By Marcy “Shadolith” Nabors
Love the combination of shabby Casio drumkit beat with ultra-realistic clarinet, xylophone, and accordion carrying the simple melody.
By Marcy “Shadolith” Nabors
Love the combination of shabby Casio drumkit beat with ultra-realistic clarinet, xylophone, and accordion carrying the simple melody.
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.
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.
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.
By Brad “Avinoch” Griffin
Funky, in a really artificial, grim, synthetic kind of way. The beat in the second half really sells it.
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).
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.
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.
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.
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.
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.