] you know, something's different right away because the entire level is like strobing,

[01:07:58] not like super fast.

[01:08:00] It's going to give you a seat, but like that kind of strobing,

[01:08:02] but just like on and off like pulsing like it's breathing.

[01:08:05] Yeah, it's weird.

[01:08:07] Brightness is pulsing and I feel like a lot of Super Nintendo games played with that.

[01:08:10] I think that might have been some like SDK thing you could just do, I don't know.

[01:08:15] Probably like one of their one of their various modes.

[01:08:17] It wasn't like mode seven or something.

[01:08:19] Yeah, you probably probably a thing you could just like put in there.

[01:08:23] But like, yeah, so that's happening.

[01:08:25] Then the camera zooms into your ship as it usually does per usual

[01:08:29] when you start a stage, but something that's not really felt

[01:08:32] into the stage seven, at least not for me, is that the increasing speed

[01:08:36] of the game because as you go through the game, it speeds up.

[01:08:40] And also if you score high enough, you get like ship upgrades,

[01:08:43] which makes you go faster as well.

[01:08:45] So by the time you get to stage seven, it's like really fast.

[01:08:49] So your ship takes off in this bio plant really fast.

[01:08:52] And then you hear this.

[01:09:06] And I'm like, holy shit, what the hell is going on?

[01:09:22] And then like there's like these eyeball enemies coming at you

[01:09:25] and they're like, sit right at you.

[01:09:27] And it's like, oh, shit.

[01:09:28] And like I said, the whole thing is strobing.

[01:09:30] You're going really fast.

[01:09:31] And it's like, it freaked me out.

[01:09:33] And I died in like 10 seconds.

[01:09:36] And that was my last life.

[01:09:37] And it was game over.

[01:09:39] And I was like, oh, my fucking God.

[01:09:41] And as I said earlier about Batman, usually at that age,

[01:09:44] I get game over and just piss me off.

[01:09:46] And I just turn it off.

[01:09:47] This was probably the first time I played something where I was like,

[01:09:53] oh, shit, I need to see that again immediately.

[01:09:57] So I got right back in the saddle.

[01:09:59] I got right back up there.

[01:10:01] And I was like, I've got to see that again.

[01:10:03] And I got back there.

[01:10:05] Yeah, I've got back there again.

[01:10:06] And I and I just was like, I'm going to beat this fucking game.

[01:10:10] And I did. It's not a super hard game.

[01:10:12] It's probably even easier than Star Fox, as far as like,

[01:10:15] well, Star Fox isn't a super easy game, but just like, you know,

[01:10:18] like it's as far as real shooters goes,

[01:10:20] it's not really trying to challenge you too much.

[01:10:23] It's trying to show you a lot of cool stuff.

[01:10:25] I think it's one of those.

[01:10:25] It's like axlay where it's not that game is kind of mean.

[01:10:28] But exactly.

[01:10:29] It really wants you to see cool shit.

[01:10:32] It's drums, man.

[01:10:33] Unbelievable.

[01:10:35] I want to isolate these drums and then just like loop,

[01:10:37] sped up footage of either the matrix reloaded

[01:10:41] when you get the big cave rave.

[01:10:43] Oh, yeah, yeah, yeah.

[01:10:45] Or the one at the beginning of blood with that

[01:10:46] new order remix or the blade with an order

[01:10:48] makes the blood come down from the sprinklers.

[01:10:50] But this kind of music, if you think about it in 1991

[01:10:54] when like industrial and techno just kind of started to meet a little bit,

[01:10:58] you know, they were always kind of friends.

[01:11:01] But then the sometime in the early nineties,

[01:11:03] they really started meeting each other.

[01:11:05] And I guess Judy Chicago heard it.

[01:11:08] It's two years after Pretty Hate Machine, right?

[01:11:10] So yeah, use that as the open check this.

[01:11:29] Take me away.

[01:11:32] And then see, that's a hint of whips, dude.

[01:11:35] That's that hint of Kirby.

[01:11:36] I was talking about.

[01:11:38] You can hear it.

