The Road Of Trials –

Atonement –

Alright, so I want to do something a little bit different for the month of February. This month I’ll try to focus on Original Soundtracks (OSTs), specifically ones from Video Games.
(also, yes, I know it’s not February yet, but I didn’t have another record in mind for this week, so I decided to just go ahead and start this…)

Journey (2012), a game from That Game Company, composed by Austin Wintory. When I decided to do some video game soundtracks, I knew I really had to kick it off with this one. Journey is a game that I still easily rank as one of my favorite games because there really is very little else out there that perfectly captures the same idea (except for Flower, but that was done by the same game company right before they started working on Journey).

So if it’s so unique, then what is this game, Journey? Well…it’s probably easier to start by describing what it is NOT. It doesn’t have any “enemies” to vanquish, or “points” to achieve a good “score.” There’s very little “gameplay” to this game other than walking and sometimes jumping. Most games that treat gameplay as a lower priority tend to do so to focus on something like story. But even that’s not exactly true of this game either. Journey doesn’t have any lines of dialogue (spoken or written). What can be described as a “story,” is portrayed only through images, color, and music. The visuals do go a long way to help infer a story to the player, but it’s probably the music that really brings us the closest to dialogue.

Now, before we dive deeper into meaning, I want to state that I agree with the developers’ opinions about the “meaning of the game.” There is no ONE “meaning” exactly. Just ask anyone who’s played the game and regardless of whether they liked it or not, they will likely give you different interruptions of what the game was trying to say. So my opinions on this are only that: My opinions.

One thing that is certain though, and that is the game was designed after the famous “Hero’s Journey” model. This model was discovered by historians studying several cultures myths, religions, and heroes. Most stories were observed as having several distinct characteristics in their story arcs. A good more modern day example of this form of storytelling is the original Star Wars trilogy, which George Lucas wrote with that purpose in mind. I could spend a long time just describing that alone, but instead I’ll provide the link to the Wikipedia article if this strikes your interest.

But back to the soundtrack. The composer Austin Wintory (who would go on to score The Banner Saga, Monaco, and Assassin’s Creed Syndicate; just to name a few) cleverly named each of the tracks on the soundtrack to reference one of the steps or events in the Hero’s Journey tale. The peaceful cello solo for the opening song “Nascence” and the truly transcending nature of the ending “Apotheosis”, both have titles that literally mean “born” and “climax.” It’s not surprising that these are the two most popular songs that stuck with players long after playing, but I want to focus on two of the equally powerful middle tracks.

“The Road Of Trials” is easily the fastest and most uplifting of the tracks from the game. It accurately depicts the sheer awe and beauty of when (according to the Hero’s Journey) the titular character has passed over into the “unnatural” or “hidden” world. The song also slyly slips in some ominous dark tones as it comes to a close, hinting of what the next song “Temptation” is about to bring forth. The second track I chose follows the “Descent” and is titled “Atonement”. This portion of the game marks a turning point. Up till now the player has been roughly heading in the direction of a peculiar shaped mountain in the distance, but their path has taken them largely downhill. From this point the player never ceases to ascend as they begin to climb the mountain side. This song delicately balances the sadness of what the player has learned and the difficult challenge that is yet to come, while still sounding determined and strong.

Well, if you can’t tell already, the game Journey gets a glowing recommendation from me! Its soundtrack is superb and excellent on its own, but the way it mixes and molds with the game itself to help tell a greater story is the really amazing part. Wintory’s score definitely turned some heads though because it was the first ever video game soundtrack to be nominated for a “Best Score Soundtrack for Visual Media” Grammy, which normally goes to a movie (although it was beat by “Baba Yetu” by a few years for “first video game song” to be nominated and win a Grammy for “Best Instrumental Arrangement Accompanying Vocalist(s)”).

