Nearly entirely different from the SNES score (only sharing “Metropolis”), the ten-song soundtrack is great. Each track helps tell the story that you get to build (just like later SimCity releases), but is even more stripped-down and raw, due to the hardware limitations. It’s a fantastic precursor to what became a fantastic game series, and can be heard in its entirety below. Happy listening!

[wpdevart_youtube width=”640″ height=”385″ autoplay=”0″ theme=”light” loop_video=”0″ enable_fullscreen=”1″ show_related=”1″ show_popup=”0″ thumb_popup_width=”213″ thumb_popup_height=”128″ show_title=”1″ show_youtube_icon=”1″ show_annotations=”1″ show_progress_bar_color=”red” autohide_parameters=”1″ set_initial_volume=”false” initial_volume=”100″ disable_keyboard=”0″]HmJP5EFUEpw[/wpdevart_youtube]

The post Sound Bytes: NES SimCity Prototype (NES, Unreleased) appeared first on Old School Gamer Magazine.

[wpdevart_youtube playlist=”PL-tYRpliiqIGJk6iX37fl3I-mkYeLs_sF” width=”640″ height=”385″ autoplay=”0″ theme=”light” loop_video=”0″ enable_fullscreen=”1″ show_related=”1″ show_popup=”0″ thumb_popup_width=”213″ thumb_popup_height=”128″ show_title=”1″ show_youtube_icon=”1″ show_annotations=”1″ show_progress_bar_color=”red” autohide_parameters=”1″ set_initial_volume=”false” initial_volume=”100″ disable_keyboard=”0″]zzxHzfvA1sI[/wpdevart_youtube]

Disclaimer: There are many, many tracks that fit in this category, but we’re only covering a select few this time around. Comment below if you feel we missed something important!

“Cool Cool Mountain” (Super Mario 64)

Immediately upbeat, this snappy tune brings some of the best of Koji Kondo’s compositions to Super Mario 64. Granted, he’s amassed a huge pile of excellent music, but this one’s always been a winter favorite. If you listen closely, it’s very similar to “Slider”, but with much less banjo and fiddle, and a lot more sleigh bell. It’s more easygoing than its frantic sibling, but in a good way. The atmosphere is much more inviting and less “GET TO THE BOTTOM OF THE SLIDE AS FAST AS YOU CAN!”

“Frappe Snowland” (Mario Kart 64)

Just as easy to tap your toes to, “Frappe Snowland” is chilled-out (pun intended) enough to still allow a player to focus on driving on ice tracks without being too terribly distracting. It’s not loud. it’s not overbearing. It doesn’t make you forget about the godforsaken ice physics nobody ever asked for in any game ever. It’s just a nice, simple song that helps you get through snowy levels, and that’s wonderful in and of itself.

You’ll be seeing this a lot. Ice physics are, objectively, the worst.

“Chill Penguin” (Mega Man X)

Being the first Maverick many players face when starting a new playthrough of Mega Man X, Chill Penguin’s theme pairs an excellent melody with the futuristic rhythm section we’ve come to expect from the X series. It sets the scene for an early boss fight well. It doesn’t exactly conform to traditional “winter” music; there are no sleigh bells, but then again, Chill Penguin’s stage isn’t meant to evoke a happy, cozy feeling. There are more overt antagonistic forces at work in the level (and the game overall), and it shows in the tone.

“Jangle Bells” (Donkey Kong Country 3: Dixie Kong’s Double Trouble!)

It should be noted that this track, under normal circumstances, does not appear during standard play. It can only be accessed by entering a special code at DKC 3’s sound test screen. It’s not hard to hear the similarities between “Jangle Bells” and pre-existing holiday tunes like “Rockin’ Around the Christmas Tree”, but the comparisons are welcome. Once the cheat code is activated, not only will “Jangle Bells” play; bananas and in bonus levels will be replaced with presents and ornaments, thus making the festivity more complete. The song itself heavily features saxophones and tubular bells, which further push it into the winter/holiday style.

“Mountain Village” (The Legend of Zelda: Majora’s Mask)

This track, much like the game whence it comes, is sort of a black sheep among its equals. It’s very simple, but even without its context, portrays loneliness and bleakness to a degree that truly enhances immersion. It’s a favorite not because of its festivity or happiness, but because it represents the other side of winter: the cold, unforgiving snow and wind and the initial futility of trying to resist them. It’s not unpleasant by any means…but as they say, variety is the spice of life!

