Carpenter Brut "Leather Temple" (2026)

Possibly completing some form of "leather trilogy", Carpenter Brut returns with album three after a lengthy four year absence. Armed with a fantastic, theatric, stage setting opener and closer, the seven tracks between bust out fast paced, snappy electronic numbers barely reaching the four minute mark. Assailing with an expectant nightly neon lit arsenal of finely tuned Synthwave instruments, Brut delights in a meaner tone, taking on some overt influences from the DOOM soundtrack in darker moments.

Tight in tonal execution, it plays an aesthetic treat. A cruising barrage of rapid slick melodies, pounding bass and body moving dancefloor energy. Despite being brilliantly composed, these song structures are crying out for a voice to lead the charge. Each song comes lined with lead instruments, places to focus your attention. However, the ebb and flow of intensities feels so fit for a singer to soar into the lime light.

Track after track entertains, vivid visions of a dystopian fantasy world we venture through. Personal highlights include the intense, demon annihilating title track. Neon Requiem's revel in spinning an 80s cheese motif into a delightful mood. The Misfits flirtation with Drumstep percussion goes down well. The End Complete wraps it all up nicely as the music swells for a dramatic farewell. All in all, one classy record.

Rating: 7/10

Amos Roddy "Minecraft: Chase The Skies (Original Game Soundtrack)" (2025)

 

Admittedly, I've waited until the drop name had been unveiled to write my thoughts. With that extended exposure, its become clear that Amos Roddy expands on the delightful work of Aaron Cherof, one of my favorite contributions. Dreamy wistful melodies, straddling the serine, conjure introspective moods. Illusive instruments, lurching on the heels of echo and reverberation, blossom into flourishing strides of soothing melody. Reflective of life's passing beauties, these moments swell and pass by, just like many moments that make a memory. Its evocative, nostalgic, a slow brew who's boil creeps up on you. Ghostly pianos, yearning strings, stealthy sunlight synths and brooding atmospheric pads, melding through exquisite composure.

 That's the magic of its five opening pieces. For the Nether, we get another bop! Tears bangs with its quirky melodies of impish fright! Pitch shifted Ghast sounds wedge haunting, spooky arrangements between the crunchy strident groove of its meaty kick drum and snappy snare sway. The concept makes itself known swiftly, repeating again after a mid track melody suggests the presence of a player on adventure. Its a fun and obvious hit, yet perhaps the simplest of offerings on display here.

Rating: 6/10 

C418 "Wanderstop FM" (2025)

With fresh flavorful fruits flowing like a faucet, the lengthy quiet since Excursions seems like no absence at all. Creativity has been bottled up and unleashed, as another two hours gets bestowed upon unsuspecting listeners. Complimentary to the traditional, acoustic instrumentation of Wanderstop, a scenic, humble tone setting video game soundtrack, the other side of the coin drops. Caught adrift in nostalgic charm and ambiguous notions, Daniel's melodies arise again with his signature collision of EDM and Ambient. Familiarity runs amuck, as synthesizer tones, bass textures, production techniques and percussive arrangements brood with the fondness of his Minecraft hits and many memorable solo album songs.

 

It is only now, as I fumble over the track listing, I realize the eye grabbing quadrant album art represents four "channels", presumably the games radio stations. These temperament shifts were felt in listening sessions, as its initial run of quirky, upbeat "signature style" songs described above, suddenly pivot to cool mellow ambiences, temporal stints ruminating on the soothing calmness emanating from its core textures. 

 The third channel, "Sugar Cube" takes quite a stylistic leap. Melding its innocent melodies with a rural, farm life flavor. Competent but far shy of remarkable, these themes end up yielding to Daniel's EDM synthesizer instincts, progressing with House inspired beats. We drift further again with the last chapter, which lacks a particular theme or identity, seeming more like the leftovers from ideas explored before.

 

 Wanderstop FM is such a treat for fans. The core soundtrack gave us an particular avenue to enjoy but with these radio stations, we can revel in the broader spectrum of an artist who's set of sounds is always a pleasure.