[01:11:39] You can hear it.

[01:11:40] He's almost there.

[01:11:41] He's almost a Kirby land, but this was not the time.

[01:11:43] This is the fucking bio plant.

[01:11:45] But he just he just wanted to sneak that in a little bit in hyper zone.

[01:11:48] Sign of things.

[01:11:49] Yeah, the shape of horns to come.

[01:11:51] Yeah.

[01:11:52] So it's just it's just a great song.

[01:11:54] And it's just such a great song.

[01:11:56] It's just it's just a great song.

[01:11:57] And it's just such a great stage and a great moment.

[01:11:59] It's one of those things like I mean, most of these meet this criteria,

[01:12:02] but just when visuals meet a moment and then like the music heightens it to a

[01:12:07] place where like you could never it's like, holy shit, man.

[01:12:11] It's just incredible.

[01:12:12] Yeah, go go play hypersome sometime.

[01:12:14] I bet it's still will.

[01:12:15] It's cheap.

[01:12:16] I'm going to find that and I'm going to have it.

[01:12:19] The song that I thought you were going to do earlier, by the way,

[01:12:21] I dropped it to you into his court, but it's just the factory inspection

[01:12:24] from Kirby 64.

[01:12:27] That's a great that's a great song.

[01:12:29] That's a great song.

[01:12:31] No, for some reason, I felt the need to do on this podcast to pick two obscure

[01:12:34] how laboratory games.

[01:12:35] I don't know why, but I did.

[01:12:39] Someone needs to man, June and Chicago.

[01:12:42] I love his music.

[01:12:43] I love all the Kirby shit still to this day.

[01:12:45] I mean, like even the modern, I think I think Planet Robobot is

[01:12:49] maybe one of the best soundtracks I've heard.

[01:12:52] Man, it's got to be one of my favorites in the last decade.

[01:12:54] It has to be.

[01:12:55] And you think at this point like Kirby music wouldn't really do that

[01:12:59] much for you, but it does for me anyway.

[01:13:01] It's just for me.

[01:13:03] It's just incredible shit.

[01:13:04] Anyway, good on you, June and Chicago, but I love your pre Kirby shit.

[01:13:08] And this was I don't know why I'm pretending like I'm talking to him.

[01:13:10] He can hear me.

[01:13:11] He listens to fine time.

[01:13:12] You don't know he's not listening.

[01:13:14] He's you know, like, okay.

[01:13:15] Thanks for seeing us.

[01:13:16] Ishikawa song for the music.

[01:13:18] I really appreciate it.

[01:13:18] Thank you.

[01:13:20] I'm not going to use my shitty Japanese here.

[01:13:25] I mean, I know I use my shitty Japanese.

[01:13:27] That's fine.

[01:13:27] Don't ask me for anymore.

[01:13:28] I got.

[01:13:38] I really once again appreciate you coming on with me here to do this.

[01:13:43] I like I said, I thought of this concept and I you were it.

[01:13:47] I didn't really want to do this like you.

[01:13:50] You came right along with it with the concept.

[01:13:53] You were here, but I wasn't going to do.

[01:13:54] I mean, I guess I could have been really boring and did this by myself,

[01:13:57] but I didn't really want to do that.

[01:14:00] So maybe someday we can talk about some, I don't know, do that three hour

[01:14:04] podcast on Shinji Hoso as as problem.

[01:14:07] Sure.

[01:14:07] Yeah, man.

[01:14:08] I've got all these Shimagami tense CDs over here on the wall next to me.

[01:14:11] Let's just start rifling through them and see what happens.

[01:14:14] Yep.

[01:14:15] Hashtag content.

[01:14:16] Every single last one of them.

[01:14:18] Yeah, yeah, every every damn track.

[01:14:20] Let's go.

[01:14:21] All right.

[01:14:21] As I said, thanks for joining me.

[01:14:24] Look in the description of this podcast to find more Andrews links

[01:14:28] and the links on social media to find time podcast.

[01:14:31] See you next time.

[01:14:32] Bye.

[01:14:46] Yeah.