“Ice Cave Chant” (Donkey Kong Country)

Touching on a game we covered earlier this year, we’ll keep this one brief. This one is another classic Rareware tune, composed by Eveline Fischer (not David Wise, who composed the majority of the other songs in the game). Its catchy melody only takes a few seconds to kick in after the strings intro, and it’s just a fun song to groove to.

Unfortunately, “Ice Cave Chant” does little to answer the question, “Why are there bees, though?”

“Freezeezy Mountain” (Banjo-Kazooie)

If there seems to be a pattern here, blame Rare. This one’s composed by Grant Kirkhope, and it doesn’t fail to amaze. The Nintendo 64 had some excellent platformers, and it only makes sense for the music to be just as good (if not better, in some cases) as the gameplay. Featuring a wide array of instruments (a horn section, flutes, and the nearly-compulsory sleigh bells), “Freezeezy Mountain” is laid-back at times, and sweepingly melodic at others. Its dynamics help create a wintry wonderland for Banjo the bear and his feathered friend Kazooie to play around in.

Overall, the ’90s were great for winter themes in Nintendo video games, and the accompanying tracks were no different. Happy holidays from Old School Gamer Magazine, and as always, stay tuned for more excellent old-school and retro gaming news and reviews!

The post Soundtrack Roundup: Nintendo’s ’90s Winter Music appeared first on Old School Gamer Magazine.

[wpdevart_youtube playlist=”PL-vD6rIjXrcJIqAhxiqIq1z-SOYoYI2v0″ width=”640″ height=”385″ autoplay=”0″ theme=”light” loop_video=”0″ enable_fullscreen=”1″ show_related=”1″ show_popup=”0″ thumb_popup_width=”213″ thumb_popup_height=”128″ show_title=”1″ show_youtube_icon=”1″ show_annotations=”1″ show_progress_bar_color=”red” autohide_parameters=”1″ set_initial_volume=”false” initial_volume=”100″ disable_keyboard=”0″]tBJMe3XqxnI[/wpdevart_youtube]

“Title”

The main theme of Dungeon Explorer has a nice, driving tempo to draw a player in. It’s suitably epic for a medieval fantasy game, and is complex enough to keep things interesting before the game starts. It’s a little ominous — which is fitting; a dungeon crawler usually isn’t overly cheery, after all.

“Bar”

It’s relaxing! This tune is a little more fast-paced than the title theme, but it does a better job of evoking the image of a specific place, rather than just a general sense of dread or curiosity. It seems homey and inviting, and is a nice tune in between more intense areas of gameplay.

“Town”

This one’s more bustling and busy than we’ve heard so far, and for good reason. There’s a lot more happening in the town sections, and the track matches the motif. The bassline is nice here; simple yet effective, and the light background percussion matches.

Be sure to visit your friendly neighborhood king for advice and supplies!

“Castle”

Ooh, spooky! This calls to mind the horror-movie castles of old, like those of Dracula and Frankenstein. Similar to the fugues that accompanied castle scenes in those films, “Castle” doesn’t disappoint in terms of building atmosphere. It’s one of those tracks that, when played (even without visual accompaniment), puts a player (or listener) in a very specific place.

“Field 1” and “Field 2”

General overworld background music. Nothing wrong with them; they’re upbeat and interesting enough to not get terribly repetitive. “Field 2” is more melodic and sweeping than the former, and tells more of a story, but “Field 1” has a faster tempo and a driving beat that stays focused on its more basic musical phrasing.

“Dungeon” Music

We won’t get into detail about each “Dungeon” track for the sake of brevity, but they’re all definitely worth a listen. There are eight separate dungeon themes, and each one has its own style, tempo, and killer melody. For the cream of the “Dungeon” crop, though, check out “Dungeon 2”, “Dungeon 3”, “Dungeon 4”, and “Dungeon 8”. They’re somewhat faster and more complex, but they all rock.

“Boss”

Oh yeah. Here’s the good stuff. Dungeon Explorer drops us right in with a funky bassline and an in-your-face (approximation of a) horn section. It’s immediately urgent and lets you know that you’re in danger RIGHT NOW! The flourishes beginning at 1:17 in this track are fantastic too. It slows down the tempo slightly while ramping up the complexity, but only for long enough to stay interesting. A great track for some cool, diverse bosses.

…except this guy. Literally just flowers.

“Crystal”

Definitely getting another horror movie vibe from this one, but this time it’s more ominous (and less obvious) than “Castle”. It does put a player in an apprehensive, heightened mindset —  almost like that of a character in a slasher flick. Frankly, this is what the entire soundtrack from the Friday the 13th NES game should have been like. It’s a lot better than what they ended up with. It’s okay, though; at least this game is good, and thankfully this track wasn’t wasted on an inferior product. The higher notes set the tone right away, but when the low-end synth kicks in a few seconds later, it elevates the music immensely.

