Today, Mondo Grosso:
Well, let’s keep the “songs I discovered because of something nerdy” theme going through the end of the week; this time, the song in question was one I discovered attached to a music video about Final Fantasy XIV, and while the video proper was interesting, I have a fondness for the actual music video as well, albeit for different reasons. The song itself (the title apparently translates to “Labyrinth” for reference) probably isn’t the song I like the most from them, but it’s interesting, between the odd pacing of the snaps in the background track relative to everything else and the fact that the track proper both does and does not feel like it flows the way you’d expect. I also like that the video is intending to be a single take, and while it feels like they utilized some editing tricks to implement quick breaks between shots, and there’s not a lot of obvious choreography, I appreciate the effort, if nothing else.
So, this should not come as a surprise to anyone who’s listened to my podcast, but in case you don’t for some reason, I love rhythm games quite a bit, even if I’m not especially good at them in the strictest sense. As such, I also generally love Hatsune Miku titles; while they’re not my favorite games in the genre, they’re fun and usually mechanically sound, plus they feature the aesthetic parts of Dance Dance Revolution I liked (silly dancing models in the background) without the parts I didn’t (having to spend $100 on a controller that would allow you to play worth a damn).
This isn’t exactly a Miku song, but it’s close; as I understand it, and feel free to correct me if I have this wrong in the comments, the artist in today’s song, REOL, wrote this song, and either wrote it with the intention of licensing it to Sega for use in a Miku game before recording it herself or always intended to use it herself but licensed it out because why not right, and the end result is a song that has appeared in a Miku game, featuring a Miku heavy video, only it’s recorded by the artist who wrote the song.
Either way, I love the hell out of this song because it’s infectious and up-tempo, and REOL knows how to make a song that feels futuristic, basically.
Today, The Midnight:
YouTube continues to be a boon for random music discoveries, as I discovered this band via the saxophone solo being used as the background track for a comedy video about dogs playing musical instruments, and I was absolutely not disappointed. The Midnight has a delightfully 80’s vibe to their sound that I love the hell out of, but they also bring enough modernity to their music that I can feel comfortable recommending it to people who don’t yearn for day-glo pants and gigantic hair 24/7.
Well, after eight episodes, we’re finally at the point where this all comes together into one big culmination of pro wrestling goodness: the finals of the Mae Young Classic are (as I’m writing this) upon us, and this will be my final observation piece on the event as a whole, save for possibly some sort of retrospective depending on who’s ultimately announced as having been signed by WWE in the wake of the finals and their respective fallout. Continue reading
With the Mae Young Classic drawing to a close later today, one thing I wanted to talk about before the final show isn’t the great field of competitors in the tournament, but the competitors not in the tournament. The thing is, while the WWE has been relatively interested in women’s wrestling as a thing to be given significant time on their shows for the past couple of years now, women’s wrestling as a thing to take seriously has been around for a lot longer than that, between the indies and other countries, and it’s worth noting that there are all sorts of stars who have come out of that environment, even if they might not be on WWE’s radar for… one reason or another. So, I wanted to take a moment to acknowledge a few talents who probably could have and, in an ideal world, should have been in the Mae Young Classic, but weren’t for… more than likely a few reasons. Continue reading
This is a band I literally discovered while letting Youtube run through automatic recommendations, and damned if this track isn’t catchy as hell. The video is also really interesting, but I mostly love the song here, as it’s bouncy and infectious in all of the ways I love my music to be.
They also have their first album up on Soundcloud, for those who like the service, and damned if there aren’t a bunch of tracks from this album that I quite enjoy, so if you’re so inclined, I’d recommend giving it a listen.
Today, Christa Lee:
I rarely link to an artist’s sale page, since most of the songs I highlight here are of the sort you can purchase easily on iTunes, but today I want to actively link to the Bandcamp page of Christa Lee, because the only reason I discovered this album existed was because
1.) HBomberGuy used one of the tracks from the album in a recent video, and
2.) I discovered the game Localhost, which Lee provides the soundtrack for,
and let me tell you, this album you guys.
Admittedly, I’m a Sega kid; I grew up with the Sega Master System and Genesis long before I had consistent exposure to the NES and SNES, so it’s very possible that this musical concept project won’t resonate if you weren’t a big fan of Sega soundtracks growing up. Honestly, however, it’s a risk I’m willing to take, because I love this album, starting from the opening moments of the above track, “Welcome to the Fantasy Zone,” which even includes the Space Harrier sample before launching into something that feels like it would’ve been at home in the aforementioned game, but modernized for the current listener. Most of the record is like this, actually, from the Streets of Rage inspired “Boulevards of Fury” to the Outrun inspired “Magical Sound Sailor” and beyond, and I cannot recommend this highly enough, especially if you grew up with a love of 80’s gaming, as I did… or, failing that, you really liked the Space Harrier homage in Bayonetta.
For the prior recap, click right here.
When last we left the tournament, we made it down to the final eight competitors, which means we’re getting down to the last six matches in this tournament, in the quarterfinals and the semi-finals. The finals proper are on Tuesday, which I’ll be happily commenting on as the night progresses over on Twitter if this sort of thing interests you, but for now, let’s look at the last two episodes of the Classic and how we get to what is a… fairly obvious main event for that show.
For the prior episode’s review, click right here.
When last we left the tournament, we’d gone through the first sixteen matches, meaning we’re now into the thick of the tournament proper. The next two episodes are, sadly, still going to be based around the concept of “cram four matches into a single show,” that the prior set were, but we’re about to get into the really good stuff here, in theory, since most of the green workers have been eliminated from the tournament. Well, with a couple of exceptions…
Anyway, let’s get down to business. Continue reading
Welcome back to the second review of the Mae Young Classic, this time looking into Episodes 3 and 4. For those who missed the prior post, here’s a handy link.
When last we left the tournament, we’d gone through the first eight matches, and so far, eight competitors have moved on to the later episodes (specifically episodes 5 and 6, which we’ll get to later). This week focuses on the remaining eight matches to determine the other half of the quaterfinals competitors, and also features the debut of what is expected to be the one of the other can’t miss prospects to emerge from this tournament.
Let’s get down to business. Continue reading