 

Rating: 7/10

Nobuo Uematsu "Final Fantasy VII Original Soundtrack" (1997)

As the peaks of youthful adoration converge on true musical magic, the stars aligned. This form of wonderment, powerful and persistent, has shadowed me like a ghost, unveiling its brilliance at every return to the epic. Mirrored alongside an unforgettable storey told through the medium of RPG, Nobuo Uematsu's genius provided a deep imagination to enrich format constraints. Low polygon graphics and narratives projected through text on cathode-ray tubes, his soundtrack brought the vision to life. So too were orchestrations shackled to the eras technology. Despite compact discs offering outsized audio fidelity, producers opted for MIDI driven synthesizers that have stood the test of time. It speaks volumes to the fundamentals of melody, harmony and rhythm in the face of artificial aesthetics, which do have a charm.

Housed within a mammoth four plus hours, the music is remarkable absence of filler. With intent to imbue the storeys many twists and turns, characters and settings, each of its ninety songs come sharpened by vision and intent. Tone and temperament are always aptly poised to illuminate the emotional narrative told through its charming melodies and emotive backing tracks. From emphatic portraits to mischievous sketches, Nobuo brings these characters to life. Glorious battle tracks and luminous Fanfare victories reign supreme, undoubtedly deeply engrained by there repetitive placement in the game, these galloping riffs and triumphant tunes are utterly iconic.

So too can this soundtrack cut into sombre, shadowy, esoteric corners when called upon. Sometimes with a majestic utilization of minimalism, its often these dark compositions that show the power of balance. Nobuo is wise to hear the strengths of timely quietness. At its opposite end, a large collection of playful, quirky songs, upbeat in nature and warm spirited await within. The delights of the various Chocobo tunes and storeys happier grooves swirl with joyous melody, often dressed up by creative rhythmic hilts and inspired backing instruments. It gives an unusual sense of depth to what can seem simplistic on first glance. A subtle brilliances resonates on every track.

Having heard these songs re-imagined on the recent FF7 Rebirth remaster, I am transported back to that youthful magic that seems ever more evasive as the years grow old. These freshly updated tracks are fun but the originals still hold a nostalgic power. Although I'll yield to the notion that my epoch of exposure greatly amplifies my connection to it, I do not doubt the excellence on display here. Given how many casuals mention this soundtrack in comparison to other games speaks volumes to the genius operating behind it. For anyone who has never heard it before, Its a quirky listen in original form. I only hope you hear the magic FF7 fans were bestowed with.

Rating: 10/10

C418 "Wanderstop" (2025)

 

Clocking in with a verbose 195 minutes of fresh instrumentation, C418's latest video game soundtrack is understood mostly through its soothing vibes and cosy moods. A safe feeling in which to curl up inside, as its soft fuzzy warmth, painted by classical instrumentation, works claming wonders. Adorning strings, chiming bells, felt pianos, a magical xylophone and lean cello bass, blush harmoniously in delightful ambient reverbs and crafted echoes. All these sounds arrive luscious and clean, with occasional touches of subtle electronic synths woven within its pristine chemistry.

Its a mastery heard before on both Beta and One, now restrained by its core focus on traditional instruments. One will also hear intermittent echo's of the classic Minecraft Alpha soundtrack in its meandering piano motifs. I'm perhaps now re-realizing how much similarity to the likes of The Plateaux Of Mirror this iconic sound of C418's has.

Wanderstop sets itself apart from familiarity through reoccurring themes and melodies that shift with the record. The deeper in you get, those recurrences subside for fresh ones. A few darkly passages emerge mostly between in usual crooning and quirky expressions. All are likely shaped by the timing of their appearances in the game.

Its nice to see Daniel has been busy with no shortage of inspirations. Assuming this has kept him busy for some time, I hope we will hear a new full length original soon. Its been seven years since the last! This however is a separate project, one that stands on its own two feet well and hopefully serves the vision for this game as well.