“Last Boss”

Appropriately epic for a final showdown, “Last Boss” features a bassline that’s all over the place and fast-paced percussion. It’s heavier (in a rock sense) than what you might find in most early dungeon crawlers, but would be at home in, say, Final Fantasy Mystic Quest (which also heavily featured 90s-style guitar riffs and more aggressive drum tracks). In short, it grooves well with where it should by this point in the game.

Wasn’t this guy on an Iron Maiden cover?

“Ending”

There’s not much to say here. It’s simply a slowed-down version of “Castle”, which we’ve already covered. If anything, it’s a little more boring.

“Credit Roll”

This tune does a good job of accompanying the staff roll, and is more enjoyable than the rehash that was “Ending”. It’s traditional end credits fare, sentimental-sounding and wistful, as it should be. A good credits song helps the player reminisce about the adventures they’ve played, appreciate the staff who created the game, and look forward to playing again — and this one checks all the boxes. It’s a good way to wrap up a playthrough.

Final Thoughts

The diversity of this game’s soundtrack is astounding. Each track is different (aside from “Ending”, but even that has a tempo change) and intriguing in its own way. It’s worth playing the game just for the music, let alone the Gauntlet-style mechanics. Dungeon Explorer‘s music is, from start to finish, fantastic. Overall, I’m giving its soundtrack a final rating of 8 out of 10. It’s not flawless, but it is great. Definitely worth a listen.

The post Soundtrack Review: Dungeon Explorer (TurboGrafx-16, 1989) appeared first on Old School Gamer Magazine.

An interesting take on the pinball genre with some classic Sonic mechanics, Sonic Spinball is a spinoff of the main series based on the early 90’s cartoon The Adventures of Sonic the Hedgehog. The game received mixed to moderately positive reviews, with problems cited mainly due to its clunky controls and shortfalls as both a Sonic game and a pinball game.

Sonic Spinball‘s soundtrack was composed by Howard Drossin, Brian Coburn, and Barry Blum. It features theme music for each of the four main levels, as well as tracks for boss rooms, bonus games, and high score display. There are also a few sound effects and transition tunes included here, but for the most part, we won’t go into detail about them.

[wpdevart_youtube playlist=”PLF302AB24DD4DDBC5″ width=”640″ height=”385″ autoplay=”0″ theme=”light” loop_video=”0″ enable_fullscreen=”1″ show_related=”1″ show_popup=”0″ thumb_popup_width=”213″ thumb_popup_height=”128″ show_title=”1″ show_youtube_icon=”1″ show_annotations=”1″ show_progress_bar_color=”red” autohide_parameters=”1″ set_initial_volume=”false” initial_volume=”100″ disable_keyboard=”0″]1ZKKb0SZTcU[/wpdevart_youtube]

“Spinball Theme”

It’s worth mentioning solely because it’s the “main theme”. A little disappointing that it’s only a few seconds long, but to be fair, it normally wouldn’t play for long on the title screen anyway. It’s nothing special, but it’s certainly not the worst Sonic tune out there.

“Toxic Caves”

This peppy little number is the first song you’ll hear during actual gameplay. It’s upbeat enough to get the ball rolling (get it?) quickly, and sufficiently varied so that it doesn’t get terribly repetitive. The bass line, as in many Sonic the Hedgehog soundtracks, starts out strong and keeps the track funky. In addition, the lead synthesizer melody complements the driving low-end rhythm. Overall, it’s not bad for a first level.

Sonic Spinball was, in many ways, a product of its time.

“Lava Powerhouse”

This one might be a little polarizing; depending on how you feel about the buzzing synthesizer at the beginning, it might get on your nerves at first. However, if you can hold out past the initial forty seconds or so, the track really starts to get interesting. We get a brief reprieve from the droning (thankfully) and the song transitions into a more minimal melody and a simpler bass riff for a while. It alternates between chilled-out and in-your-face loud, and I’m not convinced that the dynamic range is entirely for the better.

“The Machine”

The theme for Sonic Spinball‘s third level is much more mellow. Both the high and low ends get a little playful in areas, and some “futuristic” sound effects are thrown in for good measure. If nothing else, it’s a welcome change from the previous level. There are a lot of “non-melody” sounds in here, but it’s not busy in a frustrating way due to their sparseness. It helps, too, that there’s not really a main melody either; it lets some of the more interesting sounds come to the forefront without really detracting from the tune itself.