And lastly I included a short GIF of the four different sides of the vinyl soundtrack published by iam8bit. Each side is represented by one of four white, glowing symbols above each character. The different background colors depict different points in the game and its color palette. Also each character has a slightly more elaborate robe than the previous (culminating in the white robe), which is a reference to the fact that each time you complete the game, another ring of gold embroidery is added to the edge of your robe. Sometimes, it’s the little details that specially packaged vinyls handle so well. You should probably expect to see more vinyl pressings from this company this month ^^

Wasted Mind –

Jah Werx –

Alright, been wanting to highlight this band for a few weeks actually. Back in the first half of December I saw them at an excellent small bar concert in downtown Boise. Because of the Christmas-themed and end-of-the-year posts I’ve been doing, this record got pushed back by a few weeks, but now I’m all geared up and ready to dive into some discussion 😀

& I’m Fine Today (2017), by SUSTO. I love covering smaller bands that aren’t as well known. There’s always the tantalizing possibility that who you’re listening to could possibly be tomorrow’s next big name. And if you asked my opinion (well, you’re reading my article, so I guess you are asking…), I genuinely feel like these guys could really develop a serious following!

First, let’s talk a little bit about their name. The term “SUSTO” is derived from a folk illness that is part of several Latin American cultures. When I say “folk illness” I mean it’s not exactly a “real” illness, or at least from a medical/scientific perspective, but that doesn’t mean it isn’t real to the people who are plagued by it. Wikipedia describes it as what would medically be considered a panic attack, but Justin Osborne (lead singer/songwriter of SUSTO) expounded upon it a little more. He added that it can be something simple like general anxiety, or more serious like deep depression. It is believed that these symptoms are caused by a separation between your “spirit/soul” and your body. Obviously the existence of a spirit or soul is near impossible to prove from a scientific point of view, but I really do believe there is some inherent truth to the notion.

Alright, that’s cool and all, but what about the band itself? What are they like? Well their current lineup is a 5-piece band, consisting of Osborne, Corey Campbell, Jenna Desmond, and Marshall Hudson. Their musical sound jumps around a bit, but overall, they have this Alternative Country vibe with some deep Americana influences and some fun Indie flare to their performance. Lyrically, SUSTO’s music also ranges from being chill and silly, to being challenging and thought-provoking. Frankly, their music really reminds me of Father John Misty’s material (and that’s a great thing!), but maybe with a little less satire and not as cynical ^^;

The album & I’m Fine Today (which, by the way, is an awesome name!) is an impressive sophomore album. Their self-titled debut in 2014 was definitely a strong start (and “Vampiro 66” from that album, is still one of my favorite tracks from them) but I think their second album really is a big leap forward for SUSTO. The record is sequenced in such a way that it flows smoothly between different musical styles and balances out its serious and light tones effortlessly. Overall, the album tackles everyday struggles that we are faced with and how hopeless one can feel when caught in the middle of these troubles. BUT the album always manages to bounce back with the comforting sentiment that in the end “everything will turn out fine.”

A great example of this ideal is the final track on the record, “Jah Werx”. Built around a fairly simple refrain, it affirms that notion that everything is fine. At times, the track feels spiritual and transcendent, and when the band finished their live set with this fitting song it was easily one of those moments you wished could stretch on for forever. But whoops! I skipped over the first track I chose to feature. “Wasted Mind” is a song that gradually grew on me each time I heard it. Initially I was planning on choosing something complicated like “Gay In The South” or my introduction to the band, “Waves”, but after listening to the album on repeat a few times before writing this, I knew I had to go with this one. The tune starts off slowly with a distinct alt-country sound, but gradually grows throughout itself into something more. Eventually it fades off to silence just to come back even bigger than before with the title being sung on repeat.

SUSTO is a band that I would love to see go somewhere (well technically they already have “gone somewhere” since they’re on tour in Europe right now, but you know what I mean…). I feel like there is something honest and real about what their lyrics and their musical diversity is an important trait to have in their sound. Looking for some more impressive music from SUSTO? I’d suggest another track from this album “Hard Drugs” which I almost chose for a track to feature. If you want something a little fun and a tad silly though, the music video for their song “Chillin’ On The Beach With My Best Friend Jesus Christ” still makes me laugh xD

