• Me and my lovely girlfriend Johanna just bought our own place. We now live in a cozy (read: not that big) flat with way too many video games and CDs. The heat sure takes some of the joy out of moving and fixing stuff but everything’s looking really good but not 100% set up!

• I got a job at Oxeye Game Studio scoring their upcoming to-be masterpiece codename “Project B”. I assure you the game and soundtrack will both be brilliant and work perfectly together. This is definitely my biggest job yet and I’m incredibly excited about the project and all aspects of it.

• I’m still working on the Armored Core tribute album. I’ve got roughly four finished tracks and I’m planning to bring the total up to around 10 before I’m done. Since this is a project I’m doing in my free time it has taken the back seat a bit but I hope to get everything done before christmas depending on my workload!

• I’m going back to Stockholm University to study EVEN MORE musicology, specializing in game music. This semester I’m writing what we in Sweden call a “kandidatuppsats”, basically the equivalent of a Bachelor’s Essay. As it stands right now the subject will most likely be ‘The Sound of a Break — Music for Towns and Cities in Japanese Role-Playing Games on the Fifth and Sixth Generation of Video Game Consoles’. Quite a mouthful, eh? I’ll most likely be calling out for some help listing most RPGs and what music is what I’ll call “town music” from this era so I can go through most of them and hand-pick the ones relevant to the paper. It’ll be a blast I assure you!

• Since I just got a flat I’m dead broke, if anyone wants to send me money so I can keep funding my research (read: buy more game music albums) feel free to drop me an e-mail!

• I’ve been doing some demo tracks for OxEye Games and if things go through I might score a game for them! Definitely something I hope I get and that I’m looking forward to doing.

• I’ve been importing tons of game music in the last few months. I’m now the proud owner of quite the big collection! To see what I like and, by extension, you should like just visit my VGMdb collection page: http://vgmdb.net/db/collection.php?do=view&userid=186

• Armored Core is one of the better series of games in my opinion and the music is quite magical. Because of that I thought it might be a good idea to do a tribute album, arranging music solely from the Armored Core-series! I’m doing this myself and I already have some tracks finished, believe it or not. I can also proudly say that Kota Hoshino and the From Software sound team thought the tracks I showed were great! Since I’ve already tweeted one of the tracks I thought I might as well post it here as a teaser. Beware as I’m actually playing guitar!

And I think that’s about it really. I didn’t get in to the Royal College of Music (got 18.5 on the instrument test, 20 was the limit. Everything else went awesome) but instead I’ll stay at the University of Stockholm and study game music in the field of Musicology. Apparently it’s THE up and coming Musicology research subject. Ought to be lots of fun

Kileak, the Blood Sound Tracks & Remix, released in March 1996 by Sony Records, compiles the music from two lesser known titles for the PlayStation by Genki; Kileak The Blood and Kileak The Blood 2: Reason in Madness. Now I don’t know much about these games, actually I heard they’re really bad, but something must’ve gone just right because the music is in a league of it’s own. Be wary, I get wordy. Review after the jump!

Matsumae has called this “his second solo album ever” (after Space Ranch) and compared to what he had done earlier it certainly has a unique flavor. The soundtrack starts off with ‘OPENING THEME REMIX’ and effectively sets the tone for the entire album. A sinister, repeating analog synth bass opens the track together with a simple drum hit. The dry sound might be a bit off-putting but only 25 seconds in the drums (probably also synthesized) enter together with an eerie pad and additional effects. There’s even some sparse but very effective use of hand drums and some brief melodic motifs. This is mood music, just looking at the cover you sense how the music captures the dark, cramped room. Looking at some YouTube videos of Kileak you realize that the majority of the game is played out in confined areas like this and suddenly the music makes much more sense.

Regardless of it’s in-game function though, the music stands on it’s own two feet. Like I said the dark, pulsating ‘OPENING THEME REMIX’ really sets the tone for the soundtrack. The following tracks ‘VISION OF SOUTH’ part 1-3 from Kileak 1 follow a similar style. There’s a distinct pulsating of synthesized drums coupled with dark, atmospheric synth work. ‘VISION OF SOUTH part 1′ is borderline pure minimalism but a bit over a minute in some brief, altering melodic motifs and a bass ostinato helps evolve the track. The sounds employed actually reminds me of the more sparse track from Donkey Kong Country 3 but without the attempts at melodi and a much more sophisticated sound. ‘VISION OF SOUTH part 2′ continues the minimalist approach but adds a distinct feeling of the rave music of yesteryear. The parallel chords and the thumping four-on-the-floor bassdrum gives off a distinct feeling of unease but in a different way from the earlier tracks. Again instrumentation is sparse and only slight variation occur across the five minute track, including the entrance of a faster, filter modulated bass pattern. The introduction and reduction of new elements and variation of these are spaced out just right and gives the track a hypnotic flow, strengthening it’s ties with minimalism, both traditional and modern electronic.