Rating: 7/10

Jukio Kallio "Minecraft: The Garden Awakens" (2024)

 

Our latest Minecraft update places emphasis on the quiet unsettled atmosphere of its eerie Pale Garden biome. Upon entering, the games music will cease to play, immersing us in the subtle sounds emanating from the biomes pale blocks. So imagine my bewilderment at learning of an accompanying soundtrack from the drop, given that no new music has been added in game, as a record disc or otherwise. The low key nature of its unannounced release seems even more fitting upon hearing this one new track. Its left me wondering what direction our new composer was given about the new content, as the vibes are completely miss the mark.

Things get off to a great start. Tense strings and disconnected tumbles of tom drums and crash cymbals lead into a dirty bass synth brooding beneath, stiring a ghoulish atmosphere. Its strongly reminiscent of the title screen music from Doom. A few keyboard notes of intriguing melody linger and just before the minute mark, the song erupts with rhythm, a hard thudding kick drum, drives the music into Synthwave territory. Melodic wave synths dance with speedy, cheery nightlife vibes before a brief allusion to the errie opening premise is dispelled again as the dancable percussion returns with more animated melodies far from the expectant Minecraft vibes.

 Its a fine song but ill fit along side the games back-catalog and even more baffling considering the tone of this update. The Trumpet version simply swaps out its VSTs for quirkier instrument tones. The sped up version sounding like nothing more than fluff. The slowed and reverbed original amps up the creepy vibes but its far from a saving grace. It seems now rather obvious why this was such a low key release. A cool song but also a total mismatch for Minecraft standards.

Rating 2/10

Kyros "Mannequin" (2024)

 

Is this our first heavy hitter? An obvious contender for my album of the year, Kyros deliver on an enticing Esoterica teaser. All three tracks our found nestled snugly among this lively set of exuberant songs bursting with colorful energy. After a quaint, folksy introduction - reminiscent of classic Prog Rock acoustics, the album roars to life with Showtime. Steel drums rapid a melody suggestive of time passing by, in chimes a big aggrandizing tune fondly reminding me of Genesis in the late 80s and one by one the instruments pile in. Grooving baselines, bustling drums patterns and dazzling keyboard leads paint a theatrical thunder birthed in cheese decades ago.

Kyros however, embrace this bold, tenacious execution of punchy note-to-note refrains and execute them with stunning swagger. Each track brings flavor and distinction, their commonality an undying dexterity of craft that fleshes out many sections with animated instrumentation. That's not to suggest the record doesn't have its timely lulls and respites. The balance is wonderful, a fruitful execution of ideas.

Ghosts Of You has become my standout track. Again the 80s reign supreme with big grinning melodies. One could re-imagine this as an ear worming theme song from a daytime television show. Again, executed with class, the lyrical tone and cadence chimes with its punchy percussion reminiscent of Michael Jackson's Bad. Its a common theme for the record but this modern vibrancy invigorates these old themes.

Its final two songs take a subtle departure, focusing on big metallic stunts between more middle of the road arrangements. Although great entertainment, the increased aggressive might, reminds you of a coming end to the session. Not a blemish but observation as that 80s cheese I'm so fond of gets stripped back. This foursome are awsum and I'm not surprised they have pulled together such a strong cohesive album.

Rating: 9/10

The Tiberian Sons "Satan's Office Supplies" (2022)

 
Here's a release I overlooked, The Tiberian Sons' first album re-imagining video game music within the Prog Metal format. Anthems Of Liberation was such a blinder, I had to give this a go. Sadly, little joy has arisen from its Paper Mario origins. Once again, I've not heard the originals but one can attest to their thrilling aesthetics and colorful liveliness. Satan's Office Supplies is given a lavish treatment, layered music with punch clarity. Subtle symphonies and jiving synths bustle between the upfront grooves of chomping, snappy drums and Djent rhythm guitar chops. Often stealing the lime light, the lead guitar wails with excitement, delivering key melodies and running away with dazzling solos, vivacious and vibrant, often serving as a voice of expression.