SIDE NOTE: Somehow, I have failed to mention this in literally every single relevant Monday LP, but I’m actually a pretty big fan of colored vinyl (although not a huge “picture disc” fan, unless they’re pretty minimalistic). I wanted to mention it this time, because the alternate color for this vinyl is much less noticeable, as it is a very dark maroon color with some marbled texture (I should make a habit of describing the version I have when introducing the record…). Sure, there are definitely some times where the colored version may not have as high of sound quality as just a traditional 180 gram black vinyl pressing may have, but that normally depends more on the pressing plant used instead of the actual color chosen in my experience. Also the fact that I’m not as big of an Audiophile as some people, may impact my opinion slightly ^^;

Vidual –

La Lune –

Alright, so I wanted to also dedicate one of the Monday LPs to highlight an album released specifically last year. As mentioned last week, 2017 was a pretty amazing year for music. If I had to come up with just one thing that defined the year’s music, it was the “comebacks” from bands who had been on hiatus for years. This list includes such impressive bands like the Fleet Foxes, Gorillaz, and LCD Soundsystem. And that’s not including the albums that had multiple years of work and hype put into their projects, like the ones Lorde, Queens of the Stone Age, The XX, and The Foo Fighters all released. And while it would be impossible for me to pick an “album of the year”, I did want to choose an album that is a fine example of a record that really stood out amongst the comebacks.

The OOZ (2017), by King Krule. Wow. What a record! A full double-LP album with solid song after solid song that adds up to over a full hour of music. The ultimate reason I ended up choosing this one though probably has to do with my first impression of the album, which (surprise!) wasn’t actually too positive ^^;

First off, who is King Krule? “King Krule” is really the second stage name of the very young musician Archy Marshall. He originally began recording music under the name of “Zoo Kid” at the age of 15 in 2010. The genre of his music is extremely hard to nail down with just one word, but if I was given two words, they would be “dark jazz.” And yet, even that doesn’t really incapsulate his punk vocals, the occasional surf rock guitar riffs, or sometimes the slow rap sections. Even if you’re not a big fan of his musical style, it’s indisputably unique and instantly recognizable, which should say at least something about the music.

Tested and treated (often incorrectly) for a multitude of mental health issues while growing up, he often makes mention of his struggle with depression and insomnia in his lyrics. Several tracks are also filled with distinct love stories, while other songs become abstract in meaning and rhyme. The record The OOZ would spawn three singles before its release, “Czech One”, “Dum Surfer”, and “Half Man Half Shark”. While I would probably now consider them some of the best the album has to offer, all three didn’t really click with me on my first listen. I could easily understand the critical praise for his uniqueness, but it was a uniqueness that didn’t honestly strike me as something I would find myself earnestly listening to. Those three singles do a great job of hoisting his “freak flag” pretty high, but I initially mistook that as all his music was about. After listening through his full length album though, my opinion radically changed.

King Krule masterfully crafts slow, quiet songs along with intense, dark tunes. The OOZ is impressively paced with highs and lows, making sure every song is exactly where it needs to be. In an attempt to insure you give King Krule a solid first listen, I figured I’d discuss two lesser known tracks from the album. The first one is “Vidual”, which is a great example of the more surf-rock side of his music, even dabbling into psychobilly. The title is short for “individual” and is meant to express how Archy does not see himself as a “collective” personality and tends to keep his distance from others. The lyrics are filled with dark images and becomes more and more surreal as the song progresses, but ultimately tells the story of a toxic relationship that ends with both sides badly burned.

The other tune, “La Lune”, is on the opposite side of the spectrum in musical style and tone. The title is the French word for “The Moon” and features some of his more cryptic lyrics from the album. The tune is hauntingly beautiful, with different guitar tracks prancing around a simple, grounding bass part and two harmonizing vocal parts from Archy. If these peak your interest, I’d implore you to go check out the rest of the album or at least the three singles. If the second song is what caught your ear more though, then I’d actually direct you towards his previous album, 6 Feet Beneath the Moon relleased back in 2013. It features more of this quieter, stripped down sound, with several songs made up of just him and his electric guitar.

