Archive for the ‘live’ Category

Fight Music For The Fight – Bare Knuckle DJ Mix by Yuzo Koshiro

Saturday, September 6th, 2014

I came to Japan for a lot of reasons. I wanted to teach people and try and do something that actually can make a difference in people’s lives. I wanted to expand my comfort zone and try new and exciting things. I wanted to meet new people, make new friends and go on exciting new adventures.

All that and, y’know, buy DJ mixes of classic video game music.

The important shit.


Yuzo Koshiro
Bare Knuckle Legend Mix 
One of the first game music CDs I bought when I came to Japan for vacation last year was a copy of the Bare Knuckle II (AKA Streets of Rage II) soundtrack. It cost me nearly 50 bucks, but it was worth it, because that game’s music is, no doubt, some of the best music ever put on a cartridge. I want Yuzo Koshiro to score my life. I’m sure if he did it would be hella exciting, and feature 50% more dropkicks. And we all know dropkicks are the most dope kicks.

At least, I thought it was worth it, but that was because no one ever told me there was 4 CD VERSION WHAT THE FUCK.

Four CDs of Streets of Rage music. God. Damn. That’s my jogging soundtrack for the next month (that and the Pointer Sisters’ Break Out, did you know that’s one of the greatest albums of ll time, cuz it totally is). How do you fill up 4 CDs of music from Streets of Rage?

GOOD QUESTION allow me to answer it.

Not only does this set have the entire soundtrack to Streets Of Rage and Streets of Rage II for the Sega Genesis (Mega Drive), but it also includes, in their entirety, the complete soundtracks to the Game Gear versions of both games. That’s the kind of attention to completist overkill that I can really get behind.

The cherry on top is the fourth CD, which includes an exclusive DJ mix of the music from the series by Koshiro himself. That is what I’m sharing tonight. He apparently mixed this live at some game music club event in 2002. That’s incredible. Are game music DJ mixes a regular thing in Tokyo? If so, then fuck I’ve been going to the wrong clubs. I want to get my groove on to a non-stop Mega Man mix.

Wait, YOU KNOW WHAT WOULD BE GREAT? Gradius DJ mix. No, wait, a Darius DJ Mix. On second thought, no, that would just be too damn weird. On third (fourth? I’m tired) thought, I just want someone to do a DJ mix that combines all of the greatest game music of all time. Double Dragon, Tempest 2000, Shinobi, Afterburner, Pac-Man DX, you name it. Girl Talk that shit. Mash it up. That would be epic.

And they have to end it with Vib-Ribbon. Because there’s no time hurry up everything is so fantastic.

Acid House Live From Tokyo

Wednesday, July 2nd, 2014

In case you were worrying that all of the posts this month would be nothing but weird Japanese shit, don’t worry. I have plenty of weird British, American, Canadian, German and who the fuck knows what else shit for you all to enjoy too.

The Orb
Asylum (Andy Weatherall Blood Sugar Mix 1)
Asylum (Andrea Parker’s Bezirkskrankenhams Mix)
Asylum (Kris & Dave’s You Are Evil – But I Like You- Remix by Kris Needs & Henry Cullen)
Asylum (Thomas Fehlmann’s Mix)
Four Orb remixes = 30+ minutes of music. They’re all also drastically different from each other. I dig all of them, but my favorite is this radically-named “You Are Evil” mix because, yo, that shit sounds evil. It’s like someone took an ambient house track and dragged it through Aphex Twin’s basement or something. Brutally great stuff.

808 State
Olympic [Live In Tokyo, 29 June 1993]
10 x 10 [Live In Tokyo, 29 June 1993]
These are from the Tokyo edition of the brand new Zang Tuum Tumb compilation The Organisation of Pop. The album was released in three different regions, USA, UK and Japan, and each got an exclusive version with exclusive cuts. I really can’t tell you how different they all are because I haven’t gone through the hassle of comparing them all track by track, but from what I’ve gleamed, the Japan version wins in terms of exclusives, with awesome live cuts like these being a big reason why. I was shocked to hear how much “10 x 10″ works as a live cut. It’s just amazing.

If I can find the time and find it worthy, I might write up a full review on this in a week or so. I have to work past something I’m writing about Emerson Lake & Palmer first.

You heard me.

Rare Lou Reed and Lou Reed Covers

Monday, October 28th, 2013

Lou Reed passed away this weekend, and I’m not going to say much about it.  I am incredibly bad at eulogizing, especially so when the person in question is someone I have mixed feelings about.

