"Humanity is coming back to Earth in huge mechanical suits. Discovering intelligent beings that not only rebuilt the Earth’s ecosystem but coexist with it in perfect symbiosis at the same time. Who or what are those creatures and how will that encounter end?" 

Inspired by the idea of looking for understanding, particularly in reference to the ecosystem that we as a civilisation are destroying day-by-day, Polish duo Gaijin Blues﻿ embark on their third eponymous album conceived and crafted remotely during the pandemic. Made up of producers Paweł Klimczak (Naphta) and Michał Szczepaniec, the release - like Gaijin Blues' previous long players - was inspired by Japanese culture, in particular animations and video games, as well as influences closer to home including soviet electronic musicians, and the prose of Stanislaw Lem and Strugacki’s brothers.

Adopting a more robust approach to instrumentation, rather than the heavy sample-led foundations of their previous releases, 'Gaijin Blues III' sees them marry electric guitars, drums, percussion and synths with organic elements and Japanese-influenced sounds including harp, koto and brass sections.

PREMIERE: Gaijin Blues - True Faces [Coastline Northern Cuts]

W ostatnich latach z wyborem corocznych nominacji do albumu roku jest jak z pętlą – praktycznie zawsze otrzymujemy to samo, a coraz rzadziej mamy wrażenie, że dostajemy soundtracki warte naszej uwagi. Choć w tym roku - z nielicznymi wyjątkami, nie było inaczej, to finalnie udało nam się dla Was wyłuskać pozycje, które w naszej opinii należą do faworytów w kategorii najlepszych albumów roku 2022. A co przyniesie nam rok 2023? Cóż, odpowiedź uzyskacie, słuchając naszej kolejnej audycji „Słuchaj Gier”.

Muzyczne podsumowanie roku 2022 - Słuchaj gier #63

たいして変わらない毎日 Same Old, Same Old

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It’s a question that crops up a lot: how do musicians move into video game soundtracking?

Lena Raine is one of the most respected game composers on the circuit, capturing the imagination of millions with her work for Minecraft and Celeste, one of the key indie games of the last decade.

Often with No Tags, we try to focus on people who haven’t had their story adequately told. That’s not the case with Lena. She’s given many interviews, and she’s always an excellent subject. But we wanted to ask some practical questions: just how does a musician enter the world of video games? And what do they need to know about pitching, contracts, copyright and the difference in process between releasing recorded music and working for video games? 

It’s an interview of two halves: the first serves as a practical resource for musicians, but in classic No Tags style, the second half goes somewhere else entirely, with Lena on fine form tackling Gamergate, the evolution of the modern internet (not familiar with the theory of the Cozy Web? You soon will be) and the sale of Bandcamp. She saves her most righteous response for the coming of AI, though – that’s worth the price of admission alone.

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11: Lena Raine

https://www.youtube.com/watch?v=1qr6F6Qb27g
A mix of 3 musical pieces composed for upcoming game The Invincible by Starward Industries.

The Invincible Music Preview

Kochamy gry wideo i dobrą muzykę – a przede wszystkim ich część wspólną. Zostań na chwilę i posłuchaj...

Muzyczne podsumowanie roku 2022 - Słuchaj gier #63

Podcast Słuchaj gier

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