Crash Bandicoot N. Sane Trilogy, part three

The final part of this look at the music in the Crash Bandicoot N. Sane Trilogy (assuming they don't release Crash Team Racing as DLC, although I have a feeling they might) will be about Crash Bandicoot Warped, the third game in the Naughty Dog series. Apologies for the delay.

Whilst Crash Bandicoot 2: Cortex Strikes Back will be the favourite for most fans, there's a special place in my heart for Crash Bandicoot Warped due to it being the first game I was excited about before the game's release. It was my first taste of waiting for a sequel/new game to come out; playing demos, reading about news in game magazines and actually feeling excitement at the thought of going to school the next day if only to share opinions in the playground on certain snippets from trailers (this still brings me pleasure 20 or so years later). The game is a worthy sequel to Crash 2 and the original soundtrack is equal (if not greater in quality) to the second game too.
However, even though the level design in the N. Sane Trilogy is great, the soundtrack is probably the weakest of all three but that's not to say it's a bad soundtrack so let's look at the positives first. Classic tunes that you hear more often than others have been recreated faithfully whilst sounding a lot clearer due to the use of modern instruments, e.g. the Time Twister hub music and Toad Village. These are some of the first tracks you hear and, similar to the previous two games, the earlier tracks are the closest to the originals, presumably because Vicarious Visions wanted to make it easier for fans to be thrown back into the series they grew up with.
There are also some great improvements to tracks that had plain or easily forgettable music, such as the music from Under Pressure and Bone Yard (as well as bonus/gem routes). Added percussion and better audio quality brings the tracks to life and even if they aren't your favourite tunes, they're enjoyable to listen to as you play the levels. Finally, there are a few tunes that have been improved, usually with subtle tweaks as opposed to big changes. The Oriental Express music sounds more fitting for the level whilst still retaining the sound effects used to make the original so catchy and the N. Tropy boss theme tightens up the use of synth, glockenspiel and other mechanical sound effects to create a more dynamic tune to fight to.

These are the strongest aspects and the negative ones will likely fall into the category of "personal opinion" so let's look at a couple of areas that could be argued for both sides. A handful of tunes have been tarted up a bit so they sound less cartoonish and more realistic (Hang 'Em High and Tiny's boss theme), which might be great if you're new to the series and want a more polished soundtrack but for fans of the original, the music might sound a little out of place when combined with the visuals and memories from childhood. Fortunately, the rerecordings for these tracks are still great, although sadly the Tiny theme borrows the synth from Crash 2's battle so it still sounds off.
Death/secret routes for certain levels (Tomb Time, Hang 'Em High) also sound less exciting due the use of synth in the wrong places, although new listeners will probably enjoy those tracks. However, there are some tracks that sound undeniably tacky and low quality compared to the originals. Dingodile's boss theme may have the classic organ riff but some of the clavinet sections sound like they were recreated on a MIDI mixer. I wish I could say Dingodile was the only boss to have a theme ruined by clavinet instead of heavy guitars but sadly N Gin's battle music contains an overdose of synth and poor choices with the dynamics in the mix.
BUT both of these tracks are incredible compared to the worst track across all three games: Rings Of Power. This fun little tune from the original is one of the most catchy and it sounds terrible in the N. Sane Trilogy due to the terrible choice of instruments. Way too much synth, not enough of the organ/guitar combo. A shame as the level's only as good as the music in this case. As I said earlier, the soundtrack isn't bad but when you take into account that Warped is the only game with bad recreations of classic tracks compared to previous games only having weaker versions, that makes it the least impressive in my books.

If I had to rate both soundtracks (and I don't but I like to anyway), I'd give the original Warped music a 7/10 and the N. Sane Trilogy a 6/10. It could've been a lot better if they didn't fuck about with synth again and got the dynamics right for each track but as it stands, it's still good. Anyway, that's all for Crash Bandicoot posts on this blog for a bit. I might try and focus on more conventional Rock/Metal for the next few weeks just to restore balance after this video game heavy month (aside from the occasional Guitar Hero/Rock Band post that deals with real songs) but if you have any recommendations of albums to listen to or things to write about, let me know.

Crash Bandicoot N. Sane Trilogy, part two

Last week, I wrote about the music in Crash Bandicoot and the remaster in the N. Sane Trilogy with the promise of writing about the music in Crash Bandicoot 2: Cortex Strikes Back, Crash Bandicoot: Warped and both remasters so if you're reading this, I hope you like the music in Crash 2...or at least like the idea of reading about it!