“Showdown”

Being the theme for the final level in Sonic Spinball, you’d expect this track to build some tension and urgency — and it delivers. The simple bass line and not-too-complex melody evoke a sense of impending doom, and despite its relative repetitiveness, it sets the stage for, well, the final showdown with Dr. Robotnik. There’s some dissonance that helps make a player uncomfortable, which is great in a final level; it makes Dr. Robotnik seem like he should be much more serious than he looks and acts in the animated series on which the game is based.

And yet, the final boss is…this.

“Boss Room”

Funky and driving, “Boss Room” gets a player in the mood for a good, old-fashioned fight. The problem is, fighting a boss as a pinball is significantly more challenging than the usual Sonic the Hedgehog fare. It’s hard to know how to feel about this tune, because the experience is so much different from what a player would expect. The music is okay, but it does get a little repetitive after a while, particularly upon hearing it more than once in a playthrough.

“Bonus Game”

This happy-sounding song deviates from the rest of the soundtrack in its tone and sort of lack of a real connecting thread throughout. Its staccato notes and multitude of different instruments keep things interesting long enough to get through the relatively brief bonus stages. Its whimsical nature does match the departure from the (kind of) seriousness of the main levels that can be seen in the bonus stages as well.

One of several bonus stages

“High Scores”

This one’s a little shorter — which is nice, because the short amount of time spent viewing the high scores might as well be spent with the volume on mute. This track’s incessant buzzing is grating and unpleasant. There’s technically a melody to it, but it’s hard to listen to due to the instrumentation.

Final Rating

There are some pretty decent tracks here, but the egregious nature of “Lava Powerhouse” and especially “High Scores” (which, admittedly, isn’t really part of the main gameplay, but you’ll still hear it after every playthrough) really brings down the overall quality of the soundtrack. It’s not necessarily that the songs are poorly composed — on the contrary, the melodies are good and the dynamics of most of the songs keep things interesting. It’s just that the instrumentation, particularly the harsher buzzing noises, makes the two tracks mentioned above hard to listen to in a loop. Overall, Sonic Spinball‘s soundtrack is just…okay. Not terrible, but not great. I’m giving the soundtrack three Chaos Emeralds out of seven.

Image courtesy of willowthewolf10 on DeviantArt.

The post Soundtrack Review: Sonic Spinball (Sega Genesis, Sega Game Gear, Sega Master System, 1993-1995) appeared first on Old School Gamer Magazine.

To listen to each track mentioned, use the YouTube playlist below.

[wpdevart_youtube playlist=”PL3dlpEkBp0q5-6GD8-d8qOi5gIQP9eyvu” width=”640″ height=”385″ autoplay=”0″ theme=”light” loop_video=”0″ enable_fullscreen=”1″ show_related=”1″ show_popup=”0″ thumb_popup_width=”213″ thumb_popup_height=”128″ show_title=”1″ show_youtube_icon=”1″ show_annotations=”1″ show_progress_bar_color=”red” autohide_parameters=”1″ set_initial_volume=”false” initial_volume=”100″ disable_keyboard=”0″]B6wXABwdY2s[/wpdevart_youtube]

In this installment, I’ll finish up the rest of the soundtrack and give my final rating. Now that we’re on the same page, let’s move on to the second half of DK Jamz. I know you’re as excited as I am to jump back in, so let’s go!

“Mine Cart Madness”

I think this song does a great job underscoring the frantic tension already present in the mine cart levels — if you’ve ever played, for example, “Mine Cart Carnage”, you’ll know exactly the tension I mean. It doesn’t overshadow the gameplay, which is nice, because it would be pretty hard to focus on jumping mine carts on rails otherwise.

“Life in the Mines”

Another tune that’s pretty low-key, “Life in the Mines” is a more chilled-out song for mostly slower-paced levels (at least, compared to “Mine Cart Madness”). It’s a much more meandering melody for the first thirty seconds or so, then focuses in with some pan pipes. It’s not unpleasant to listen to by any means, but doesn’t really stand out for me.

“Voices of the Temple”

This one’s a little more driving than “Life in the Mines”, but only a little. It’s pretty atmospheric, featuring a lot of plucked strings and wind instruments. It plays during levels like “Millstone Mayhem”, which are sort of reminiscent of King Louie’s temple ruins from The Jungle Book (more accurately, the 1967 animated Disney film). Those pan pipes are really starting to show up a lot…

Not pictured: Actual Kongs.

“Forest Frenzy”

Back to the more melodic tunes. It’s got some piano, some strings, some flute, and…maybe xylophone? This song gets you through the forest floor levels, and while the “frenzy” part of the title might be a bit hyperbolic, this is definitely a pleasant background ditty to help you trek through hordes of wasps, vultures, and reptiles. The driving beat helps keep the pace too.