The final part of this trio of songs, ‘VISION OF SOUTH part 3′ deviates slightly from what we’ve heard before. The drums become the focus of the piece, coupling traditional hand percussion with glitchy cut loops and tuned percussion. The unsettling sound of the slightly detuned mallet instrument is reminiscent of Matsumae’s later work on Jade Cocoon but in this much less melodic setting the effect is very different. It transitions into an almost wholly ambient part focusing on sweeping metallic textures, a heartbeat and a blend of sounds you could expect in a horror film. The result is, once again, extremely atmospheric and unsettling. The track finally transitions into a sparser percussion part that cross-breeds the earlier minimalist percussion work with an almost industrial sound. That finishes the first part of the soundtrack, the music from the first Kileak game. It’s a journey through the dark, mechanical depths of the game’s world in sound. Listening to this first part in succession almost got me into a trance-like state. The music is repetitively ritualistic, dark and the unique textures blend both the synthetic and supposedly real to create a haunting but appealing soundscape.

‘FURLOUGHS’ begins what I like to call part two of the disc, the music of the second Kileak game. This track is much faster paced than the previous tracks and sounds more like mutated club music. The heavily reverbed percussion still gives off that industrial vibe from the soundtrack’s earlier tracks but it’s joined by a heavy 4/4 kickdrum downbeat and much cleaner synths. The arpeggio and bass are of the analog synth variety and effectively makes the track more recognizable and groovy. However the background noises and pads upsets this otherwise quite friendly beat and reminds us of what we’ve heard before. Following this track is ‘SATAVISA BASEMENT’ and just like that, we’re back in more familiar territory. The mix of more traditional percussion and synthetic sounds make a comeback. An eerie noise pad fly over the determined percussion, effectively creating a duality in the track that keeps it from feeling generic or predictable. The introduction of the bass and additional synth sounds bring some good variation but I feel that some of the harmonies feel out of place because of their major harmonic feel.

‘BIFROSS ARMORY’ starts off with a bass ostinato, again showcasing Matsumae’s love for analog synths. It’s similar to ideas found on his compilation solo album You Are The Fox 4 and provides an anchor point for the track, even though it’s harmonically unstable. Other synths adds a counter melody to this bassline together with an army of interesting textures and pads floating around the repetitive beat. Once again, I don’t mean repetitive in a bad way as it here adds to the excitement, the unsettling atmosphere and feel of the music. You can actually compare it to Aphex Twin’s early work on Selected Ambient Works 85-92 but much darker. It shares the same focus on repeating rhythms and synthetic sounds but Matsumae takes it a bit further in an effort to really create a darker ambiance. ‘THE TOWER’ has a more epic feeling with a fat sounding synth pad, bass and drum combo carrying the track. It’s heavily anchored in the 4/4 downbeat and features much less “uncontrolled” elements than previous tracks. The drums is obviously an attempt at realistic drums but sadly they fall a bit short, it was some time ago after all. Some detuned synths are eventually added, making a sound similar to an alarm but otherwise the track just moves on. The track’s definitely not bad but a lot of the dense atmosphere and mood that has been built up is suddenly lost in favor of this fanfare-like battle march. It does make more sense when you hear the track that comes after though.

‘CONDITION GREEN’ saves the day! This is a beautiful track with clean-cut harmonies and a lush sound, almost like if ‘THE TOWER’ was the journey to the inevitable victory. Very reminiscent of Jade Cocoon, especially the later forest tracks like Dragonfly Forest, this track signifies that after the dark journey we’ve had we’ve finally reached our goal. It almost feels like a Vangelis soundtrack at this time but more sparse and settled. The arpeggiated, delayed synth doesn’t even attempt to create a melody but rather sits comfortably and adds more of a shimmer. Half-way through the track though it changes into what I can only guess is another track entirely. The cross-fade is sadly dissonant and disrupts the beauty that was the first part. However the final parts of the track are just as beautiful once they get going, ending with a short little song on an electric piano fading out into the same lush pads we heard in the beginning of the track.

‘ENDING THEME REMIX’ marks the end of the album and painfully rips you back from the cloud you’re on since ‘CONDITION GREEN’. Starting with some incredibly disturbing and suggestive sound effects (including what sounds like someone chopping into flesh and numerous synthetic bleeps) this track starts off on a bad note. At about two minutes in though a proper beat enters together with the sound fx. On top of this are, unexpectedly, strings and brass. This surreal march-like section is actually quite good but the synthesized instruments leave a lot to be desired. Following this is a small part for harp going into an anthemic ending combining rock and orchestra, all synthetic.  For me this final track really is the low point of the album but considering what came before I can’t really complain. In fact I think the best way to listen to this album is from start to finish and when you reach ‘ENDING THEME REMIX’, feel free to push STOP.