Lou Reed was a genius. Lou Reed was an asshole. Lou Reed was a revolutionary songwriter. Lou Reed was a hack. Lou Reed was a legendary performer. Lou Reed was lazy and hated his audiences. I feel that all those things are true, and I don’t know how to compose my contradictory viewpoints into anything that would do either him or my own thoughts justice.

So I’ll just say that Lou Reed will be missed by a lot of people, including me. Everyone should listen to his work with the Velvet Underground. If you can tolerate shoddy audio quality, then you also must listen to The Quine Tapes, an amazing 3CD collection of VU bootlegs that feature some of the greatest live performances I’ve ever heard. And listen to Transformer. Because damn.

This is all the Lou Reed-related material I have, enjoy.

Lou Reed
My Red Joystick (Remixed Version)
My Red Joystick (Instrumental Version)
The Original Wrapper (Extended Version)
The Original Wrapper (Dub Version)
The Original Wrapper (Remix Single Version)
Video Violence (Remix)
Satellite Of Love ’04 (Dab Hands Retouch)
Satellite Of Love ’04 (Dab Hands Radio Edit)
Satellite Of Love ’04 (Groovefinder Remix)
This is literally all the rare Lou Reed I have (that was recorded under his actual name…keep reading and you’ll see what I mean). These are all taken from various 12″ singles and I’ve posted them all before. However, I re-recorded everything save for the “Satellite of Love” remixes, so even if you downloaded them from me before, be sure to grab them again – these versions sound so much better than my original rips.

If you’ve never had the joy of hearing Lou Reed “rap” then you’ll be in for a treat with some of these tracks.

New Order
Sister Ray (Live)
From the disgustingly-titled-but-vaguely-interesting compilation Like A Girl, I Want You To Keep Coming, which includes rarities by David Byrne, Debbie Harry and Henry Rollins as well. As far as I know, this live VU cover has never been released on any other album.

Billy Idol
Heroin (Nosebleed Mix)
Heroin (Ionizer mix)
Heroin (A Drug Called Horse Mix)
Heroin (Overlords Mix).mp3″>Heroin (Overlords Mix)
Heroin (VR Mix)
Heroin (Needle Park Mix)
Billy Idol covered “Heroin” for his 1993 alubm Cyberpunk, an album that literally everyone on Earth hates except for me and Billy Idol. I re-recorded these tracks too, so if you downloaded them from my site once before and want better copies, download these too.

The Beachnuts – Cycle Annie
The J Brothers- Don’t Turn My World Upside Down
The Liberty Men -Wonderful World of Love
The Hi-Lites -Soul City
I wrote about these tracks before , they’re all from a mid-60s budget compilation album called Out Of Sight. This is how Lou Reed paid the bills before forming VU. He only performs on “Cylce Annie,” but he wrote all of these tunes.

David Bowie & Lou Reed
Queen Bitch
I’m Waiting For The Man
Dirty Boulevard
White Light/White Heat
All taken from Bowie’s 50th birthday bash in 1997. A great show you can find on YouTube I think.

David Bowie
White Light/White Heat (Rehearsal with Stevie Ray Vaughn)
White Light/White Heat (Studio Outtake)
I’m Waiting For The Man (Radio Appearance)
I’m Waiting For The Man (Live) (Another Radio Appearance)
I’m Waiting For The Man (Studio Recording)
I’m Waiting For The Man (Live Bootleg)
I’m Waiting For The Man (Live In Budapest)
These are all taken from various bootlegs, radio rips and other odds and sods I’ve accumulated over the years. In case you’re wondering how the Stevie Ray Vaughn thing happened, Stevie played guitar on Bowie’s Let’s Dance album. He was supposed to joing Bowie on the Serious Moonlight tour, but that didn’t work out. That recording is from the rehearsals for that tour.

I think we can say without question that David Bowie really liked “I’m Waiting For The Man,” I assume he could identify with that song on multiple levels.

Here She Comes Now (Electric Punk Version)
Here She Comes Now (Radio Appearance)
One version of Nirvana’s cover of this VU song has seen official release, the “Smart Studios” version was included on both the With The Lights Out compilation and the Super Deluxe edition of Nevermind. However, Nirvana performed and recorded this song a lot over the years. The “Electric Punk” version is, like the title suggests, more of a punk rock arrangement of the tune, while the radio appearance versions is more in tune with the Smart Studios version – all are great. You can really hear the emotion in Kurt’s voice in all these versions. This cover is how I got into VU in the first place.