“Treetop Rock”

Moving up to the higher, interconnected areas of the jungle, “Treetop Rock” plays during tree house-style stages. This one nicely balances a great bass line with some higher melodies. If you listen closely, you can catch — you guessed it — more pan pipes in the background. The tune goes into a sort of melancholy interlude before cranking back into a more urgent variation on the main melody, finally looping back into the beginning again. It’s bouncy, like the tire trampolines scattered throughout these levels.

“Funky’s Fugue”

Now here’s a departure from some of the other, more atmospheric tracks. Playing during transport between worlds (at Funky’s Flights, an airline of sorts), “Funky’s Fugue” comes right at you with — and I might catch some weird looks, but go with me here — a guitar riff almost reminiscent of the one from “Cotton Eye Joe” (not the fiddle, the guitar underneath it). It’s definitely got a strong techno vibe to it, and when I was a kid, the people yelling “Aww yeah!” every so often were…oddly satisfying. It was (and is) so catchy, I used to sit and listen to two or three good loops of this track before moving on to the next level.

[wpdevart_youtube width=”640″ height=”385″ autoplay=”0″ theme=”light” loop_video=”0″ enable_fullscreen=”1″ show_related=”1″ show_popup=”0″ thumb_popup_width=”213″ thumb_popup_height=”128″ show_title=”1″ show_youtube_icon=”1″ show_annotations=”1″ show_progress_bar_color=”red” autohide_parameters=”1″ set_initial_volume=”false” initial_volume=”100″ disable_keyboard=”0″]mOYZaiDZ7BM[/wpdevart_youtube]
See? Told you it sounds like Rednex!

“Misty Menace”

This might be a contender for one of the most atmosphere-evoking pieces of the score. Any semblance of melody is very bare-bones, but the sound effects really create a feeling of loneliness and mystery. The accompanying levels aren’t overly complex either, but the enemies you encounter in them are quick and often seem to come out of nowhere. It kind of puts you on edge, seemingly without trying too hard.

“Northern Hemispheres”

Like the previous level, the immersiveness of this track is really impressive. It’s bleak, but it adds so much to the blizzard levels in which it plays. A little over a minute in, the melody gets urgent and dissonant, almost like warning sirens. Near two minutes, a harp comes in and plays a short, hopeful little tune; but when the track loops back on itself, it’s back to the (awesome) snowstorm.

“Ice Cave Chant”

Unsurprisingly, you’ll encounter this one in the ice cave levels. It’s a lot more melodic and catchy than the previous two tracks, which is likely a welcome break at this point. Lots of strings and what sounds like a glockenspiel here, which make for a nice change of pace that helps vary the song selections. I found the title interesting, mainly because there doesn’t appear to be any chanting; it’s no less pleasant to listen to, though.

“Fear Factory”

Full disclosure here: this is my favorite song on the entire soundtrack, and the levels that accompany it are probably my favorites too. It’s got an industrial vibe without feeling too heavy, and even throws in some horn stings at the end, before it loops back. It’s a great tune with a driving beat and some wicked xylophone harmonies (bet that’s a new one!). The factory levels feature a lot of oil drums and steel kegs, the sound effects for which fit nicely in with this song’s rhythm.

Kremkroc Industries: The Pollution Capital of Kong Island!

“Gang-Plank Galleon”

This one will throw you for a loop. It starts out as a jaunty pirate tune, with a little flute and accordion duet…then, about twenty seconds in, it fades completely into the theme for the final boss. King K. Rool’s stage is simple, but this song builds tension through a fast tempo and a hearty bass line and builds up to a bigger, better melody, which starts at about 1 minute, 15 seconds. “Gang-Plank Galleon” definitely works well with the pressure of fighting the last boss in the game (and the villain who stole your banana hoard!).

“The Credits Concerto”

Well, we’ve made it to the end of the game. “The Credits Concerto” is an airy, synth-heavy tune that makes you feel as if the weight of thousands of bananas has been lifted off your chest (and back into the cave where they belong). To be honest, it’s a really nice finish to the game, like whipped cream on top of a slice of pie.

Final Rating

I’ve carried these tunes with me since Donkey Kong Country‘s release in 1994. I grew up with this generation of Kongs, and still love to play this game and listen to each track. In an attempt to avoid reviewing it exclusively through the nostalgia lens, however, I will say this: there were a few tracks that didn’t really stand out, namely “Life in the Mines”, “Candy’s Love Song”, and “Voices of the Temple”. They’re not necessarily bad, and there are a plethora of other great songs here, so I’m giving Donkey Kong Country‘s soundtrack a final rating of 9 bananas out of 10.