Overall, Kileak, the Blood Sound Tracks & Remix is a unique soundtrack. All tracks measure around 6 minutes each and feature repetitive rhythms and motifs coupled with Matsumae’s unique synthesized timbres. I can only speak for myself but Matsumae really made this work. The repetition becomes ritualistic, trance-like, and the minor changes in instrumentation and harmony are just enough to keep you alert and the textures are just amazing for a PlayStation game. The similarities between early Aphex Twin and the minimalist aesthetic are many but Matsumae manages to create a totally unique world of sound that no doubt works amazingly in-game but also stands on it’s own. Kileak might not be for everyone but if you’re interested in either minimalism, ambient or horror music this is well worth a listen. I personally think it’s one of the most interesting soundtracks I own and listening through it in it’s entirety as a great way to spend 50+ minutes. I recommend everyone to at least give it a listen if you can find it, who knows… it might be everything you didn’t know you wanted in video game music.

If you want to know anything about Kimitaka Matsumae’s music in general  feel free to send me any questions at mattias[at]anosou[dot]com. Note that Kileak, the Blood Sound Tracks & Remix was released in 1996, it’s out-of-print and thus might be hard to track down. the_miker is cooler than me because he owned this soundtrack before me. Please support composers by purchasing soundtracks and bringing as much attention to game music as you possibly can. Thanks for reading!

I talk a bit about my work with Morsel, some of my upcoming work, indie game’s music, my work on OCR, IWADON and how I go about making music. Be sure to give it a read and leave a comment, it’s interesting stuff if you’re the least bit interested in what I do!

I’ll also take this opportunity to tell you about n.anosou, my new side-project. It’s basically a tiny little netlabel that will be mainly for me and friends/colleagues to release original music you can’t find elsewhere. The thought is releasing miniature albums with 5-7 original tracks every now and then. Keep a look out in the coming weeks for snippets from the first release and DEFINITELY look forward to the first release itself!

So, without further stalling.

For those unaware, Jade Cocoon is a role-playing game for the PlayStation developed by Genki and published by Crave in the late 90s. Basically a monster collecting/breeding game it had some amazing graphics and sound for it’s time. The art was made by veteran and Studio Ghibli member Katsuya Kondō and Kimtaka Matsumae was likewise very experienced, having worked with game music since the 80s as part of S.S.T. Band and other projects.

Well then, what is so good about the music? In my humble opinion, Jade Cocoon has one of the most fitting and memorable soundtracks on the PlayStation and in RPGs in general. In fact, I would count this as one of my favorite soundtracks of all time. I’m aware that a lot of this is nostalgia since I played the game religiously as a kid but the deeper I wander into the sonic world of Jade Cocoon, the more impressed I get.

The fictional world in Jade Cocoon is reminiscent of both east asian history and native american history, a strong focus on the relationship between man, nature and the beasts. To capture this atmospheric place with it’s rather rich lore, Matsumae employs a distinct combination of sounds and melodies. As the most iconic pieces we find Legend of Arcana and Syrus Village, two pieces that appear as different arrangements throughout the game. They feature strong melodies, mainly traditional instruments from many parts of the world and using the minor pentatonic scale as the main melodic content. Legend of Arcana, being the game’s main theme, appears in different time signatures and with different instrumentation that perfectly captures the mood of the game. The difference between ‘Legend of Arcana ~ Main Theme’ and ‘Legend of Arcana ~ Clandestine Meeting’ for example ties perfectly into the scenes in which they’re used. The first being the opening theme, introducing the musical elements and harmony of the world. The second depicting a meeting during night, using a sustained note in the bass for much of the song together with ostinati that makes it much more tense and uncertain.

Syrus Village features the game’s most memorable melody and the variations, while not as bold as Legend of Arcana, depicts the village at various stages in the game. The haunting beauty of the village turned to stone ‘Syrus Village ~ Chrysalis’ is definitely great track but it doesn’t differ too greatly from the original ‘Syrus Village’ and especially not from ‘Syrus Village ~ The Holy Ghost’. This isn’t a bad thing though, the subtle arrangements of one of the best melodies are welcome additions and they had an important role to play in the game to get the mood across. Matsumae’s instrumentation, combining synthesized sounds and traditional instruments, helps emphasize what has happened even before the character knows it.

