Who knows, maybe Tim didn’t have any idea what the game was like either, but it doesn’t matter – because when you program a full progressive rock song into an NES cartridge… holy hell, Tim Follin… you are a beast. Tim Follin takes the system that does basic music to a whole new level. I don’t even know what the hell this game is about, but I don’t care at all. Once it gets there, though, you are in for a wild ride with the main theme of Solstice. Until about 8 seconds in, everyone I force to listen to this song doesn’t seem to realize why I had them listen to it (“force”? tmi, Alex – EDITOR FRANK). (I’ll be focusing on NES games because they’re the ones that are the most memorable to me, even though Tim Follin did music for multiple consoles). I’m not going to give Tim Follin’s full biography here, I’d rather we let his work speak for him. Unfortunately, the side effect of this was that people didn’t hear these songs because no one bothered to pick up the game in the first place. They rarely have anything to do with each other so the games that they’re attached to aren’t very memorable. Tim Follin, as far as I can tell, did not make the music at the same time as the game. …at least that’s what I thought before I heard this: It’s well known that NES music is extremely melody based the technology at the time only had so many channels to work with and catchy melodies are what make classic songs so memorable, so we can understand that the NES did what it could with what it had. Then my aim is to shed some light on a video game composer that blew my goddamn mind. You haven’t? Well, that’s okay I suppose. The post for today is going to be a short one. As always, a friendly reminder that this post may contain spoilers.
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