2014-05-02 4:02:14 ¶ ●

By Michael Guy Bowman

The intro’s instantly recognizable as a Bowman cut. It’s quite a bit like Sburban Jungle in vibe, if not exactly a remix.

2014-05-03 4:01:50 ¶ ●

By Tarranon

Of all the tracks on the album, this one has the most raw, perky positivity. I rather like the looping fade-out, too: that really tattoos it as a video game track (this would be the in-town music while you’re taking a break from the fight, I’d imagine).

2014-05-04 4:01:49 ¶ ●

By UWBW

Strife music, set to speed-bass and synth. The Showtime pastiche in the middle lightens the mood for a little bit (maybe it’s the break between rounds).

2014-05-05 4:01:42 ¶ ●

By James Roach

The track that fits its target subject most closely. File this one under the burgeoning ‘elevator’ category of Homestuck music. Bouncy and casual.

2014-05-06 4:01:41 ¶ ●

By Brad “Avinoch” Griffin

My favorite jam on the album. Most of its minute and a half is a duel between skittish synth and driving bass and guitar. The second half is especially kickin’, with a build-up into a monster guitar riff.

2014-05-07 4:01:47 ¶ ●

By sidewalkbanana

Mellow and a little bit jazzy. While you’re setting up the fun bits of your SBURB session (crank that reckoning up to APOCALYPTIC), there’s a nice drum / piano / bass / keyboard synth quartet in the back keeping you company and on task.

2014-05-08 4:01:43 ¶ ●

By Brad “Avinoch” Griffin

A darker turn on Sburban Jungle. The anchor bassline and the hammer-on-anvil effects really help to establish that ‘god of the forge’ vibe.

2014-05-09 4:01:50 ¶ ●

By Charles “Crazy-8” Neudorf and Marcy “Shadolith” Nabors

The first 45 seconds sounds a little bit like the organist warming up the crowd at a hockey game, just before the puck drops. The trumpet melody stacks a little more dimension on top of the SPORTS vibe.

2014-05-10 4:01:48 ¶ ●

By Veritas Unae

It’s a pretty relaxing stroll through Prospit for most of its length, but at 4:30, the rest of the song takes off into a sort of cool, electronic-western gallop.

2014-05-11 4:02:02 ¶ ●

By Brad “Avinoch” Griffin

Savior of the Waking World immediately comes to mind when you think of resurrection to God Tier. This is an interesting alternative take on the concept. A little calmer, a little more drawn out.

2014-05-12 4:02:18 ¶ ●

By Marcy “Shadolith” Nabors

Love the combination of shabby Casio drumkit beat with ultra-realistic clarinet, xylophone, and accordion carrying the simple melody.

2014-05-13 4:01:49 ¶ ●

By Mai “Cat Boss” Yishan

One of my favorites on the album. The deep, deep organ intro makes it feel like it ought to back up the opening credits for a cheesy midnight local TV horror anthology. The choice of instrumentation puts this song right in the Drawing Dead wheelhouse, but the muted trumpet gives it a little more style.

2014-05-14 4:02:18 ¶ ●

By James Roach

A pretty little gem of a piano solo. Take a break. Refresh your drink. It’s quite simple, but sometimes simple’s all that’s needed in a melody like this one.

2014-05-15 4:01:41 ¶ ●

By Max “Imbrog” Wright

Time marches on. This track is pretty tense, but still more climactic than ominous. Even the title reflects this: the world’s on its way out, but it’s only the very beginning for the player.

2014-05-16 4:01:41 ¶ ●

By Brad “Avinoch” Griffin

Funky, in a really artificial, grim, synthetic kind of way. The beat in the second half really sells it.

2014-05-17 4:02:00 ¶ ●

By sidewalkbanana

Heh, that forlorn violin is sure to get the kids pumped up to play the game. More of a dirge than a pick-me-up, but maybe this the intro for the Derse players’ copy of the game. It touches on some a few familiar tunes (Sburban Jungle and Beatdown, amongst others).

2014-05-18 4:01:52 ¶ ●

By Marcy “Shadolith” Nabors

The echoey percussion beat that kicks off the second half of the song (starting around 2:40) really cranks up the eerie ambiance.

2014-05-19 4:02:28 ¶ ●

By Max “Imbrog” Wright

Noble and dignified, through and through. If I had to offer one criticism, it runs a little bit long, but that’s only a slight distraction from the song’s symphonic quality.

2014-05-20 4:02:00 ¶ ●

By Marcy “Shadolith” Nabors and Paige “hrmnzr” Stanley

I can’t help but imagine that the 12-minute playtime is a bit of an in-joke in itself: it takes a long time to build a house hundreds of miles high. There’s a musical segment for each of the seven gates, and my favorite’s the sixth (starts around 8:20), which has a sort of mellow pop quality to it.

2014-05-23 4:02:14 ¶ ●

By Seth “Beatfox” Peelle

Maybe the first exiles landed in the Middle Eastern desert: the intro to this tune may as well herald the rising sun over Damascus. It’s only a bit later that the electronic instrumentation kicks in. The repetitive, swinging synth bass beat works really well against the synthethnic (!) wanderings throughout. It’s a weird, bold mixing of genres that sets the tone for the songs to follow, and it’s my top track for the album.

2014-05-24 4:02:06 ¶ ●

By Alexander Rosetti

A happy peasant’s dance. The improvised makeshift bridge that starts around 2:00’s my favorite part.

2014-05-25 4:02:04 ¶ ●

By Toby “Radiation” Fox

Not as catastrophic as its title might make it sound. The first section’s a bit of a march led by high strings, followed by a more relaxing ‘it’s okay being poor’ guitar piece.

2014-05-26 4:01:38 ¶ ●

Image source: Lexxy.

Tomahawk Head (composed by Toby “Radiation” Fox, and performed and produced by Joren “Tensei” de Bruin) is one of two bonus tracks on the album. Yeah, I can definitely see the Aimless Renegade cranking this on Grandpa’s Walkman before taking justice into his own hands. I AM THE LAW!

It’s a bit of ultra-Western rock, the sort of eclectic tune that might find its way into an especially self-aware gunslinger film. One where all of the eagles are crying.

2014-05-27 4:01:51 ¶ ●

By Michael Guy Bowman

That guitar part could have been played while lazily swinging in a hammock. Love the pacing and meter. Even when things get a little neo-Western with echoey machine-guns rattling off in the far background, a feeling of carefree apathy still dominates.

2014-05-28 4:01:55 ¶ ●

By Michael Guy Bowman. “Ruins” by Erik “Jit” Scheele.

The intro’s ambient and subdued, but really interesting and varied. It leads into the main hook, which is just a monster, minimalist version of of Ruins. Deep bass and thumping electric guitar.

2014-05-29 4:02:44 ¶ ●

By Jeremy “Solatrus” Iamurri and Nick Smalley

A bit of Eastern European, Tetris-esque chiptune to start with. It’s another exotic mix of sounds, with a bit of the subcontinent coming through in the second half of the song. And man, that’s one boomin’ bassoon.

2014-05-30 4:02:41 ¶ ●

By Alexander Rosetti

Eerie and unsettling. There’s nothing wrong with ‘unsettling’ in a song, but this one never really takes off into much of a melody. On the bright side, this would be an especially effective accompaniment for the comic starting with this page.

2014-05-31 4:01:45 ¶ ●

By Malcolm Brown

Pretty awesomely weird. Haunting, ethereal howls and chopped-up voices sort of muddle the first part (though, like What a Daring Dream, it’s clearly targeted towards a specific point in the comic). The last minute or so is more focused and ominous, and the coda gives the album a nice bookend.