Thursday, October 17th, 2013

The Tigers won. America won’t default. I’m functioning on very little sleep. This post is silly. I apologize.

Rhythm Of Love (Dance To The Rhythm Mix)
Rhythm Of Love (Move To The Rhythm Mix)
Rhythm Of Love (The Rhythm Of Dub)
City Of Love (Live Edit)
Fuck yeah, Yes remixes! Is synthpop Yes the best Yes? Probably not. But it is the “best” Yes.

I have a strange fascination with Yes that I still can’t really explain. I don’t know why. I only own a handful of Yes records, and I don’t even think I’ve listened to all of them. I actually know very little about the band, a fact that I’ve been wanting to remedy in recent months. Actually, I’ve toyed with the idea of buying all of Yes’ records and reviewing them all, in chronological order, simply as a writing exercise and as a personal quest to find out for myself what the hell they’re all about. I might still do it someday. Prog rock is hella big in Japan after all. This despite the fact that drugs of any kind are nearly impossible to find there. The wonders never cease.

Anyways, these remixes really aren’t prog rock. As I said before, this is synthpop Yes. Like all synthpop Yes, this song was co-written and produced by Trevor Horn, so sometimes I like to close my eyes and imagine Frankie Goes To Hollywood covering it.

Can you imagine a Frankie Goes To Hollywood/Yes collaboration!?! Oh man, why didn’t that happen? That’s the greatest tragedy of the 1980s.

Tangerine Dream
Streethawk (Radio Remix)
There was a TV show in 1985 called Street Hawk. It was about an ex-cop who fought crime with the help of a super-powered motorcycle. The theme song was by Tangerine Dream.

So…yeah. So…okay…so…I don’t even know where to begin with that entire statement. I need to let that sink in. Y’know what? Let me watch the opening credits to the Street Hawk TV show, maybe that will help me figure out how to put my thoughts to words.



Yeah, okay. I can’t comment on that. It speaks for itself. I got noting – maybe if I watch that opening again.


Wow. Okay, seriously, all of you need to read the Street Hawk wiki, because someone put a lot of effort into making sure everyone knows that Street Hawk is currently available on DVD (ORDERING NOW) and that at one point there were Street Hawk toys and even freakin’ Street Hawk novelizations.  And then check this incredible Street Hawk fansite. Because if you don’t, who will? Aside from the apparently millions of dedicated Street Hawk fans out there.

Wait a second, this site even has Street Hawk fan-fiction.

I have to go. I have reading to do.

Fuck your Breaking Bad nonsense, Street Hawk for life.


Mo’ Sakamoto

Monday, July 22nd, 2013

I reviewed the 12″ single to “Get Lucky.” Because if I don’t who will?

Another post dedicated entirely to Ryuichi Sakamoto. I should just turn this site into a Yellow Magic Orchestra fanpage.

Ryuichi Sakamoto
Forbidden Colours
The Last Emperor
Little Buddha
Wuthering Heights
El Mar Mediterrani
All of these tracks are live, taken from the album Cinemage.

The first four are excepts from musical scores and soundtracks that Sakamoto worked on. “Forbidden Colours” being the theme to Merry Christmas Mr. Lawrence, while the others are all self-titled from the films they appeared in. This version of “Forbidden Colours” does feature Sylvian’s vocals, but I suspect they were dubbed in later and not performed live with the rest of the music.

“Replica” is the only track on the album that is not taken from some sort of project, it is lifted from the Japanese version of Sakamoto’s solo album Illustrated Musical Encyclopedia. Next to “Forbidden Colours,” it’s probably my favorite track on Cinemage, thanks to its regimented, minimalist feel that echos Phillip Glass.

Finally, there’s “El Mar Mediterrani,” which was composed for the 1992 summer Olympic games. It’s 17 minutes long and crazy. That Olympic theme that John Williams did doesn’t have shit on this.

Bonus Sakamoto!
Jungle LIVE Mix Of Untitled 01 – 2nd Movement – Anger
I put up a ton of remixes from Sakamoto’s album Dischord a few weeks ago and since then a reader sent me along this mix, which he snagged off a promo CD. I love it, it’s just barely removed from pure noise at parts. As a narcoleptic who has built up a near-immunity to caffeine, I really find that comes in handy at times.

