We’ve recently covered a few records from Curaga, and Video Game Lo-Fi: Zelda was among them. The holographic artwork is carried across all Curaga Records lo-fi releases, but I’m a big fan of the uniform artwork used, whereby an isometric illustration reflects a key image or scene from the video game in hand.
Here for example, the cover of the Sonic lo-fi record features some golden moments from Green Hill Zone; scattered rings; a loop-the-loop; a checkpoint; palm trees, and a rope bridge across the water with a couple of cheeky Chaos Emeralds laying casually on the grass – oh, and I’ve just spotted a hidden teleportation ring to a bonus level, awesome!
This design choice is an absolute winner as far as I’m concerned, as that uniformity adds to the sense of individuality and casually cool style from the label that is a hallmark of the genre, as well as being a sort of ‘snow globe capture’ of the listener's memories of said game. That said, with this release, I do feel that the overall artwork is ever so slightly dark, it would have really popped if it was a shade or two brighter.
The spine shows the usual album details, as well as the fact that this is the 9th release in the order of Curaga’s vinyl line-up.
Flipping over to the back, the rear cover is still fully holographic and eschews visual artwork to emphasise minimalistic style, with the track listing laid out plainly, it’s a bold statement that gives me the sense that Curaga is letting the music speak for itself, and the shifting purples and silvers of the holographic cover, as well as the dark front call to mind a cool, night-time vibe. It echoes the style of the music, lo-fi being disarmingly melody/beat driven, whilst also maintaining the ability to absorb the listener in those deep, repetitive rhythms.
The record is encased in a plain white sleeve and features a simple A/B – in shades of purple – on the inner circle sticker on both sides of the record. Again, this pushes the idea that this is a different take on Sonic the Hedgehog, a game – and character – that we associate with blues and reds. The heavy use of purples, as well as a more adult, stripped-back visual devoid of cartoonishness really does drive home the calmer, sultry – and quite frankly – sexier approach to soundtracks that I certainly link with energy and speed as opposed to mellow grooves.
Track by Track
1. Friends (from "Sonic Mania", featuring Save Point) 03:04
Sonic Mania completely revitalised the franchise and it makes sense as an opener here, gentle piano runs and a climbing trill open up a keyboard line that drives the central melody, muted beats and low-slung bass act as the backbone for the track, which continually adds layers as it moves forwards. It’s a track that captures the ear and illustrates what lies ahead in terms of the approach and style taken with these historic songs and melodies. There’s a warmth and comfort in the production, which isn’t overly bombastic or heavy-handed, giving the tracks room to breathe.
2. Green Hill Zone (from "Sonic The Hedgehog") 02:24
I was intrigued by how this would be handled as it’s so, so familiar to me from its original form. Two piano chords are joined by a growing percussive beat before that melody creeps in, it’s understated and hooky, as the staccato hi-hat and plucked strings accentuate the strength of the track. More strings and layers are added as the track progresses before it drops back out towards the end, stripping back to the piano and plucked acoustic guitar as it heads off into the sunset.
3. Casino Night (from "Sonic 2") 02:21
This…is...important. lost: tree’s version of Casino Night stands atop my Mount Rushmore of VGM. It has always been one of my favourite pieces of music from the Sonic Games and lost: tree appears to have somehow gained access to my DNA and created a version of the song that brings me to my emotional knees.
This is a highlight of the album, and the pinnacle of what the lo-fi genre is capable of, to me at least – taking a beloved track and reducing it to the key features and melodies whilst also accentuating the areas that make the original so good.
Here, lost: tree takes a ballsy, cheeky Vegas show-tune in 16-bit format and turns it into the aural equivalent of a hug from a loved one. When I first heard this, from the bass-drum intro onwards I had goosebumps, it is drenched in a warm nostalgia that just gets better with each listen.
One of the most melancholic lines in VGM gets built upon, layer by layer with cleverly arranged downscales and even a slightly jammy moment that hints at the more energetic original. The bell-like chiming tones of the clean electric guitar, understated drums, warm bass and layering, the dark and sexy mood...it’s sonic heaven. If there’s a downside here, it’s that the song isn’t four hundred years long.
4. Escape from the City (from "Sonic Adventures 2") 02:35
What impressed me further though - moving on from the genius of Casino Night - is that Escape From the City is a Sonic track that I have historically hated, and yet I am completely onboard with the version here. I make no bones about the issues I have with lyricism in VGM and I’ve mentioned before how the lyrics are usually either too ‘on the nose’ or eye-rolling, tedious whimsy – quite frankly, they mostly don’t need to exist and usually drag songs down, but whilst the original version of Escape from the City on the Dreamcast had me gritting my teeth as I sat through lyrics that would feel at home on a children’s TV show theme (I understand I’m not the target audience, but I still hate them), the fact that they are removed completely here just elevates the melodic strengths of the song.
Featuring a spacey opening and busy, bubbly bass work, the song cleverly chills out what would have been the vocal line with a shimmering keyboard effect that slowly moves into a subtly euphoric chorus section by use of strings that completely feels at home on the album, and breathes new life into - what was to me - an incredibly irritating Sonic track.
It did dawn on me at this point, that this is quite a brief album. Featuring eight tracks, and with only a couple of those cracking the 3-minute mark, each time I listen (and I’ve listened to this a lot) I find myself hankering for a couple more songs. With the strength of the music on show here, I hope a second volume of Sonic lo-fi isn’t out of the question.
5. Dreams of an Absolution (from "Sonic '06") 02:50
The start of the second side opens with a track that I’m not too familiar with, but the distant, plucked chords that lead up to electric wah-wah and the genre staple of muted percussion means that I know I’m in safe hands.
Samples of birds chirping and the guitar reverb add elements of relaxing nature to a song that I assumed I wouldn’t connect too strongly with, but whilst it’s not my favourite on the album, the lilting way in which it moves and delicate touches of piano that see the track out make sure that this deserves its spot on the list.
6. Holoska - Night (from "Sonic Unleashed") 02:30
Stark piano again launches the song off, before being joined by drums. The bass is prominent, but the piano leads the way in terms of the melody. It’s a track that feels more exposed than others on the album, until the halfway mark when breathy strings are added to the mix and open the track up further, giving texture.
7. Reach for the Stars (from "Sonic Colors") 03:22
The only track that features vocals, this is a lighter track that has all the musical hallmarks of the other songs, and whilst the adding of vocals does add variety, again – they are tediously direct and locked in an uninteresting rhyme. Maybe the easy-listening aspect will appeal to some, but I’d much prefer an extra minute or two of Casino Zone over this, especially as the music gets a little buried under the vocals, which naturally take centre stage.
8. Fist Bump (from "Sonic Forces", featuring Save Point) 02:48
There’s a touch of trip-hop to this one, and the clean guitar lick that teases throughout is a very cool and understated melody. There’s also an ‘80s vibe on some of the keyboard melodies that mix things up. The bass is also thick here, a great way to end the record – I just wish there was more!
The eight tracks on Video Game Lo-Fi: Sonic doesn’t deviate too far from the set lo-fi blueprint, but they sit well in terms of cohesion, making this an album that pulls out the melodies that we all know and love from the Sonic series of games, thickening them up and creating some great mood music. My personal issues with VGM lyrics do arise here, with Reach for the Stars again feeling like a song wherein lyrics feel like a distraction, but the rest of the album hits all the right notes. I do wish that there were an extra couple of tracks, as there is so much music in the franchise and it would be great to see what Lost: tree’s approach would be to others, but taking a single track from each game feels like a fair way to spread the love.
In closing, I urge you all to listen to Casino Night as soon as humanly possible.
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