Crash Bandicoot 2: Cortex Strikes Back is one of the main reasons I'm into video game music. It was one of the first games I played as a child (although not THE first) and its soundtrack made playing the game all the more enjoyable. It was catchy, engaging and appropriate for each level with some excellent mixes for a game released in the 20th century, even if there are some tunes now and then that sound a little dated compared to modern orchestral soundtracks. The point I'm moving towards is that with a soundtrack as amazing as this, recreating it in a way that both captures the essence of the original whilst attempting to make technical improvements without pissing on people's nostalgia was a pretty hard task to undertake. Vicarious Visions did a damn good job but ultimately made a few significant errors.
For starters, there's what I call the Wumpa Bass. One of the main reasons the soundtrack sticks with you is the use of bass/bass effects on guitar; it's thick and awesome throughout the majority of the tracks, giving the game an iconic sound that the first Crash was unable to master; a sound that heavily inspired the tunes in the GameBoy Advance Crash titles (also developed by Vicarious Visions). Music from Hang Eight, Road To Ruin, Diggin' It, the N. Gin and N. Cortex boss battles and a bunch of other levels are built around heavy basslines (or at least have notable bass sections) and even if the main melodies from those levels are the tunes that you whistle when you think about the music, the bass is what makes it that little bit better.
Whilst bass is still used in the N. Sane Trilogy rerecords, it just isn't as thick or memorable. Don't get me wrong, the level music is still great and the melodies sound as good but this is very much a decision to appease new players rather than returning ones. If you listen to the bass in the tracks I mentioned earlier, there are subtle differences between each tone that removes part of the original charm. Some tracks outright replace the bass tone on the guitar with a crunchy overdrive one, making it sound more aggressive and less cartoonish.

Another issue is the overuse of synth where inappropriate. Some levels have excellent synth usage, such as Piston It Away and its death route but other tracks go overboard or simply replace much better instruments with tacky sounding synth. I've said before on the blog that the music for the Tiny boss battle is what got me into boss battles and game music and there's a specific part of the theme that gives me shivers when I listen to it. Unfortunately, even if the intro is still great, several key moments in this track just sound naff and less imposing when they sound like they were played through computer software.
Bear It is another good example where the original hit every note perfectly. It had the jolly, bouncing rhythm and uses instruments from previous snow levels to fit in with the arctic theme, not to mention good use of synth that sounds like the bear's barks. The rerecord is heavily reliant on a variety of synths ranging from a theramin-like noise to replace the polar synth to comical squawking noises now and then. One positive is the use of dynamics in the mix of this track but it's tragically for nothing when the whole tune sounds weak, and that's not even taking the worse gameplay on the bear levels into account.
Considering how developers said they wanted to give the game the same Looney Tunes feel that Naughty Dog went for when creating the games, the overabundant use of synth seems like an odd choice but fortunately, those two flaws are the only biggies and the positives are aplenty. As with the first Crash Bandicoot, the better sound and instrument quality improves music that hasn't been majorly messed with such as Rock It, the Ripper Roo boss music and the Diggin' It death route. However, as was the case with the first Crash Bandicoot, fans of the originals will almost certainly prefer them.

There are also subtle points such as the continued use of Australian sounds/instruments. It's easy to forget that the Crash franchise is based in the Australian region so you'd expect more didgeridoos and clean guitar (similar to the Ty The Tasmanian Tiger music) but thankfully, you're not bombarded with those sounds. Instead, they just crop up here and there, notably in the Turtle Woods music, so clearly Vicarious Visions did some research. Then there are tracks that have major changes but sound a lot better.
Obviously this comes down to personal taste but there are some tunes that work brilliantly with new instruments such as the Komodo Brothers boss music, the N. Cortex boss music and (my personal favourite) the Snow Go secret route. It's a shame some of my favourite tunes from the original Crash 2 didn't get the same improvements but at least there are some levels with improved music and, as I did say at the start, Vicarious Visions deserves some credit for not completely fucking up the soundtrack.
Overall, the Crash Bandicoot 2: Cortex Strikes Back soundtrack gives me a lot of pleasure for (mostly) nostalgic reasons but I'm glad Vicarious Visions gave me a good reason to get into it again with a collection of mostly hits in a hit and miss attempt at reinventing one of my personal favourite game soundtracks. I rate the original soundtrack 8/10 and the N. Sane Trilogy version 7/10. If they didn't fuck about with too much synth, it may just have surpassed the original.

Crash Bandicoot N. Sane Trilogy, part one

The day's finally here. The Crash Bandicoot N. Sane Trilogy has been released on PS4 and all three PS1 Crash Bandicoot games have been gloriously remastered/remade in 4K. As a result, the game's soundtrack has also been given a polish so all the original tunes we grew up and fell in love with sound brand spanking new.
Since I'm a HUUUUUUUGE Crash Bandicoot and moderate video game music fan, this is a pretty big deal for me. Consequently, I'm dedicating three blog posts to looking at the retooled soundtracks for the Crash Bandicoot N. Sane Trilogy, starting with the rerecorded soundtrack for Crash Bandicoot. Since I'll be looking at each game's soundtrack in depth, I'm counting each of these as reviews and both the remakes and the originals will be getting scores, although I'll probably be discussing the N. Sane Trilogy music more.