Mixtape Madness

Monday, April 29th, 2013

Check it, Drum and bass on cassette was a thing. Who knew?


Ed Rush – Live In ’98
Side 1
Side 2
This tape suffers a bit from wear and tear, and from the sounds of things the original source recording wasn’t the greatest either. The opening dips out a bit, and the MC’s vocals can get muddled up at times. Thankfully the audio quality gets better as it goes on. I know there are a few Ed Rush sets from this era that have made it onto music-sharing sites like Soundcloud and such, but I don’t think this one has. At least, I couldn’t find it. If someone does have a better recording of this set please let me know. I’d love a high-quality copy.

Nicky Blackmarket & Ed Rush – Live At The Edge
Side 1
Side 2
Nicky Blackmarket is another early drum and bass DJ, going all the way back to the 1980s. I assume his set is on side one, and it’s pretty good. It starts and stops suddenly a few times early on, probably because of technical difficulties. The second side is the Ed Rush set, and it sounds much more like the Ed Rush I know and love than the stuff on the first tape. It’s still high-energy and intense, but it also has that menacing neurofunk vibe that I fell in with when I first heard Wormhole and had my mind properly blown.

The quality of this tape is a little bit better than the first, but remember that a high-quality tape is still going to sound worse than a low-quality CD. So go in with a bit of lowered expectations. And once more, if anyone out there has better quality rips of either of these sets let me know and I’ll replace the links with those.

Boom Boom Room

Tuesday, March 26th, 2013

I’ve pretty much been listening to Boom Boom Satellites every single day since I got back from Japan in January. Before then I only had their 1999 debut album Out Loud (their only CD to get a proper release in the states), so I guess I’ve been going on a binge of their entire back catalog to make up for lost time.

Since I’ve been diving into their back catalog I’ve been trying to figure out exactly why they’ve failed to gain any kind of foothold in the states. And after listening to all of their albums multiple times over, I think I’ve managed to pin down their lack of success in the West to one thing: jazz.

Allow me to elaborate.

Boom Boom Satellites’ first album, Out Loud, was released in the states not soon after it came out in Japan. It was even given a fairly big push by their American distributor Epic. They went on tour with Moby, and were even commissioned for some pretty big remix jobs. I think a lot of people had the band pegged to break through because that album was the perfect crossover record; very much like an “electronica” album of the era, but with a very heavy, very guitar-focused rock sound as well.

But if the band gained any momentum off of Out Loud, they probably squandered it completely with their next two albums. Their second album, 2001’s Umbra, is the poster child for the stereotypical “difficult sophomore album.” While a fine record, it’s all over the place, with the band taking detours into hip-hop, drum and bass, and even some trip-hop. It’s not the kind of album that one can just pick up and listen to.

And things got even less accessible with their third record, Photon, as it found the band diving head first into the oh so dangerous waters of acid jazz with crazy, free-flowing horns and rambling drums taking  hold on about half of the album’s tracks. It’s interesting, to be sure, but jazz fusion electronica isn’t exactly a crossover genre that the masses are eager to eat up. It’s a shame too, because while the album as a whole is pretty out there, two of the band’s most intense and powerful tracks, “Dress Like An Angel” and “Light My Fire” are buried alongside the freeform jazz freakouts.

Since then, the band has all but completely discarded their jazzier and more experimental side, opting instead for a more electronic-rock sound that could best be described a s heavier, more frantic version of Garbage. Their follow-up to Umbra, 2006’s On, opens with “Kick It Out,” an obvious ready-made single designed exclusively to be a radio megahit if there ever was on. It was a massive smash for the band in Japan, but by then I think the jazz had done its damage. American record labels probably stopped calling, and anyone who had heard of the group during their brief run for success in the states had probably forgotten about them. Even I forgot about them for a long time, and I saw them live once!

And it’s a damn shame, because while they’re not as experimental or complex as they used to be, ever since 2006’s On they’ve been doing nothing but cranking out one solid electronic-influenced rock banger after another. Exposed (2007), To The Loveless (2010) and their recent release Embrace are all amazing works that combine electronic dance music and hard-rocking guitars better than anyone else on the planet. They’ve simply taken their unique sound to a whole new level. Sure, it’s lacking some of the spontaneity and experimental nature of their early work, but it’s infinitely more accessible, and damn it, there’s nothing wrong with creating music for the masses.