Why this didn't click with me is somewhat mysterious. Perhaps my Prog Metal clock has been run down for the time being. Maybe its the source material not quite matching the intensity. Although this music works, its jovial melodies run counter to a lot of hard hitting rhythm and stints of nostalgic orchestration that melds with a lack of feeling. Origami Castle is a keen example of its ends not quite sticking together.

 King Olly VS Mega Bowser is a similar composition, flutes and airy chorals coalesce around chomping groove and sinister horns, yet the track rides its devilish atmosphere well. The rest of the songs where somewhere in between, its opening five part set of tracks not feeling particularly special. A lot of the record descended into lively rumblings, were a blaze of passing melodies didn't land as they had done last time.

Rating: 5/10

The Tiberian Sons "Anthems Of Liberation" (2023)

Looking beyond Command & Conquer, The Tiberian Sons paint a lively love letter to another 90s game franchise. I've never played Namco's Ace Combat series but if this record is a fair impression, then its got an impressive soundtrack! Anthems Of Liberation has songs from across the series. Unleashing bottled up classic VGM energy, the group channel this animated music into a lively Prog Rock / Metal adjacent tone. Its plastered with rich instrumentation, layers of orchestration, synths and human voicings emerge, coloring its rocking riffs and crooning shred guitar with warm spirit.

At times the songs take on a grandiosity when this aspect becomes the focus. When not, the drums drive forward competent riffs for lead instruments to dazzle and shine as the music speeds away. They seem like they are from different universes. One is serious, epic and dramatic. The other half fun, playful, sprinkled with the best of that Top Gun style cheese. Along its journey, the push and pull between its ends is fantastic, always bursting with attitude and charisma yet keeping it fresh.

Anthems Of Liberation is a wallop of fun from start to end, after many spins I can barely figure out what my favorite tracks are. I'm almost tempted to check out the game that inspired it! Or at least the original soundtrack music for now. This one is a fine record for when needing some animated energy to vibe on!

Rating: 8/10

Kyros "Esoterica" (2023)

 

Although just a three track single, Esoterica's lengthier twenty minutes make it feel worthy of comment. The music however, certainly perks the ears! Bright, luminous, bold and daring, Kyros take the glory of Progressive instrumentation head on. The wall of sound production and glossy finish celebrates their musical artistry with unrivaled vibrancy on all fronts. Punchy expression and warming hooks feel stacked, complimenting layers of sound, yielding a sonic aesthetic housing ripe song writing.

 Its opening title track infuses and grossing percussive dance floor energy. As one is pulled in by its cruising pace, classic House pianos hit to affirm its inspirations before embarking on a jiving instrumental foray. The cohesion is superb, gears shift as we propel down a musical highway. The following Illusions Inside takes a steadied yet punchy approach with its drums. Slow yet big grooves carefully guiding us into its magnetic climax. The vocal arrive in a crooning swell, masculine and effeminate voices exchange lyrical expressions, harmonizing in a captivating spell.

its ten minute closer, The End In Mind, had less sway over me. In comparison, it didn't quite connect with a focal feature yet the song meanders all over the place like a jam session recurring to a theme on occasion. Its impressive, lots of remarkable dexterous performances yet not quite ticking the memorable box. Good to see this band are in a wonderfully creative place! I wonder if these songs will appear on a record soon.

Rating: 5/10

Frank Klepacki "Initiative" (2023)

 Frank Klepacki is back! Not the first post-Remaster release, but one that caught my eye! Picking up his battle axe and throwing down stompy thrash grooves alongside dystopian synths, Frank revives classic Command & Conquer vibes and aesthetics for another metallic romp of his janky Electronic Industrual funk! This outing comes steady, lean and refined, a consistent burn with anything in the way of experimental or out of the ordinary arriving through his guests Glenn Kachulis & Connor Engstrom.