Crash Bandicoot was a great little platformer with some catchy tunes but overall, it was a bit patchy. The gameplay was challenging through poor mechanics and the music was forgettable due to the simplicity of it. However, there were a couple of tunes that stood out and one of those was the game's main theme; N. Sanity Beach. The catchy xylophone rhythm, the tribal percussion that kicks into a full drumbeat, the "BWAAAAAAAAAAAARRRRR" that's become a staple of the franchise, it's all perfect and the N. Sane Trilogy does a fantastic job of recreating it.
They knew not to fuck around with the game's iconic theme and I respect that. However, it's a shame they weren't so cautious with the game's other main theme; the theme from the Great Hall. The original theme has comic elegance aided by a perfect mix. Whilst the rerecord is good, it just sounds  a little too farcical and I blame the overuse of brass for that. In fact, a few level soundtracks in this game use a bit too much brass (Hog Wild/Whole Hog, Temple Ruins/Jaws Of Darkness, Pinstripe Potoroo), giving it more of a Jazz feel and perhaps making some of the creepier levels a little less imposing.
However, if you're a fan of added percussion, you've got some treats lined up. Levels with subdued music still play just as well but now with improved music in the background. Slippery Climb is a well known level in the franchise for being so fucking difficult but now it's got another highlight; a funky song in the background. Sure, it might not make the level seem as scary when it sounds like you're listening to a mash-up between a Horror cartoon and a Salsa party but if you're going to listen to a tune over and over again due to dying on a challenging level, I'd rather listen to something enjoyable.

There's still a great variety of music across the game too, aided by the improved musical quality. Whilst there was always a clear difference between music in the jungle and music in the castle, the PS4 remakes amplify them. Take N. Brio's Theme or The Lab; the use of modern Rick & Morty-esque synth and enhanced stringed instruments really brings them to life whereas I recall the originals always being present but never really exciting. However, there are some examples where the enhanced music is a downside.
Part of the charm in the original Crash Bandicoot is the wacky, cartoon-like elements of the music but with a fresh soundtrack, these have been partially removed. The music in the Tawna Bonus Rounds used to have a fun melody but the N. Sane Trilogy version has replaced it with electric guitar, making it sound cleaner but also less memorable. The game could've benefited from keeping a few of the original instruments the same but I suppose it's a roll of the dice in terms of which ones work with most fans and which ones don't.
On the plus side, some of the music sounds spot on if you're after faithful recreations. The music in the Upstream/Up The Creek levels is damn near identical to the original and each of the boss themes (with the exception of Pinstripe) has been rerecorded perfectly, especially the Ripper Roo and Koala Kong themes. It's also interesting to hear the Papu Papu theme in full, since I usually only heard the first 20 seconds of it on account of him being such an easy boss.

Overall, the original music for Crash Bandicoot is appropriate (and much better than the Urban Chaos idea suggested in the planning stages for the game) but the N. Sane Trilogy really kicks it up a couple of gears. Themes from the original game that you heard but never really listened to due to their simplicity are now a bit more fleshed out and whilst the originals will probably always reign superior if there was a specific tune you loved, the dull tracks will be far more enjoyable to your ears now...which is what I predicted/hoped for months ago, so that's great!
In terms of ratings, I rate the original soundtrack 5/10 and the N. Sane Trilogy soundtrack 6/10. I haven't played the other two Crash remasters yet but if this is anything to go by, I've got a lot to look forward to. Then again, if the Halestorm cover EPs were anything to go by, it's that the first entry in the musical trilogy is usually the best. Ah well, guess I'll have to just play the games to find out!

Taster Session #7

VIDEO GAME EDITION!
That's right, this time I'll be looking at five pieces of music from upcoming video games and discussing initial impressions along with whether I'm looking forward to the soundtrack (and, by extension, the game too). These games might be new releases or they might by HD remakes but the one unifying trend is that they all have brand new music recorded for the game. One thing to keep in mind here is that the quality of the music here will vary. Normally I can link you to a high quality music video on Youtube but this time, most of the tunes will be trailer rips or Soundcloud pages until the games come out themselves and someone can get proper OST versions.
Right then, time to tuck in!

"Trailer Theme" - Manaka Kataoka         (listen here)
From the game Legend Of Zelda: Breath Of The Wild (03/03/17)

I'll admit that I wasn't impressed with the footage from this game shown off at E3 but after that story trailer was released, I was completely sold. I've already ordered a Switch and this game primarily based on this trailer alone (and my love of console Zelda games) but it's fair to say that the music is what makes the most impact. It starts off with what sounds like the score to an open world RPG game (anyone else hear a bit of Geralt Of Rivia from The Witcher 3 once the percussion comes in?) but slowly becomes much more dynamic and...fuck it, I'll say it; epic. When paired with the footage, the trailer could well be one of the best a video game has had to offer but thankfully it's still amazing on its own.
Zelda music has always (and I mean ALWAYS) been excellent so I can't see how this game will fail to meet expectations when everything else seems to be up to scratch. I am hyped to hear each piece of music even though it's not Koji Kondo at the helm (although I think he's still supervising) and eagerly await to get stuck into what could well be the best Zelda game yet, even if it's not your typical Zelda game.


