TLDR: Games x Music Podcast feature (2.4.24)
A brief summary of the points I was trying to make on this podcast.
I had an great time chatting to the wonderful Thomas Quillfeldt on the Games x Music (GxM) podcast from 37 mins in. A big shout out to GxM’s co-host Mat Ombler too, the author behind the incredible
. Both of these gents work at Laced Records, which just goes to show the sheer talent behind the team at Laced, showcasing some of the most beautiful gaming soundtracks on vinyl.This post is going to run over the points I was trying to get at - more from a documents sake, and I shall resume normal postings next week. I’m well aware it was the first time I was saying things rather than writing things, so I’ll aim to stay concise for future appearances. I’d highly recommend a listen, so here’s the TLDR to recap:
What is a ‘Needle Drop’?
I think the traditional definiton of a needle drop doesn’t work for gaming. I see the definition of needle drop being more malleable with gaming because there are more variables in the way that a player listens to the music. It’s not definite and decided like a film, just adding player choices makes it impossible to judge how it will be listened to, if at all. Instead, we shouldn’t judge the components, but the goal of the impact instead.
If a ‘Needle Drop’ has a more flexible meaning, then we can break it down into categories
Traditional needle drop - Already-made music being played in a scene. We discussed how the aim is to acquire the energy and feel of the original track, or to juxtapose its original context. Examples include Red Dead Redemption 1 - José González “Far Away” and Life Is Strange - Syd Matters “To All of You”
Bespoke songs - Songs made by artists specifically for a game. We discuss that these songs are created with a different ‘energy’ as its origins and inspiration eminate from the game. Examples include Red Dead Redemption 2 - D’Angelo “Unshaken” (did a Substack on this) Portal 2 - The National “Exile Vilify” (See my Substack on this one too)
Cover versions - Songs covered within a game, where the aim is to layer the game’s context in the recording, but maintain the familiarity of the song. Examples are Bioshock: Infinite - cover of “God Only Knows’ by The Beatles and Last Of Us 2 - Ellie singing “Take On Me” by A-ha.
Optional music - Firewatch’s Boombox. See my storytime Substack on this one.
Bespoke music by the game developers - I mentioned the Port Sulphur Band who are both developers and artists in their own right, and how impressive their ability to capture the essence of Hunt: Showdown in their music.
Collectors item - Metal Gear Solid V have cassettes, Final Fantasy XV Car Radio feature and also Guardians Of The Galaxy’s ‘huddle’ ability. We discussed how optional access enabled content creators to choose to avoid licensed music for streaming/content purposes.
Games that do it all - Bioshock: Infinite, Alan Wake 2, GTA Whole series…
We also explore how games like GTA, aiming to mirror the real world more closely, must aim to enable players of diverse identities to see their values reflected in-game. This makes the deeper, nuanced music placments more rewarding than ever and the benefits will compound as the fandom grows.
Just as music artists, games can deeply engage fans who seek to explore all aspects of their content. Therefore, industries should offer products that allow fans to celebrate their passion in these ways without being too intrusive.
What implications does this have for the future? I’ll be exploring this in the coming months…