This is an album the I really wanted to highlight from last year, but there really were just so many noteworthy records as well. Apart from the comeback albums, there were also the impressive albums by Moses Sumney, St. Vincent, and others that don’t really fall into this category. And don’t forget about the ridiculous FIVE albums that King Gizzard & The Lizard Wizard were able to put out in just the span of one year! Hopefully, I’ll try to cover some of those records before too long…

Why May I Not Go Out And Climb The Trees? –

If You Look At The Picture Too Long –

So if y’all remember from last year I ended the year with the band that had the biggest impact upon me that year. That spot went to the classic rock/blues/prog/folk/metal band Jethro Tull, and while there was a lot of great music that I discovered in 2016, it was fairly easy to decide upon an artist. This year, not quite as simple. Joining a monthly vinyl subscription and becoming a more serious concert goer and record collector tends to broaden your musical horizons. ^^; But! I finally decided upon…

Alabursy (2015), Daniel Norgren. Hey, it’s that Swedish Folk singer again! There was some amazing music I was introduced to over 2017, but there really isn’t anyone that holds a candle to Norgren for me. I still get goose bumps to this day thinking back to his small, yet powerful, performance at a local bar in downtown Denver.

This album, Alabursy, remains my favorite outing of Norgren’s. Like several of his other records, it both begins and ends with beautiful, calm instrumental tracks. This record is possibly more subdued than some of his other works, but it is able to craft this sublime atmosphere that is so utterly unique and a perfect match for his musical style. This record is the ideal choice to just wind down with at the end of the day, or listen to for your daily quiet moment. The songs on the album are a mix of introspective lyrics and mellow stories that relate back to themes of fear, loneliness, and yet beauty in the small everyday things.

I could give the usual spill here of “how it was so hard just to pick two songs,” but I feel that should just be a gimme for this album. In the end though, it felt only fitting to choose the first song I heard from Norgren (“Why May I Not…”) and the opening song from the concert (“If You Look At…”). The track “Why May I Not Go Out And Climb The Trees?” immediately caught my attention on my first listen, and while “Moonshine Got Me” and “Black Vultures” cemented my interest in the artist, “Why May I Not…” easily remains one of my favorites. This was definitely the tune I was most excited about when Norgren began to play it at the concert.

“Why May I Not…” tends to stand out from the other tracks on the album Alabursy, with it’s distinct back-and-forth, two-person dialogue structure for its lyrics. The speakers can be understood as a young child and an adult (probably the child’s parent). It follows this structure of presenting the child’s question followed by an answer from the adult. The child’s questions are given in a simple and innocent way, while in contrast the adult’s answers feel cold and purposefully frightening to the child. The answers are also framed in such a way that the listener realizes that aren’t meant to be taken literally. For example, the response to the title question is that the “trees have fingers that may steal the eyes from thee”. While trees don’t literally have fingers, you can read the deeper worry the parent may have for the child’s safety.

“If You Look At The Picture Too Long” is a little more complicated of a tune, and yet simpler. While Norgren and his two other band members (Anders Grahn and Erik Berntsson) technically walked on to stage with the instrumental track from the beginning of this album (“The Summer Chafer”), he opened the night with this tune by himself on the piano. I wasn’t closely familiar with it prior to the performance, but it peaked my interest to go give it a closer listen afterwards. The lyrics present us with a beautiful painting, but the speaker warns that the closer we inspect it and scrutinize it, the less real it becomes. We begin to doubt its vision, or more specifically the vision of the artist responsible for the painting. I’ve ran the lyrics through my brain several times now and I’m not confidant I could give its ultimate meaning, but it provides a fun brainteaser and some gorgeous poetry.

I believe Norgren’s albums are finely crafted from start to finish, but I really can’t stress enough how it’s his live performances that take those excellent songs and truly craft them into something even greater. When live, Norgren is free to take his simple songs and transform them into long, impressive jam sessions occasionally punctuated by his poetic lyrics. Slow songs shift to faster speeds each time he repeats the tune, but then slow down to almost nothing but a crawl and a single instrument. The constant shifts and turns, as well as his emotional delivery of the vocal parts, make for an unforgettable performance.

2017 was an amazing year for music and I could have easily chosen something released this past year. Sadly, even with the abundance of spectacular music from last year, it was also filled with some extremely heartbreaking losses of some very talented musicians. As we move on into 2018, I hope we remember the highs and lows from last year, honor the memory of those no longer with us, and seek out ways to make 2018 the best it can be. Cheers! ^^