Only three proper Boom Boom Satellites are available digitally in the states: Out Loud, Embrace and Exposed. I recommend starting with Embrace, but Over and Over, a 2010 greatest hits compilation made specifically for American audiences, is also available, and that’s probably a good start for those looking to find out more about the band.

Even though the majority of their stuff is out of print in America, I don’t want to just post all of it. I do feel like it’s just a matter of time before they do make it here, at least digitally if nothing else.  But I did want to share something special, something that both die-hard Boom Boom Satellites fans and newcomers to the group would appreciate, and I think I found it.

Boom Boom Satellites (Live At Shibuya O-East)
All In A Day
Back On My Feet
Kick It Out
Light My Fire
Dress Like An Angel
When Boom Boom Satellites excellent 2010 album To The Loveless was first released, it came in a special edition that included a live DVD. Above is an audio rip of that concert. I chose to share this for two reasons. One, it’s an excellent mini-setlist that shows off both the electronic and rock sides of the group perfectly. Two, it also shows how damn awesome their live show is. As great as the studio versions of “Kick It Out” and “Dress Like An Angel” are, they cannot hold a candle to these live cuts, especially with “Kick It Out.” Holy shit. It’s crazy. If I ever get to hear that song live in person I think my heart will explode. Fucking incredible.

Hot Ash

Thursday, March 7th, 2013

I just bought tickets for seven different shows between March 20th and June 16th. I should really start buying earplugs by the gross.

Girl From Mars (Live in Tokyo)
Girl From Mars (Live from the Numbskull EP)
Girl From Mars (Live from the Twilight Of The Innocents Bonus Disc)
I really need to update my sources of music news. Not only was I not aware that Ash recently released an amazing 3LP edition of their excellent A-Z Singles series (it comes complete with a digital download that includes a shitton of extra tracks, you should buy it). But I also was not aware that they were touring the states! Even worse, I had no idea that they were coming to my own backyard of Pittsburgh, PA! Shit! Thankfully I found out in time and now I have tickets, but damn, how the hell did this one nearly sneak past me. I must be slipping in my old age.

I fucking love Ash. They’re my favorite band of the britpop era (yes, I know they’re from Northern Ireland, but you know what I mean). 1977 is a great record. Amazing. A must own in my opinion, and everything they’ve done since has been great too. I actually think that their best work has been their most recent, the aforementioned A-Z Series. You should seriously buy that. For real. Go buy it. It’s great.

In the meantime, here are three versions of “Girl From Mars,” taken from different hard-to-find singles, bonus discs and DVDs.

Quick sidenote about Ash. While I do love them, as a person with an s/sh speech impediment, I find their name endlessly frustrating.

Come Together
Broken Heart
Broken Heart (Instrumental)

Ahem, these versions are from The Abbey Road EP, and are different than the versions that appeared on Ladies And Gentlemen We Are Floating In Space.


I’m in a good mood. Celebrate by buying some of my records (and downloading some Belinda Carlisle).

Thursday, November 1st, 2012

No profanity-laced political tirade tonight. No rants about how people are horrible (spoiler: they sill kind of are). No depressing exclamations of pessimistic, misanthropic views about the American voting population. None of that bullshit. Why?

Because I’m actually kind of in a good mood for once and I’d rather keep it that way. Also, I just updated my “For Sale” page! So if you really want me to keep this upbeat, positive vibe, then go to that post and make me an offer on some stuff you want. I added some cool Duran Duran, Laibach, Exotic Birds and more! I should also be updating it this weekend, so check back often!

Now music.

Belinda Carlisle
Visions Of You (Remix ’91)
I Feel Free (Live)
Heaven Is A Place On Earth (Live)
When I was in NYC a few weeks ago I did the proper hipster thing and went to a drunken party in a dive bar with a bunch of art students. While there, I got met a man who was rocking a GoGo’s t-shirt (and an amaaazing mustache). I immediately knew this was a person I had to talk to, and we spent about five minutes discussing exactly how awesome The GoGo’s were (we settled on “really fucking awesome.”)

At the end of the conversation though, the mustached man said that while he loves her, Belinda Carlisle has to be one of the worst names in the history of pop music.

“Belinda!” he said, “it just sounds gross!”

This man’s name?


Glass houses people.

These three tunes are from a clear 12″ single that came in a ziplock bag. Yeah. It was weird looking.

