Watch Out for Snakes recently dropped a new single, “Fight Those Invisible Ninjas,” and I’ve probably listened to it at least a few dozen times already if not more since its release. It’s very catchy, for one thing, with that patented chipwave sound which WOFS is known for as the track blends a unique balance between head-banging hardcore and head-bopping pop. Which makes sense, due in part to “fighting invisible ninjas” being a term for dancing in the hardcore scene; something I was personally unware of until I read a review of the song over on Synthpocalypse. Yes, I truly lived a sheltered life and have proven once again that I really know absolutely nothing about music.
Regardless, I do know that this song rules… for more than just one reason!
Is this an album made up of ten really short songs or actually just one song that’s been chopped up into ten HitClip-sized snippets?
I DON’T KNOW!
It’s quite the “in your face” auditory experience, either way, in a world where most people don’t have the attention span to stop and listen to an entire album.
The Warhorse, therefore, dares you to take notice of such a uniquely “strange” experiment, that’s the length of one “normal” song, by proceeding to shove some real punk back into synthwave.
You know what I like? I like concept albums. I like when an album is truly a sum of its parts, without one track outshining any other as merely a “single” that is meant to sell you on the rest. I mean, okay, there are exceptions to the rule; I’ll fully admit that I originally bought Aqua’s “Aquarium” because of “Barbie Girl” and Savage Garden’s self-titled debut for “I Want You” (after seeing them perform it during Nickelodeon’s Kid Choice Awards), but I eventually discovered that those albums were straight up bangers with every single track (to me). No, really!
Regardless, albums without a cohesive story or theme tend to be like a salad bar; you take what you want and leave the rest. Which is perfectly fine, as I really do enjoy plenty of albums like that, but to me there’s truly something to be said for an album which is an all around “experience” from beginning to end. Especially in these days of streaming music where it does seem like, for the most part, “whole” albums take a bit of a backseat to being merely a collection of random songs or just releasing singles instead. Some like croutons, some don’t, y’know? Continue reading
When I posted my personal top ten video games of 2019 list, I did so under a few assumptions. Namely that the year was almost over and I’d already played all the games which were under consideration. I know that I may have “missed” some more notable titles, which tended to make other lists, but they were “missing” either because they just didn’t really interest me or I simply didn’t get to play ’em.
Control is a case of the latter, and it’s funny how things can quickly change.
First, and foremost, I can’t say that Control never interested me because it most certainly did. Remedy, the studio behind the game, is one of those studios whose games have always interested me in one way or another. Max Payne is legendary due to its mature story line and innovative game play, Alan Wake is legitimately one of my favorite games of all time (more on that in a bit), and I still respect what Quantum Break tried to do (blend a game with alternate path live action episodic segments) although I never personally got around to playing it myself.
That said, when Control was released back in August, there were two reasons why I never got around to playing it until now. One is okay, the other is dumb:
Back around October 25th, I went a little bit off the deep end on Twitter in terms of holidays with their respective timings and observations. People were complaining about there being Christmas decorations on display before Halloween, there was Halloween candy at stores in August, and clearly capitalism just continues to go unchecked to the point where holidays and seasons don’t really matter much anymore. Did they ever really matter?
That said, there were a number of Halloween related albums which were released within the synthwave scene around the end of September, and into October, but I have to admit that I just really wasn’t feeling the spirit of the season at the time. In fact, by the end of October, I decided it was best to take a month long hiatus from the internet and so I therefore celebrated “No Net November” by staying off social media. Now that I’ve returned, and have more or less gotten back on my feet in more ways than one, I’ve suddenly got that feeling back in terms of wanting to indulge in a little bit of Halloween… in December.
Honestly, I still see no problem with this and so I stick to my previously mentioned tweet; I don’t think you really need to let holidays and seasons dictate when you should and can enjoy something. We’re a couple months removed from the “spooky season” and Halloween, yes, but does that mean I shouldn’t be able to go back and enjoy something now which was meant for only then? Just as how you can eat a turkey dinner every other day of the year besides Thanksgiving, and how you should show someone you love them every other day besides Valentine’s Day, I believe that you should be able to enjoy scary synthwave music any day of the year as well; that’s what darksynth is for, no?
Anyway, here’s a fun size sampling of Halloween related synthwave albums which I enjoyed along with me comparing them to brands of candy (with no gimmick infringement intended towards OSW) just because, hey, why not?
I was born in the mid-1980’s, and therefore I spent most of my early years in the 1990’s, so there’s always been this weird sense of belonging to the “proto-millennials” as I can still vividly remember a time before the internet and when computer technology became ever so commonplace. As some examples, I went from using a standalone Apple II in elementary school to using an internet-ready iMac by high school. I used payphones to call collect and was then amazed when I first saw a portable phone. I experienced the last glory days of arcades, and their downfall, as 2D graphics on home consoles using cartridges gave way to 3D powerhouses which harnessed the potential of CD based media. There was truly a sense of living in a time of great progress and promise back then, when sweeping changes in technology brought with it such an optimistic outlook for the future ahead.
“Twirl,” by Alpha Chrome Yayo, is an album which not only encapsulates those feelings but gives off an aura not unlike one might imagine from a genie in a lamp; potent magic which was somehow bottled has now been unleashed. While Alpha Chrome Yayo wrote some wonderful linear notes about the album, and what all it meant to him, I nonetheless felt compelled to write some of my own… Continue reading
The original release of “Matter” was one of the first modern synth-based albums that I came across and I’ve been hooked ever since. While this re-release is a bit of a remix in comparison, I still love it all the same if not more so as Paladin can do no wrong to my ears. There’s just an overall uniqueness to their approach that’s unlike anything else out there. I simply cannot put into words what that is exactly other than it’s as if a wizard’s magic has transported you to another space in time.
This album is like coming across an old memory card which contains save data for a familiar game that you’re excited to play again, to which you immediately continue from where you left off, but now through the hindsight of a modern lens. It’s all quite familiar, and yet so very different, as Mono Memory proves with every track that they’re the master of unlocking the past through their unique remixes. If you want to see S.T.A.R.S. than Mono Memory will give them to you. This is an S-Rank album.
“The Sun Also Sets” may not contain the usual fang-in-cheek pageantry which most of Vampire Step-Dad’s recent releases have been known for utilizing, in terms of an opening sitcom-like sketch and/or a centralized theme, but it still has some serious melodic bite regardless. Which is to say that, while you won’t find many blood pumping guitar-laden tracks on this album, the synth-fueled melancholy melodies on here are plentiful and reaffirm Vampire Step-Dad as an accomplished maestro of emotions.