This is the background music played in Supreme League of Patriots' "Tech Room" area, one of over 30 unique locations in the game. Read all the exciting details about the game itself in the "Main Titles" track description!

This track, like the title theme, features the incredible Jim Scimonetti on saxophone, and me on keyboards and bass guitar. This track is what caused Jim, a veteran session multi-woodwind master, to tell me our recording was the most fun he's ever had in a studio. He was laughing like a kid. It was so awesome.

While writing this piece, the direction I had in mind was "Imagine an 80s detective drama where the title logo fades in over a night-time shot of NYC, viewed from the water, followed by a montage of detective driving in his muscle car, a classy lady in a bar drawing a loaded gun, and an obligatory clip of the detective's well-intentioned robotic ops assistant / butler, who is always getting in over his head." I hope you will agree, that's exactly how it turned out.

Supreme League of Patriots - The Tech Room

Glyphin

Berlin Hypnotic House XXVII - Club Mix

Pink Cat Empire - Insane  (Original Mix)

bombay

like seriously, I've spent the last week on and off trying to think of a title

Here's a new song I played at the Square Sounds Tokyo 2015 preparty. as always the ending is a bit of a copout but I was nearly out of lsdj phrases and ideas

can't think of a title for this

This track is a blend of all music made for the YouTube release of Quota. https://youtu.be/h2OlF1Cqxfs

It was composed in Garageband on an iPhone 6s, so excuse any basic-bland samples/synths.

Quota

https://power46.bandcamp.com/album/new-pripyat

Made in roughly 26 hours, but over the course of more than half a year. The person who started this track isn't the person who finished it. Thus far, this is without exaggeration, the most ambitious, most impressive piece of music I've ever created.

This is a track from an upcoming album which I've teased before. Realising that the album is a long way off, I decided to show off a single for it to ease the wait. Maybe I'll show off more singles as time progresses! We'll have to wait and see.

The album revolves around two concepts:
1. Different environments from around the world. In the case of New Pripyat, this refers to towns, cities and rural areas abandoned after nuclear disasters.
2. Variable mixing. Quickly becoming a staple of interactive media, variable mixing involves loops of music being mixed according to interaction from the audience. When arranged linearly, say, for an album, typically variably mixed music will be structured according to how one loop of music fades into another. This is kind of the opposite: This entire track was written as a linear piece of music, sorted into loops like an imitation of how variable mixing would work.

The original arpeggiator motifs occurred to me after listening to a bunch of Fort Romeau's music, and I knew I had to write it down right away. This section starts at 2:33, and combined with the distant-sounding guitar section which precedes it, contrasts the solemn, desolate loneliness of the area, and the mysterious, electronic side. 

3:48 is the first sign of hostility the irradiated landscape shows, and it's aggressive, powerful, and ever-so-slightly sad. It's a mourning of the destruction caused by this power, as much as it is a display of reverence.

5:32 is what I consider the beginning of Part 2. It's not a very long part, but it's important. It's a moment of majesty and of revelation. I consider this the theme of the reactor core, the epicentre of the disaster, which had the sheer power to provide plentifully for the people it eventually drove away. It is the point where this force originated, and it is the point at which the journey must end.

6:30 marks the beginning of Part 3. This is the piece's climax and its ending. The theme of this part begins with just a string ensemble, to give it that scale, depth and emotional edge, but to leave it timbrally somewhat empty too. The rest of the instrumentation doesn't come in and take the spotlight until the drums kick in, and from there, the piece ascends to its climax.

8:12 was always how this track was going to end. No matter what direction the piece traveled in, I somehow knew that this was going to be its ending. It's supposed to be a point where New Pripyat seems to have reached its peak, only to be pushed just a bit further by that last chord.

9:03 is an obvious homage to Kraftwerk's 1975 version of their track, Radioactivity. I liked the idea of this being quietly played off to one side by an old, worn down record player while something climactic happens off in another room, or perhaps it's just a feeling of winding down after resolving a high-stakes crisis.

New Pripyat (OUT NOW)

Imabari Shipyard

Obligatory Shawzin Music

my most elaborated future garage song so far, don't know if the best but really high up there definitely.

Imabari Shipyard

GOZE

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