The post Soundtrack Review: Donkey Kong Country, Part II (SNES, 1994) appeared first on Old School Gamer Magazine.

This will be a two-part review; there’s a lot to be said about this particular soundtrack, and most of the songs on it are worth mentioning. Part I will cover the first ten tracks (“Theme” through “Bad Boss Boogie”), and Part II will cover the remaining thirteen main songs (“Mine Cart Madness” through “Credits Concerto”). Disclaimer: a select few will be skipped, due to only being a “Game Over” melody or something similar. They’ll be kept in the playlist below for the sake of completeness, but won’t really be mentioned hereafter.

Released just in time for the holidays in November 1994, Donkey Kong Country is full of immersive tracks with natural sounds from a number of different environments, such as jungles, caverns, and underground mine shafts. Interspersed in the mix, you can find funky synthesizer riffs and driving percussion. It’s a combination that, for a game starring apes fighting reptiles over a stolen banana hoard, truly rocks.

The music for Donkey Kong Country was composed primarily by David Wise, with contributions from Robin Beanland and Eveline Fischer. Inspired by the work of Koji Kondo — the main composer of both the Mario and Zelda series — and ’80s rock and dance music, Wise’s then-freelance work on DKC impressed Rare so much, it landed him a full-time position with the company.

The soundtrack was officially released as DK Jamz, as a promotional item for retailers alongside the game’s release, then to the public in March of 1995.

[wpdevart_youtube playlist=”PL3dlpEkBp0q5-6GD8-d8qOi5gIQP9eyvu” width=”640″ height=”385″ autoplay=”0″ theme=”light” loop_video=”0″ enable_fullscreen=”1″ show_related=”1″ show_popup=”0″ thumb_popup_width=”213″ thumb_popup_height=”128″ show_title=”1″ show_youtube_icon=”1″ show_annotations=”1″ show_progress_bar_color=”red” autohide_parameters=”1″ set_initial_volume=”false” initial_volume=”100″ disable_keyboard=”0″]B6wXABwdY2s[/wpdevart_youtube]

First Sounds

As soon as the game is turned on, a fanfare plays, accompanied by both the Rare(ware) and Nintendo logos. The music quickly transitions over to the game’s main theme, which is simply titled “Theme”. It’s a song that initially conjures a retro feel for the first seven bars, then shifts into heavy percussion and a synthesized guitar riff. It continues until the player selects a save file.

Overworld/Level Select

The game itself is split up into six main worlds of 5-6 levels, plus one more containing the final level; each one is accessible from one larger overworld. “Simian Segue”, a pleasant piano melody written by Eveline Fischer, plays during level select.

Donkey Kong Country’s overworld map screen (as each world is cleared). Note that King K. Rool’s ship gets closer with each new unlocked area.

Level Tracks

Once we get into the background music, the track playing depends on the environment of the level. We’ll go into them one by one, in their order on DK Jamz.

“DK Island Swing”

This song plays during the opening level of the game (Jungle Hijinxs), and then other jungle stages. It starts out with bare percussion (though on DK Jamz, it’s preceded by the Rare fanfare that plays at the beginning of the game), then builds with more rhythm and a bass line. A little piano sting sends it into a more upbeat, melodic section. This then transitions into a melancholy yet driving part that works well with scene changes, such as the nightfall at the end of Jungle Hijinxs. Finally, it loops back into the beginning percussion.

“Cranky’s Theme”

Cranky Kong, officially the DK of the original game (this iteration’s Donkey Kong being his grandson), has a pretty chill theme. It fittingly evokes a relaxing tropical atmosphere; Cranky has long since retired from the maiden-stealing, scaffolding-climbing work of his heyday. Featuring pan pipes and steel drums, this tune is reminiscent of something you might hear while poolside at a Caribbean resort. The track plays during visits to Cranky’s Cabin, a side location in each of the first six worlds where you can find hints (and, more often than not, a snarky comment from Cranky about how easy kids have it these days).

Cranky Kong had it rough, man.

“Jungle Groove”

Not much to be said about this particular track, except that it’s mostly a more atmospheric, higher quality rehash of “DK Island Swing”. Don’t get me wrong, it might even be better than the former, but there’s just not much more to be explained. It does have some extra ape noises thrown in for good measure, too, which is pretty cool.

“Cave Dweller Concert”

I feel that “Cave Dweller Concert” is the first truly immersive track in the game. Echo effects and strategically-placed sounds of dripping water really make it feel authentic. Not only that, but the often-claustrophobic crawling sections juxtaposed with wider, more open cavern areas do a great job of simulating caves, and this tune only adds to that feeling.

