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