 Gunslinger mashes his cyberpunk Disco thump with slick Mexican guitar licks. An unusual union that somehow persuades despite its dramatic shift in tone. The following Dark Assault showcases Connor's flashy lead guitar talents, a dazzle of steely blazing melodies to act as a voice. Unfortunately it spells missed opportunity, as Frank ditches his unique Industrial sound design for a high speed metallic fodder. The result is a rather generic splash of pacey fire and fury. Slick but again shifting tone.

The rest of the music finds familiar face, an unravel of detached melodies, woven through a web of hard hitting instruments. Arrangements whirl with sequenced mechanical activity as pulses, zaps and industrial clank rub and rattle against its organic tones. The contrast can be enjoyed with little effort. Flushes of Prog Rock leads and Metal guitar accompany its varying temperaments. A solid listen to stir up a colorful dystopian vision of futuristic proportions but lacks anything truly special.

Rating: 6/10

Mega Drive "Arc Ascension" (2023)

With a brief chance to catch my attention, distinct dazzling synths with a certain glossy sparkle about them allured me in. Also present in other tracks, a few of its various VST tones come polished with ludicrous cleanliness. It increases a familiar sense of high octane production within the Synthwave niche. This approach steps up game again, refining aesthetic edges but in conclusion probably not offering anything new.

Typical themes and moods evoking the glow of neon lit cities, thrill seeking vehicle speeds and the underworld night life are stirred competently among dense compositing. Jostling among a dense web of busy synths, each track offers up a smothering plunge of pulsing sounds. I ended up falling to its cruising atmosphere as a ceaseless energy drives the music along, best felt on title track Arc Ascension.

It offers a few slower tempo cuts too, often home to big bass and thumping kicks as the mood turns to a darker leaning. Shadow Dancer stood out for its tropical synth selection and unusual percussive drive. A welcome change of pace but stirs little beyond its initial mood as these compositions tend to rotate and interchange its assembly of melodies, lacking progression or sense of destination beyond identity.

Rating: 6/10

Frank Klepacki "Rocktronic" (2004)

 

Following on from Morphscape, It seems Frank was left in the lurch, a period of sweet stagnation for this fan. With C&C Generals, the shift to 3D left me behind, as did Frank's involvement in the games music. Released two years on, Ive found this dusty Rocktronic album firmly resting on the Red Alert 2 mindset. Its production a shade more robust, the janky assembly of Electronic-Industrial and Metal guitars comes mostly consistent with punchy, unabashed charges of gittery melodies and snappy grooves. These songs play with restless energy as its instruments know no subtlety.

Two tracks, Take Me and Bring The Fight, take a distinct turn, ditching the drum machines and electronics, they take on a rock band aesthetic clearly reveling in Rage Against The Machine inspiration with Tom Morello guitar riffs front to back. The change in tonality is jarring, the lack of originality leaves it a stale footnote among an otherwise decent collection of C&C style hits. In The Tunnel resurrects soft atmospheric touches reminiscent of the first Red Alert, yet forces in some clashing obnoxious elements too. Rocktronic is a fair listen, unsurprising but fun for this fan.

Rating: 5/10

Frank Klepacki "Morphscape" (2002)

 

 

Frank Klepacki, creator of the timeless Command & Conquer soundtracks that have obsessed me since playing the classic Westwood Studios games in my youth. His debut solo release Morphscape is no unknown entity. Yet despite discovering it many moons ago, it seems this musical gem never really registered. Released after Red Alert 2 and Yuri's Revenge, this is clearly a collection of leftovers from those sessions.

 

The unabashed aesthetics and niche stylistic framework remains intact. A jiving fusion of Industrial grit, futuristic Electronic, Funk bass grooves and on occasion, a slab of Metal through distortion guitars. These elements meet on bold ground, punching stiff melodies and rhythms into the fold. Controlled chaos emerges as layers of crowded sound compete for dominance, a familiar yet strange charm resonates again.