“Elevator Antics”, a cavern level.

“Bonus Room Blitz”

This jaunty tune plays during DKC’s bonus rooms (hence the name). It’s a little more fast-paced than a lot of the level themes, which helps evoke a “hey, I found something special!” kind of feeling. It’s not overly long, but that’s okay; neither are the bonus rooms. It’s good to hear every few minutes, to get that little shot of excitement when you find a hidden bonus room entrance.

“Aquatic Ambience”

Here’s the moneymaker. Ask anybody even a little familiar with the songs in this game about audio immersion, and I can almost guarantee this will be the track they mention. It’s an almost ethereal-sounding (and aptly named) tune that almost dips into bleakness from time to time, then hooks you back again when the melody starts back in. It’s peaceful, relaxing, and in a way, is reminiscent of floating in the water. In a word, it’s fantastic. Trust me, you’ll want the full experience when you watch the video below.

[wpdevart_youtube width=”640″ height=”385″ autoplay=”0″ theme=”light” loop_video=”0″ enable_fullscreen=”1″ show_related=”1″ show_popup=”0″ thumb_popup_width=”213″ thumb_popup_height=”128″ show_title=”1″ show_youtube_icon=”1″ show_annotations=”1″ show_progress_bar_color=”red” autohide_parameters=”1″ set_initial_volume=”false” initial_volume=”100″ disable_keyboard=”0″]yYaDJK1OX3k[/wpdevart_youtube]

“Candy’s Love Song”

One of the few songs in the game composed by Eveline Fischer, “Candy’s Love Song” plays in Candy Kong’s save areas (which, like Cranky’s Cabin, appear once per world). It kind of conjures an image of a swinging nightclub singer, if perhaps that singer were a shapely female ape. An odd image, to be sure, but at least you’ll only have to imagine it a few times in a playthrough.

“Bad Boss Boogie”

This percussion-heavy, guitar riff-driven piece really conveys the urgency and excitement of fighting the boss at the end of each world. It helps set up a frantic tempo for boss fights, particularly with the faster enemies. The hard-hitting drums and plucked strings under the guitar only assist in creating the frenzied pace.

Well, that’s it for Part I of Donkey Kong Country’s soundtrack review. The remaining tracks on DK Jamz will be covered in Part II, as will my final rating for the soundtrack as a whole. I won’t let on too much, but if you’ve been paying attention, you’ll know where it’ll likely end up. Thanks for reading, and tune in for the next installment!

The post Soundtrack Review: Donkey Kong Country, Part I (SNES, 1994) appeared first on Old School Gamer Magazine.

The same is true of video games. Without background music (BGM) or sound effects, a game would be severely lacking, and not just for the absence of something pretty or exciting to occupy one’s ears while playing.

From the very first video games, sound has played an immense part in setting overall tone, increasing tension and appeal, and enhancing a player’s connection to the game they’re playing. Take the first sounds one hears in Super Mario Bros. (1985), for example. These iconic tracks and effects evoke a sense of nostalgia for many, and those who may not have spent a childhood hearing them — and even people who have never touched an NES controller — can recognize and identify the opening notes.

[wpdevart_youtube width=”640″ height=”385″ autoplay=”0″ theme=”light” loop_video=”0″ enable_fullscreen=”1″ show_related=”1″ show_popup=”0″ thumb_popup_width=”213″ thumb_popup_height=”128″ show_title=”1″ show_youtube_icon=”1″ show_annotations=”1″ show_progress_bar_color=”red” autohide_parameters=”1″ set_initial_volume=”false” initial_volume=”100″ disable_keyboard=”0″]PsC0zIhWNww[/wpdevart_youtube]

And video game music has only improved since then, evolving beyond the confines of the games in which they’re contained, into an art form. A quick search on YouTube will turn up channels like Smooth McGroove, RichaadEB, and GameChops — all with different innovative takes on what video game music means, and how it can be transformed into something new.

It’s not difficult to see how music can accomplish a wide variety of tasks in a game. Using a popular example, “Stickerbrush Symphony” (from 1995’s Donkey Kong Country 2: Diddy’s Kong Quest) starts out simply, then builds in complexity and volume — but it never overpowers the actual interactivity of the gameplay. Nor is it distracting; from a level’s opening, it helps fashion an atmosphere that is airy yet driving, and encourages the player to take in the scenery while still focusing on finishing the level itself.

