REVIEW// Jim Guthrie: Children of the Clone EP

   Upon awakening to the new and beautifully designed newsletter from Jim Guthrie, something inside of me let out an almighty, child-like grin. Whatever is happening around you doesn't matter when you are handed even a couple of tracks by this musical aficionado. However instead of two, I was made aware of an eight-track EP! I sat down, and with a smile plastered upon my face, a wonderful thought entered my head. Today was going to be a great day, and Mr Guthrie didn't let me down. A followup to 'Sword and Sworcery', the soundtrack to a superb game of the same name, 'Children of the Clone' was amazingly, only recorded via a PlayStation 1 and the 1999 game MTV Music Generator. What Guthrie has managed to do is record a stunning set of tracks through the utilisation of considerably old technology, which is worthy of any music lovers adulation and admiration. 'Children of the Clone' is the epitome of nostalgic reminiscence, it's beeps and synths and panning sounds all part of a single thing, looming from the mists of time itself to stand worn and weathered at the door! The wires and plugs behind its emergence isn't noticeable in the music, but it's a fact that makes such sonic soundscapes that much brighter, lit by the impressed light of your eyes!

      The EP opens with 'Economica', a quietly ominous track laden with chiptune melodies and a thundering bass line. A deep piano note sways forwards and backwards as Guthrie experiments with 3D sound panning. The higher and lower phrases are split into separate headphones before amalgamating halfway through in a thoughtfully upbeat chorus. Tone- wise things flit from happy to sad, playful samples whirring and laughing amongst the dark moonlit gravestones of the backing track. A technological glitch plays out before your ears and the next number begins without pause. The title track, a steady beat throbs. Strange noises detail the constant, almost totalitarian suppression, but then a powerful synth calls the clones to arms. Regimented and solemn and sincere, those many marching feet begin to run. The ground shakes and the lone drummer continues to beat. Brilliantly constructed in every conceivable way, this number feels truly perfect, but perhaps that's because it is!

     After the sparse magnificence of 'Room Full Of Empty People', its building melody and ethereal purity growing on you as the song progresses, 'Heart Of The World' begins. This is the number you can really imagine in a video game. Something about its speed, panting and crying and racing from an unknown enemy just works. Layers of sound and detail and complexities end with the booming, mocking image of a 'game over' screen, and I adore it! 'Popcorn Part 2' follows from the non-existent 'Part 1' but the cheery upbeat charm of it all forgives such lacking continuity. The constant backing melody ultimately devours all other sounds as it moves to the forefront of the music. This crushing blow is worthy of 'Jimmy's Lament', a song gloomy and moody as an organ picks a number of despondent notes for it to play. 'Lust in Space' moves a little way from electronica to explore a guitar's acoustics, but you can't expect them to stay away forever. They edge back into the music more than often, but you cannot help but accept them! 'Everything' concludes the EP. It's woven from the same thread as 'Lust in Space', and feels content with everything that came before. A wonderfully happy sigh leaves my lips as these eight tracks take their leave from my ears. Its nothing short of exceptional so hear 'Children of the Clone' below and find the EP here.

Jim Guthrie: The Ballad of the Space Babies

     This is going to be a strange review. Jim Guthrie, a Canadian singer-songwriter, according to Wikipedia, has recently released this, the soundtrack to an IOS game I've been playing, and enjoying, for quite a while now, called Sword and Sworcery. The game itself is more of an experience than a game, with a heavy focus on sound and music. In-game, each track has a purpose that amplifies every second of the adventure to a point almost transcendent. On record, however, I cannot help but feel as though if you hadn't played the game, and without the art style and effects of that, the sounds would come across as almost lost. They're great, but for some will be separated from the journey that makes them outstanding. Nevertheless, I would assume that the only people interested in purchasing this soundtrack would be people who have played the game, and who while listening would be visualising the said game around them. Therefore that previous problem is ironed out straight away, and shouldn't cause much bother to what I assume is the target audience. Matched with the IOS experience, this record makes for an equally impressive and surreal flight over lands only splayed out in our wildest dreams!

     As a start then, there are a few different tones to this record. Throughout the twenty-seven tracks, there are menacing atmospheres that lead into ones more playful. Bleak soundscapes fuse into sonic walls of noise that are splattered in the electronic chiptune paint which feels both very fantastical and reflective of the game's unique and inspiring art style. Experimentation with sampled sounds and noises also works extremely well, with the hums and prolonged notes providing depth that's a joy to jump into. One of my favourite tracks, 'The Prettiest Weed' has two versions, with the remix strangely retaining more of my admiration. The said remix sounds decidedly more mysterious, with the haunting piano plinks drawing forth a muffled, reverb heavy drone that oozes fear.

     The opener 'Dark Flute' is the tribal walk through an overcast forest, with the raindrops softening the ground and the smell wafting between the leaves. This is in part probably due to the game's raining effect, but as I tried to block out this image, the atmosphere refused to diffuse. 'The Ballad Of The Space Babies', from which the record takes it's name, is also crucial to a section of the adventure. The ethereal 'space babies' float and sing in a way not unlike angels ascending to heaven. I have to admit that these thoughts are heavily influenced by what I saw and played through, which leads me to the conclusion that the record needs to be paired with the game to have the maximum impact.

     'The Whirling Infinite' has the same sort of apocalyptic thunder-cloud that looms over 'The Prettiest Remix'. That, matched with the contrastingly upbeat 'Little Furnace' marks the end of the first half of the record and the start of for me, the more interesting twenty minutes. 'Cabin Music' feels the most stark and bleak, with a few sincere pinpricks of hope piercing the paper sky. The next two songs, 'Battles 1' and '2' are obviously meant to be fight music, and the beating heart and sharp intakes of breath certainly emulate this. The ritualistic drums on number two also imply a foreboding sacrifice and uneven matching that I can't help but love. 'Mushrooms' then arrives, startling with it's Mario-esque pitch and feeling. There definitely isn't a shortage of variety on this lp, which is an element important for me, especially on one as long in track number as this.

     The last few songs feel almost like a last stand, and having not played this far into the game, I'm jumping with anticipation. 'Death To Everyone's unholy screams and organ drones. 'Confronting The Wolf's sense of fear and snow-covered fir trees, your breath billowing into the crisp morning air. 'Activating Trigons' is another of my favourite tracks, with it's electronic hums and climaxing notes reminding me of goose-bump inducing movie moments, with it's conclusion having a similar effect. The finisher 'And We Got Older' gives the impression of a warrior returning from war. His emotions and physical well being are in tatters, but repair themselves when his wife runs from her house, tears streaming down her face. Some parts of this record, I realise by the end, are truly stunning, but have been made more so by playing the game. This album is like a body bar the arms. It's still functional, but half as beautiful without them. Think of it like that, and if possible, get both!