On its surface much of Frank's compositions seem tacky and unhinged. Despite its crude union of snappy instruments, immersion emerges through the various pivots that signal intention and direction. Best are the plastic sweeping synths, often arriving unexpected, manipulating a lively adventure with a soft passing emotional depth.

Quality is reasonably varied, as are the particular styles explored. Although I enjoyed all but one of these cuts, only a couple felt they could have offered the original soundtracks something extra. The other songs bore much resemblance to originals, with similar ideas, arrangements and aesthetics being spun with less magnetism.

That leaves us with one song, Gonna Rock Yo Body. Clearly his passion project, Frank pays tribute to legend Afrika Bambaataa and the Planet Rock musical blueprint. It illuminates some vague Hip Hop related influences lurking elsewhere on the record. On first listen, a comical, quirky take. With repeated listens its stark unapologetic nature becomes tiresome. An odd blemish among a fine collection of C&C songs.

 

Rating: 6/10

Aaron Cherof "Minecraft: Trails & Tales (Original Game Soundtrack)" (2023)

 

Playing it safe and getting it right, Aaron Cherof, Minecraft's latest soundtrack composer, steps gracefully upon familiar foundations. With the last three installments, Lena Raine managed the burdensome task of moving forward from C418's iconic musical blueprint. She did so with a touch of magic, encroaching on a new wonder. Inspired atmospheres emerged, darkly yet gratifying tensions fit for nether dimension adventures. Gentle and dreamy surges of melody blooming from humble origins one Caves & Cliffs. And then The Wild Update, fusing hints of location and culture into the music for the discovery of new destinations, both ancient, dark and swampy.

Along with game ambiences, the inclusion of Pigstep and Otherside persevered with praise. Players now had new music discs at their mercy. Alongside the original twelve, they stood in equal brilliance. Relic is now the sixteenth record to join the collection. A reddish brown hue, light blue inlay an alluring look but does it live up to expectations?

Following firmly in Lena's footsteps, Relic works with the vinyl crackle, hinting a soft organic fidelity as buzzing synths resonate with shimmers of wobble and warping. It humanizes the key melody, which conjures Minecrafty spirits. Initially reasonable, it grows with percussion and variations on theme. The bass busies and drums increase complexity on path for a gratifying conclusion as underlying synths glow warmly.

A safe success and the same could be said for the other four overworld ambiences that make up this five song soundtrack. They follow a familiar format built by Lena. Pianos lead with lavish reverbers, building gentle, soothing ambiences that blossom with surges of lucid, ambiguous atmospheres bustling from beneath its main motif.

Bromeliad breaks ground a fraction, intriguing, as its main melody initially alludes. Sweeps of a piano chord get lost among the emergence of soft rhythmic percussive sway. Quite the build up, that leads itself astray as the musical direction pivots into a cloudy conclusion as airy synths and glimmering piano drips steal the focus again.

 Crescent Dunes could of been my favorite! A grand yet distance cram of shimmering instruments sparks a bold stance at the onset. Yet swiftly does the composition sway into familiar territory as pianos breeze in the winds of softly atmospheric synths again. It does find a charming passageway as rhythmic stabs of strings guide its ascending key melody. Not quite the typical characteristic for this game but it does work.

As I said in the opening, these new compositions play it safe, sticking to a proven formula and yielding competent results. There were a few glimmers of something fresh and distinctive on offer but always brief. If Aaron gets the chance to work again on the next updates soundtrack, I hope they get a little adventurous and explore their own musical flair could offer the games atmosphere and its passionate players.

Rating: 6/10

Ziggurath "Jungle Majesty" (2023)

 

From Desert Synth, to Jungle Synth, Ziggurath's exotic inspirations turn wet and tropical on this humble second outing. With this friendly incarnation of simple synth arrangements, the music barely resembles Dungeon Synth anymore. Jungle Majesty feels more like a homage to 90s video game soundtracks. With an "at your leisure" pace and ever pleasant mood, the atmosphere conjured is ripe for scene setting.

