Music to Code to

[Music to Code to @music2code2]

I can tell you nothing about the game — never got to play it. But I *can* tell you “The Adventures of Batman & Robin” soundtrack is 💯🔥. Rather than experimenting with what the 2612 can do, Jesper Kyd took what it does best and drove it to the hilt: https://t.co/g9P9y7nucH

[Music to Code to @music2code2]

Obey no kings; seek no thrones. https://t.co/Uov5nAwn6M

[Music to Code to @music2code2]

Who needs the funk? I need the funk. Who has got the funk? William Onyeabor has got the funk. Who is William Onyeabor? I��m so glad you asked: https://t.co/0Ug6bCaIgb

[Music to Code to @music2code2]

And if you enjoy NieR Automata, might I suggest a sampling from a clear inspiration: Yoko Kanno’s work on the Stand Alone Complex soundtrack? Spanning 4–5 albums now, there’s a lot to unpack, but let’s start at the beginning: https://t.co/QmAlzm58pM

[Music to Code to @music2code2]

Energetic but never bombastic, the NieR: Automata soundtrack is instead a largely contemplative work that engenders the same in the listener. It’s sometimes Macross Plus, sometimes Cirque du Soleil. A good combination.

https://t.co/1OTqNOa5vG

[Music to Code to @music2code2]

Hands up if you dig pipe organ arpeggios and electric guitars —Konami has released a ton of soundtracks under the “Castlevania Sound Team” name! My favorite of them (and possibly the greatest of the IGAvanias) is Order of Ecclesia aka Ubawareta Kokuin. https://t.co/9qvOUnMnWY

[Music to Code to @music2code2]

For those who played Phantasy Star Online, its airy, synth-heavy soundtrack came to define the world of its setting. Few got to appreciate the refinements Episodes I & II brought to that score, but the 2 disk “Songs of RAGOL Odyssey” is here to fix that.
https://t.co/xdhfKcx7BK

[Music to Code to @music2code2]

True to its name, “In Flux” is all over the place. Bringing together composers from Mega Man, Ninja Gaiden, Silent Hill, Panzer Dragoon, Spelunky, Below, and more, the album sometimes plays like a Final Fantasy b-side, sometimes like a chiptune rave. https://t.co/TQtyydgjiB

[Music to Code to @music2code2]

I‘ll inevitably link every Danger Mouse collaboration, but let’s start with Lux Prima. Like all DM albums, it’s defined by his partner in crime; in this case Karen O of the Yeah Yeah Yeahs who subverts bright melodies towards dark and beautiful purpose.

https://t.co/kX4WyOXezk

[Music to Code to @music2code2]

I don’t know if this is good to code to, or even if it’s good, generally. I don’t care. It’s new Fiona Apple. https://t.co/WHYNXi2rs7

[Music to Code to @music2code2]

Townes Van Zandt is the song writer all song writers aspire to be. His entire discography is a must-listen, but the self-titled album contains the soft, bitter-sweet “Don’t Take it Too Bad” which is a song I can’t get out of my head while in lockdown. https://t.co/UScNMIeKEV

[Music to Code to @music2code2]

Happy VII Remake day! Did you know OverClock Remix has a whole (4 disk!) album of Final Fantasy VII remixes? Lots of variety, from the trance “JENOVA Celestial” to the wub of “motor crazycycle” and the jazzy, dirty Hammond on “Short Skirts”. https://t.co/5tzny3vBWo

[Music to Code to @music2code2]

While the movie didn’t live up to its legacy, Daft Punk’s music for the TRON sequel did. But its original release — a perfunctory cataloging of disconnected themes — was a chore to listen to. Thankfully these remixes exist to breath life into great tracks. https://t.co/1xeYftGNq0

[Music to Code to @music2code2]

Cliff Martinez (of ✱ fame) scored a lot of Soderbergh films, but the best is his Solaris soundtrack. Sweet airy strings threaten to dissolve into new age, massage parlor confection. Then dissonant gamelan polyrhythms put them on edge, and it is a MOOD. https://t.co/ZfOjd7NJD0

[Music to Code to @music2code2]

The unique constraints of the Genesis’s YM2612 yielded some equally unique soundtracks. One of my favorites: Shining Force. A 16bit RPG score worthy of Square, but with swirling, phasing FM instruments that lend it an otherworldly, alternate universe feel. https://t.co/lK3NtLAklm

[Music to Code to @music2code2]

Speaking of moody atmospherics that stay engaging without drawing too much attention, all of NIN‘s “Ghosts” albums are excellent. But “Ghosts V” and “Ghosts VI” are free while we shelter in place: https://t.co/GiniiBpjmJ

[Music to Code to @music2code2]

Crave moody atmospherics with just enough twist to be compelling but not enough to be distracting? You're looking for “Below” by the maestro behind the Sword & Sworcery score, Jim Guthrie: https://t.co/tLreggPGjK

[Music to Code to @music2code2]

Speaking of space-related concept albums, I submit Logic's “The Incredible True Story”. Released only months after Kendrick's “To Pimp a Butterfly”, it catches the same groove, but with 340% more Fifth Element references. https://t.co/GUC97f4F65

[Music to Code to @music2code2]

More like a Bowie concept than an Arctic Monkeys album, “Tranquility” is laid-back and shuffling like some sort of lunar zombie crooner. https://t.co/WNGjALiubo

[Music to Code to @music2code2]

“Lest We Forget What We Came Here To Do” by Sons Of Kemet

It's like going to a Cirque du Soleil show with The Seatbelts in the pit and none of the distracting dancing or acrobatics.

https://t.co/ivb1IX9Bfg