"Tribalstack Tropics" - Grant Kirkhope         (listen here)
From the game Yooka-Laylee (11/04/17)

After something epic, we need to take a breather which means it's time to enjoy the Yooka-Laylee music again! I'm also a huge fan of Banjo Kazooie and other classic Rare platformers so I'm definitely stoked for this game when it drops in April. From what I've heard of Grant Kirkhope's compositions, it definitely sounds like they're going for a similar feel to the old Banjo tunes but this time with a full orchestra (thanks to Kickstarter backers!). This tune was one of the first pieces released and whilst it's probably going to be improved for the final game, it's a good taster for what the game's music will be like.
Whilst it's not as impressive as the Zelda trailer music, it sets the tone perfectly with that upbeat marimba and change in styles, presumably as you enter different areas in the level. I'm looking forward to playing Yooka-Laylee more than anything else about it but the fact that the music fits the game perfectly is a solid sign that the rest of the soundtrack will be strong too. Special shout out to these guys for actually releasing a CD/digital/vinyl soundtrack of the game with its release, proving that some developers/publishers know that players actually do listen to video game music outside of playing the game.


"Lady Layton's Theme" - Tomohito Nishiura         (listen here)
From the game Lady Layton: The Millionaire Ariadone's Conspiracy (??/??/17)

I'm pretty sure they'll shorten that name down when it's released outside of Japan but Lady Layton: The Millionaire Ariadone's Conspiracy is something I'd forgotten about until researching upcoming games this year. I'm a big fan of the Professor Layton series and love listening to music from the game (particularly Miracle Mask, even if I wasn't a fan of the plot). Whilst I wasn't thrilled to see Hershel and Luke absent from this entry into the Layton series, the gameplay (and music) appears to be similar to older games. There's a quaint feel to the theme and once again, subtle references to older Layton titles in the music.
Whilst I need to know more about this game for me to be as excited about it as I am with others on this list, I'll definitely be getting Lady Layton when it hopefully comes out this year and I look forward to hearing new pieces of music to solve puzzles to. Here's hoping the Professor and Luke will at least make an appearance somewhere, although I imagine it will be towards the end so as not to overshadow this new character in her debut adventure.


"Reveal Trailer Theme" - David Garcia         (listen here)
From the game Rime (??/05/17)

This game looks wonderful, let's just say this right now. I can talk about how it looks like Journey, Okami and Wind Waker but the trailer I linked up above speaks for itself so go ahead and check it out if you haven't already. As for the music, it's not as imposing as some of the other tracks on this list. I've a feeling it was picked to accompany the footage and not stand up on its own feet, which is fine. I like the music but it doesn't grab me in the same way the others did. The gameplay, however, does.
I'm excited more for the game than the actual soundtrack but I can imagine a title like this surprising me and giving me at least a couple of tunes I enjoy listening to whilst solving puzzles or just chilling out on my laptop. Hopefully it'll be engaging from start to finish and won't have long periods of tediously milling about on glorified scavenger hunts like Wind Waker.


"N. Sanity Beach" - ??????         (listen here)
From the game Crash Bandicoot: N. Sane Trilogy (30/06/17)

Obviously I've saved one of the best for last! I am so fucking hyped for this, it's unbelievable. I don't think a day has gone by where I haven't thought about how awesome this is going to be since the first trailer was released, partly down to the soundtrack. I think I've said before that Crash Bandicoot 2: Cortex Strikes Back was what got me into video game music and it's fair to say that Crash Bandicoot: Warped also helped strengthen my love of the genre. When I found out the original music from the trilogy would be rerecorded in proper 2017 quality, I knew I had to own this.
So far we've only got a couple of pieces of music to sample but they're pretty damn faithful to the originals whilst sounding even better. The N. Sanity Beach theme sounds just as comical and wacky as the Mutato Muzika version so my expectations are pretty high. Between Breath Of The Wild and the N. Sane Trilogy, the gaming part of my brain is pretty fucking excited and it's heavily down to the soundtrack teases of both games. I just wish I knew who the composer was so I could give them credit but oh well, I'll find out closer to June.


Obviously there are other games coming out this year that will likely have stellar soundtracks (I would've included Final Fantasy VII Remake if they'd released new music for it) but for now, we've got a strong set of tasters right here.
Next week, normal Rock/Metal music shall be returning.