Further embellishing this era defined soundtrack design inspiration, the simplistic MIDI compositions run stiff with precise timing. Despite this "flaw", a selection of rich virtual instruments, cared for with soft space filling reverbs, somehow washes away that sharp digital precision. Even in its slower paced cuts, of which many have a tortoise like crawl, the aesthetic charm of its gorgeous tonality wins one over.

The song titles are fantastically suggestive, both complimenting imagined events within the game and finding a fun temperament to match. It doesn't lean to heavily into the dark, keeping its light hearted tone throughout. A couple of moments muster more musical layers into compositions with more visual gravitas on occasion. Again its a vague yet fond reminiscence of the worldly Dead Can Dance that can be felt.

The recurring use of some distinctive instruments further highlights the fantastic chemistry at work. Bongo percussion, lone tambourines and voicey choral synth conjure charm again, yet aptly repurposed to this new jungle setting. These new claims to Synth genres are somewhat futile. Jungle Majesty doesn't create new ground but certainly evokes a nostalgic presence fit for enjoyment once again.

Rating: 6/10

Matt Uelmen "Torchlight II OST" (2012)

Rejoice! A gift from the heavens, a FREE original soundtrack! If like me, you grew up on the music of Matt Uelmen's Blizzard classics Starcraft and Diablo II, then this is for you! Spellbound by his earthly incarnations of weathered stone age lands and the lurching mischief of a corrupt evil, the D2 soundtracks became frequent listening beyond the game itself. The broody, engrossing atmospheres Matt conjured stuck with me over the decades. Catching wind of his work on this soundtrack, released by the games published for free, peaked my interest. Bar its title theme track, Torchlight II is essentially another half to the classic D2 soundtrack that's so dear to me.

Its no understatement, the instrumental pallet is identical. Shades of all five chapters of the game intermingle. The cinematic orchestration unlocked with the Lord Of Destruction expansion pack a prominent feature too. Not just aesthetics and texture but the musical approach musters that timeless magic. Certain passageways bear a sparkling resemblance. Others seemingly direct incarnations or alternate takes. Once again we get to experience the mesmerizing layers of acoustic guitar Tristram blazed so brightly in Diablo's opening track. A song worthy of any curious listener.

Its a lengthy soundtrack, eighty minutes where new crevasses of his earthly musics are explored, always tumbling back into familiar feelings and arrangements, then to vanish again into something new. Its a delight. A literal dream come true. Too often have I wished for more and finally it is here, or should I say unbeknown to me for ten years! Nestled at the end, Camp Dawn is my favorite track, essentially the closest you'll get to another Tristram. Beautiful! I'm so thankful to have found this.

Rating: 9/10

Frank Klepacki & The Tiberian Sons "Lay To Waste" (2022)

 

Author of the Command & Conquer music, a keen nostalgic staple from my childhood to present day, Frank Klepacki brought renewed excitement to his classic soundtracks during the games 25th anniversary remastering. Best of all, he united with tribute band The Tiberian Sons, breathing new life into old songs. Hearing them go it alone on The Only Winning Moon was an unexpected pleasure! Have linked up again, these four original songs feel several steps removed from the origins of their collaboration.

Lay To Waste is a mismatch of fun, energetic ideas. Swaying from the meaty Industrial grit of C&Cs assailant glory to gleaming surges of joyous metallic melody, its glossy symphonies and chunky guitars fit aesthetically like a glove. A bold complimenting force, split in direction. The misnomer lies in mood. Mischievous aggressive riffs underwrite uplifting emotive theatrics most prone to fantasy driven VGM.

 Personally, I loved both aspects, yet together a sense of ambivalence prevailed. One can hear Frank's militant ideas blazing along but frequently they meander in tone from war and destruction to might and magic fantasies as strings and tunes take reins from the rhythmic brutality presented beforehand. Its a strange dichotomy that has eased with familiarity and repetitions yet still dominates the directorial feeling. The opening Gun Metal makes a half baked attempt at incorporating explosive sounds to the mix, then its main theme gets handed off through a string of these instrumental pivots.

