One way I’ve found to enhance my nights as Dungeon Master is to call on experiences as an amateur musician and fan, to ramp up the intensity and sense of fantasy with playlists of tunes from the history of composed and recorded music.
I realised that this might be something I was OK at when I saw our party’s rogue lost in imagination and stabbing to the beat of a bit of Shostakovich.
Over the months some of the collections I’ve curated have picked up a few followers on Spotify and upvotes on Reddit but I thought it was time to put more effort in and start writing about it.
The opening post from Lute the Bodies, a new blog by my friend Alec. It promises an exploration of enhancing tabletop roleplaying with music, which is awesome: I’ve occasionally been known to spend longer picking out the music for a given roleplaying event than I have on planning the roleplaying activities themselves! Looking forward to see where this goes…
You could fit almost the entire history of videogames into the time span covered by the silent film era, yet we consider it a mature medium, rather than one just breaking out of its infancy. Like silent movies, classic games are often incomplete, damaged, or technically limited, but have a beauty all their own. In this spirit, indie game developer Joe Blair and I built Metropoloid, a remix of Fritz Lang’s Metropolis which replaces its famously lost score with that of its contemporaries from the early days of games.
I’ve watched Metropolis a number of times over the decades, in a variety of the stages of its recovery, and I love it. I’ve watched it with a pre-recorded but believed-to-be-faithful soundtrack and I’ve watched it with several diolive accompaniment. But this is the first time I’ve watched it to the soundtrack of classic (and contemporary-retro) videogames: the Metroid, Castlevania, Zelda, Mega Man and Final Fantasy series, Doom, Kirby, F-Zero and more. If you’ve got a couple of hours to spare and a love of classic film and classic videogames, then you’re in the slim minority that will get the most out of this fabulous labour of love (which, at the time of my writing, has enjoyed only a few hundred views and a mere 26 “thumbs up”: it certainly deserves a wider audience!).
In the second half of this video (directly linked), Imogen Heap demonstrates how she uses her Mi.Mu gloves as an expressive music manipulation tool, and then goes on to sing the most haunting rendition of Hide and Seek you’ll ever hear. The entire video’s great – in the first half she brings Guy Sigsworth up to sing Guitar Song, finally answering after 17 years the question “What if Frou Frou got back together?” – but if you only listen to the second half of this video then it’ll still improve your life.
@AndyReganCDF: I nudged you about this last week but you were at Glastonbury and I don’t know if you picked it up after you got back, so here’s a renudge.
You know how sometimes you get an idea, and you already wrote and extended the code that makes it possible so surely you only need to do a little audio editing and CSS animation tweaking and graphic design and HOLY SHIT HOW DID IT GET SO LATE?
This epic video (which contains spoilers for Game of Thrones through the third episode of season eight The Long Night). If you’re somehow not up-to-date, you can always watch the earlier iteration, which only contains spoilers through The Spoils of War, the fourth episode of the seventh series.
“aisatsana” is the final track off Aphex Twin’s 2012 release, Syro. A departure from the synthy dance tunes which make up the majority of Aphex Twin’s catalog, aisatsana is quiet, calm, and perfect for listening to during activities which require concentration. But with a measly running time just shy of five and a half minutes, the track isn’t nearly long enough to sustain a session of reading or coding. Playing the track on repeat isn’t satisfactory; exact repetition becomes monotonous quickly. I wished there were an hour-long version of the track, or even better, some system which could generate an endless performance of the track without repetition. Since I build software for a living, I decided to try creating such a system.
If you’d like to try the experience before you read this whole article (although you should read the article), listen here. I’m sure you’ll agree that it sounds like “more aistsana” without being aistsana.
Spoiler: the secret is Markov chains of musical phrases.
During the past months I have been tinkering along on Bassoontracker – My browser based Retro Music Tool.
Today, it’s ready for a next big release: Version 0.3.0 is out!
“We would have been overjoyed if that many people actually turned up.”
Remember Threatin? Earlier this year, this guy and his band played a European tour to… basically nobody. He’d faked having a successful US career, record deal, etc. and persuaded a handful of session musicians to tour with him to venues to whom he’d promised that a significant number of tickets had sold in advance. And it was all a lie.
The Beeb managed to secure an interview with him and he’s now claiming that this was his plan all along. I don’t buy it, but maybe. In any case, it’s an interesting glimpse behind the curtain and into the mind of this strange, strange man.