That’s Good (Extended Version)
Speed Racer (Extended Version)
Speaking of weird singles, I got these hard-to-find remixes from a 12″ promo-only single that was given out to radio stations. I have no idea why these mixes were never put out on any other single or have yet to be re-released in any way (at least, as far as I know), they’re pretty great. “That’s Good” is one of Devo’s best, and definitely one of those songs that can never be long enough. Yay Devo.


Beep! Magazine video-game flexi-discs!

Tuesday, September 4th, 2012

In recent years I have developed quite a fascination with video game soundtracks that have been released on vinyl. Unfortunately, these are pretty rare in the states, with only a few marquee titles like Halo and some cult hits like Sword & Sworcery getting the vinyl treatment.

However, in Japan things are different. There, video game music gets the respect it deserves. Back in the 80s, nearly every game that was worth a damn had a soundtrack release, either in its original form or as an arranged (remixed/reproduced) version. Either they were given an album of their own, or highlights were included on compilation LPs that featured a selection of video game music from a particular game company such as Namco or Sega.

Some were even given away for free in flexi-disc form as bonuses to readers of Japanese video game magazines like Beep!, a popular magazine from the 80s that stuck around in some form or another until this year.

I know this because I have a very awesome friend named Anna Hegedus. And she got me two of these amazing discs for my birthday! So let’s take a look at them, shall we?


Wai Wai GAME MUSIC (March 1988)
Music From Ninja Warriors
Are you Lady? (Kunoichi’s Theme)
Name Entry

Namco x-Mas Charity Concert Live
Toy Pop
Member Introduction 

According to VGMdb, this flexi was a supplement for the March, 1988 issue of the magazine. Side A is a collection of original music from the Taito arcade game Ninja Warriors, a uniqe beat-em-up that used three monitors to create a widescreen-style experience. (You can find out more about the game at this site). I never played any incarnation of this game from what I can remember, but this music is great, an excellent example of the kind of diverse and shockingly complex tunes that games of the time were able to produce.

On side B we find three more tracks, but instead of music taken directly from a game, they are live reproductions that were performed at a special Namco charity Christmas concert! I don’t know anything about this concert, or what charity it was supporting, so if anyone out there who does know anything about it is reading this, please let me know!

As far as the songs themselves go, the first is the theme music to Berabo-man, an arcade shooter that never made its way out to the states. Judging from the sound of this recording, it sounds like the live version still used a fair bit of synthesizers and drum machines, but I think I hear some live strings and other instruments in there as well. The second track is for another Japanese exclusive title, Toy Pop, and it’s a purely piano arrangement of that game’s theme music. It’s cute. The final track features the MC announcing the concert’s performers (each of whom perform their own quick little solos).  All very interesting stuff and something I bet most gaming fans have never heard before!

Chase H.Q. – Stand By (Arrange)/Los Angeles (Arrange)
Syvalion – Round Start Arrange)/Main Theme (Arrange)
Assault – BGM 1 (Arrange)
Marchen Maze – Round 1 (Arrange) 
Next up we have this flexi disc, which was originally included with the November 1988 issue. Unlike the Ninja Warrior tunes from the previous disc, these songs are arranged (remixed/re-recorded) versions that sound substantially more complex and intricate than the original game versions.

The disc really starts things off with a showstopper, both in terms of music quality and in game reputation, with an amazing arrangement of music from the car pursuit classic Chase HQ. I don’t know if the bassline in this version is real or the work of a synthesizer, but if it is legit, then Squarepusher and Les Claypool could learn something from whomever is responsible for it, as it’s freaking unbelievable.

Paling in comparison but still worthwhile is the theme to the Japanese-only Syvalion, which has a great sci-fi feel that fits its space shooter genre very well. After that there’s an arranged version of the background music (BGM) for the generically titled Namco game Assault, another title that never saw a US release from what I can gather. It’s probably the second-best track on the disc, thanks in large part to its awesome synth guitar solo. MIDI shredding is the best shredding.

Finally there’s the stage one music for Marchen Maze, an isometric platformer based on Alice In Wonderland. As you may have guessed considering its source material, the music is rather jaunty.

All in all this is excellent stuff, and a peek into the era. If you like it, remember you have Anna to thank for it, and if you want to make her happy, follow her on Twitter and visit her website, where she often posts crazy technical videos that are so awesome they make my brain hurt.

And I’ll be back later this week with another Japanese-themed post! Until then, enjoy this 8/16-bit goodness!