Its been one of the stranger encounters on this musical journey. I'm left unable to pick a favorite track as every song sways between contrasts. Its the swaying that makes me seasick. Taking the analytic hat off for a moment, its a fun set of songs pounding with energy and vibrant noise. Plenty of twists and turns along the way! A tight curation of ideas not outstaying its welcome. It will be a matter of time to see how often I return to these tracks as I do love to with their previous material.

Rating: 5/10

Kyros "Celexa Dreams" (2020)

 

Kyros have delivered fresh magic, a new "song of obsession". The epic ResetRewind gave me pause to go deep with this band. Their bold, unabashed exterior and enthusiastic tone would of been easily glossed over. So with their third album effort, the spins of Celexa Dreams have been numerous. The result? A keen, warm sound carving space where I knew not it could go. With the explorative spirit of Progressive Rock, the punchy, hard hitting instrumentation inches into with metallic territory. The vibes arrive with unshakable echos of performative 80s Synthpop and a subtle sense of VGM influences, perhaps from the likes of a Nobuo Uematsu and his Black Mages.

Built with both lengthy ten minute plus epics and short songs too, the record oozes its instrumentation like a river gushing. As a constant flood of musicality throws big punches, dazzling melodies and harmony, we are never far from the fold. With slapping baselines and big gated reverb percussion every idea is rhythmically powered along by a theatrical momentum. The ever-present synths both sing melodies and gently chime into a glorious wall of sound. The treatment is bright, a constant punchlines permeating as its aesthetics sparkle with a powerful persuasion.

Its clear, crisp, precise and full of character. Unsurprisingly the song structures can reach far beyond convention and on that adventure many exciting arrangements and dynamics are summited. Best of all Shelby Warne frequents these peaks with fantastic vocals. Soaring high, some of the albums best leads are in tandem with dramatic surges of catchy human wordings. The whole affair is a delight, reaching beyond its own moods, Celexa Dreams often steers one into its realm. With every familiar listen I've been sucked in regardless of where I was at before!

Rating: 8/10

Carpenter Brut "Leather Teeth" (2018)

After a lengthy deep dive through the dark powerhouse known as Trilogy, Carpenter Brut returns with an upbeat, energized vision of Synthwave. Its packaged into a lean eight tracks and Leather Teeth plays like a movie. Its pacing has one song racing to the next, always on the run, changing up location and drenching the listener in a glorious synth overload! Dripping with nostalgia, Brut nails the best of 80s ideas, bringing them to life again through this high octane drive of dance-able songs. Continuously pounding the bass lines, the keys over top rattle off with a consistent buzz, as fast, animated melodies overlap to create a powerful wall of sound.

Along the way a few breaks in tone are discovered. Ironically mentioned in my musings on Trilogy, the man from Ulver himself, Kristoffer Rygg, lends his voice for a track. The combination is perfect! Cheerleader Effect gets treated to his soft power over a thinner instrumental. It gives room for his words to breathe and sets up a couple of mellower tracks to follow. They have 80s jam session vibes with some vibrant lead solos. In these moments a touch of Genesis of that era can be heard. The vocals return again later on, this time with Mat McNerny. His opening Ian Curtis impression stands a little stark and broody but as he gets into it, the music gels well.

Leather Teeth is one of the best Synthwave records I've heard. It surpasses any tropes with the stunning musicianship. It seems that song writing is the core and everything aesthetic just falls into place around it. My favorite moments stem from the lead instruments. Synths solos and Metal guitars really open up the musics dynamics as the arsenal of keys have to lay of the repetition. Its sways from dance to Progressive are well managed and both sides are performed so well. There is little I can fault here but it sounds is if there is many directions this could all be taken in. After all, this has progressed from quite a dark place to something still in rapture but upbeat, casual and groovy with fun vibes emanating. I'm excited for whats next!

Rating: 8/10