The different forest themes go in another direction compared to the tracks I’ve mentioned. While the former are melodic and often rhythmically simple, the forest themes captures the “wild” by focusing on the rhythmic phrasing and percussive elements. ‘Neverending Corridor’ only uses percussion and chants, resulting in a ritualistic music that creates tension by repeating the oddly phrased rhythms. It’s a common cultural musical code that repeating of motifs like this create tension without having to involve harmony and it’s put to good use here. ‘Beetle Forest’ similarly revolves around percussive elements. The only “melody” is a flute motif and once again an ostinato, this time using a marimba or similar instrument. The different drums and the melodies are all phrased in different ways, some having a triplet feel while others are almost straight. This layering of phrasing gives a feel of uncertainty that makes the track interesting even though it’s repetitive in nature. When heard in context of the first of the four forests it really captures the feeling of unease the player might (and should) feel when venturing forth.

The forest music continues being some of the most interesting and “bold” music on the soundtrack. ‘Dragonfly Forest’ has almost atonal melodic lines and once again the focus on the percussion ties it to the overall “theme” of the forest music. ‘Spider Forest’, being the most “inviting” of the four forests, takes a different approach and offers a hummable melody. However percussion still takes the front seat and the melody is handled by a mallet instrument. The upright bass is an odd element but ties into ‘Yamu Tribe’, the theme of the people living in Spider Forest. The black sheep of the forest pieces ‘Moth Forest’ features no percussion at all and is the exception of the rule. At this point the story has reached a drastic turn though and the change in pacing is not without reason. The piece is a beautiful ambient background featuring choir-like synthpads and a flute-like synth lead. The only real melodic motif you find is short and sudden but hauntingly beautiful. Once again the music depicts the environment that, in this forest, are very bright and almost deserted.

I could go on about many of the other tracks (and I already have in an essay I wrote in Musicology at the University of Stockholm) but I think I’ll leave it at this right now. Pretty much all other tracks works great in the game and on their own. They’re varied enough while still feeling cohesive and relevant. The quality of the music, both compositionally and the production, are very high for a PlayStation game. While the melodies and harmonies aren’t as fast and daring as much VGM, it works perfectly in this setting and channels folk music without feeling like a folk music soundtrack. I actually get a hint of 60’s minimalism at times which, to me, is a great compliment. There’s a staggering collection of emotions ranging from hauntingly beautiful to adrenaline pumping to straight-up odd but the soundtrack never once feels unfocused. Matsumae’s unique mix of instruments and influences has definitely created one of the better soundtracks of the PlayStation-era and in my opinion it’s a must for any JRPG-enthusiast or VGM-nut. Get it before it’s completely out of print!

• Birdie in Trouble was released for iPhone/iPod Touch! You can grab it here for cheap: http://itunes.apple.com/us/app/birdie-in-trouble/id365007946?mt=8

• Blind Edge is coming along nicely. Got one track done and a few more sketched out. I’ve even brought out my guitar, believe it or not! I have a feeling this soundtrack’s going to be really, really, really good.

• Morsel’s next game is starting to take shape! I have the title track almost finished, it’s very tongue-in-cheek awesome. You’ll understand when you hear it and see the game but for now it’s a secret…

• IWADON was released online! This amazing tribute to video game composer Hiroyuki Iwatsuki features an impressive collection of arrangements from some of video game music’s finest individuals. I arranged Glacial Fortress from the XBLA game Omega Five and I’m quite happy with the result I must say! You can stream all the tracks at Iwadon.com and a full download will follow shortly.

• I have organized and hunted down cover art for all albums on my 10 000-track big iTunes library. I know you don’t care but it was so exhausting I have the right to brag a bit! The Growl-notifications look positively amazing

• Keyboard launchers/utilities like QuickSilver or LaunchBar are the best things that ever happened to the computer. Seriously.

• Kaleidoscope has gotten some good reviews! A solid 7/10 from Eurogamer, generally favorable review at Kotaku and many others. Most don’t mention a lot about the music but everything I’ve seen has been overwhelmingly positive! Do check out my “testimonials” section to see some quotes

• Rodent and Plank was submitted to Dream. Build. Play. and it’ll be interesting to see how it does. You can check the DBP “beta” trailer here:

• Morsel’s NEXT game has entered pre-production and it’ll be awesome. Like, really awesome.

• The score for Klik!’s ‘Birdie in Trouble’ is coming together too. Very cute and upbeat soundtrack, I kind of see it as a sequel to ‘The Perfect Match’ musically but a bit more refined.

• This is a fantastic R-Type Final level:

You can grab the soundtrack directly from OverClocked ReMix actually. It’s quite an honor to be the first original soundtrack they release as a publisher and even though I bet there are many other soundtracks to come, being first is always cool. To get it, click THIS TEXT and it’ll magically transport you. The .torrent is then in the upper-right corner of the site

Also had some great Kaleidoscope reviews from GayGamer.net and GamerLimit.com. Beyond that we also have a fantastic interview on GameSetWatch courtesy of Jeriaska so make sure to read it!

Download the trial or buy the game from the Xbox Live Marketplace.