[wpdevart_youtube width=”640″ height=”385″ autoplay=”0″ theme=”light” loop_video=”0″ enable_fullscreen=”1″ show_related=”1″ show_popup=”0″ thumb_popup_width=”213″ thumb_popup_height=”128″ show_title=”1″ show_youtube_icon=”1″ show_annotations=”1″ show_progress_bar_color=”red” autohide_parameters=”1″ set_initial_volume=”false” initial_volume=”100″ disable_keyboard=”0″]TG6lVNJSe04[/wpdevart_youtube]

And with increasing technology comes increased sound quality and potential complexity…in most cases. Many remember early tracks from the Sonic the Hedgehog series, such as the excellent “Chemical Plant Zone” (Sonic the Hedgehog 2, 1992).

[wpdevart_youtube width=”640″ height=”385″ autoplay=”0″ theme=”light” loop_video=”0″ enable_fullscreen=”1″ show_related=”1″ show_popup=”0″ thumb_popup_width=”213″ thumb_popup_height=”128″ show_title=”1″ show_youtube_icon=”1″ show_annotations=”1″ show_progress_bar_color=”red” autohide_parameters=”1″ set_initial_volume=”false” initial_volume=”100″ disable_keyboard=”0″]I5oSBsD22r0[/wpdevart_youtube]
But just because composers CAN create better music doesn’t necessarily mean they DO. An offshoot of the main series, Sonic Chronicles: The Dark Brotherhood (2008), features overly simplistic, unappealing tracks like “Central City” that not only fail to engross the player in the game’s world, but also fail to take advantage of the technology at the time.

[wpdevart_youtube width=”640″ height=”385″ autoplay=”0″ theme=”light” loop_video=”0″ enable_fullscreen=”1″ show_related=”1″ show_popup=”0″ thumb_popup_width=”213″ thumb_popup_height=”128″ show_title=”1″ show_youtube_icon=”1″ show_annotations=”1″ show_progress_bar_color=”red” autohide_parameters=”1″ set_initial_volume=”false” initial_volume=”100″ disable_keyboard=”0″]6o47N-aYd08[/wpdevart_youtube]

Listening to the track, one might guess that it came from the era of the Sega Master System, or the Genesis at best. However, the game was released in 2008, seventeen years after Sega’s first Sonic the Hedgehog title. By all means, composers could have (and SHOULD have) taken advantage of vastly improved cartridge size and sound processing to create a better soundtrack, but for “Central City”, that just wasn’t the case.

Despite the select few exceptions, though, developers have done an excellent job using the sound processors available to them to create interesting, often immersive music to accompany the overall feelings of a game and its varying levels, sections, or other parts.

Game music composers have always been proud of their work as well — many games feature a “sound test” mode, dedicated to the ability to play music and sound effects from the game without actually having to navigate to the parts of the game where one would normally hear them. The execution of this mode varies. Sometimes all tracks are available at the beginning of the game. Oftentimes the tunes can serve as rewards, unlockable by completing certain tasks or collecting them as the game progresses.

Players have long loved music nearly as much as the games themselves. Notable composers, such as Nobuo Uematsu (the musical force behind the majority of the Final Fantasy series) and Koji Kondo (who continues to score and oversee musical direction of the Mario, Zelda, and Star Fox series, among many other Nintendo franchises) have entire orchestral concerts dedicated to their honor; and conventions such as MAGfest and the Game Music Festival are able to unite players and music fans all over the world.

And the online community dedicated to listening to and altering video game music is huge. OverClocked ReMix, for example, began in 1999 as a humble forum for those interested in remixing music from games, and has grown into a massive community of musicians who have collaborated with each other and publishers like Capcom to provide the official soundtracks to games such as Super Street Fighter II Turbo HD Remix.

[wpdevart_youtube width=”640″ height=”385″ autoplay=”0″ theme=”light” loop_video=”0″ enable_fullscreen=”1″ show_related=”1″ show_popup=”0″ thumb_popup_width=”213″ thumb_popup_height=”128″ show_title=”1″ show_youtube_icon=”1″ show_annotations=”1″ show_progress_bar_color=”red” autohide_parameters=”1″ set_initial_volume=”false” initial_volume=”100″ disable_keyboard=”0″]hk_uD1knsNs[/wpdevart_youtube]

The aim of this column is to take the soundtrack from a given game and analyze most, if not all, of its tracks, critiquing and appreciating the collection of tunes. Each analysis will take into consideration the technology available at the time of the game’s release, the composer’s experience, the number of available tracks, and many other factors. The soundtrack in its entirety will then be rated on an appropriate scale. Stay tuned for the first installment!

The post New Column: Video Game Soundtracks appeared first on Old School Gamer Magazine.