Thrasher (Original Soundtrack)
Brian Gibson
Thrasher (Original Soundtrack)
Boomkat Product Review:
Lightning Bolt bassist and latter-day game designer Brian Gibson follows up his breakout 'Thumper' with 'Thrasher', the frenetic score to a cosmic racing game where you play as a creature that can traverse different psychedelic realities.
Gibson's soundtracks aren't just soundtracks, they're as crucial to the games themselves as the visuals. He makes rich audiovisual experiences where music is more than background, it's the texture, and indeed the point, of the entire operation. He debuted in 2016 with 'Thumper', an acclaimed fast-paced rhythm game, and 'Thrasher' takes the concept even further, using gesture controls, spacial audio and VR to make sure the ordeal is as visceral as technologically possible. And the soundtrack, of course, is key yet again - Gibson might not be playing bass here, but his hyperactive themes are instantly recognizable from the opening blast of 'Metal Maze'. It's the kind of fractal, prog-tronic business he perfected almost two decades ago with Rich Porter on the under-heard Wizardzz album 'Hidden City Of Taurmond'.
But plenty of the score's other cues slip into vastly different dimensions. 'Magenta Machine' and 'Monolith' are Berlin school kosmische mind-melters, while 'Mica' exhumes the racing games of the 8-bit era, and 'Timekeepers' sounds like a ritualistic march through Hades. Gibson keeps things moving throughout, and although the soundtrack no doubt takes on a completely different dimension when you're treated to the vivid visuals, it stands up remarkably well on its own.
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Boomkat Product Review:
Lightning Bolt bassist and latter-day game designer Brian Gibson follows up his breakout 'Thumper' with 'Thrasher', the frenetic score to a cosmic racing game where you play as a creature that can traverse different psychedelic realities.
Gibson's soundtracks aren't just soundtracks, they're as crucial to the games themselves as the visuals. He makes rich audiovisual experiences where music is more than background, it's the texture, and indeed the point, of the entire operation. He debuted in 2016 with 'Thumper', an acclaimed fast-paced rhythm game, and 'Thrasher' takes the concept even further, using gesture controls, spacial audio and VR to make sure the ordeal is as visceral as technologically possible. And the soundtrack, of course, is key yet again - Gibson might not be playing bass here, but his hyperactive themes are instantly recognizable from the opening blast of 'Metal Maze'. It's the kind of fractal, prog-tronic business he perfected almost two decades ago with Rich Porter on the under-heard Wizardzz album 'Hidden City Of Taurmond'.
But plenty of the score's other cues slip into vastly different dimensions. 'Magenta Machine' and 'Monolith' are Berlin school kosmische mind-melters, while 'Mica' exhumes the racing games of the 8-bit era, and 'Timekeepers' sounds like a ritualistic march through Hades. Gibson keeps things moving throughout, and although the soundtrack no doubt takes on a completely different dimension when you're treated to the vivid visuals, it stands up remarkably well on its own.
Boomkat Product Review:
Lightning Bolt bassist and latter-day game designer Brian Gibson follows up his breakout 'Thumper' with 'Thrasher', the frenetic score to a cosmic racing game where you play as a creature that can traverse different psychedelic realities.
Gibson's soundtracks aren't just soundtracks, they're as crucial to the games themselves as the visuals. He makes rich audiovisual experiences where music is more than background, it's the texture, and indeed the point, of the entire operation. He debuted in 2016 with 'Thumper', an acclaimed fast-paced rhythm game, and 'Thrasher' takes the concept even further, using gesture controls, spacial audio and VR to make sure the ordeal is as visceral as technologically possible. And the soundtrack, of course, is key yet again - Gibson might not be playing bass here, but his hyperactive themes are instantly recognizable from the opening blast of 'Metal Maze'. It's the kind of fractal, prog-tronic business he perfected almost two decades ago with Rich Porter on the under-heard Wizardzz album 'Hidden City Of Taurmond'.
But plenty of the score's other cues slip into vastly different dimensions. 'Magenta Machine' and 'Monolith' are Berlin school kosmische mind-melters, while 'Mica' exhumes the racing games of the 8-bit era, and 'Timekeepers' sounds like a ritualistic march through Hades. Gibson keeps things moving throughout, and although the soundtrack no doubt takes on a completely different dimension when you're treated to the vivid visuals, it stands up remarkably well on its own.
Boomkat Product Review:
Lightning Bolt bassist and latter-day game designer Brian Gibson follows up his breakout 'Thumper' with 'Thrasher', the frenetic score to a cosmic racing game where you play as a creature that can traverse different psychedelic realities.
Gibson's soundtracks aren't just soundtracks, they're as crucial to the games themselves as the visuals. He makes rich audiovisual experiences where music is more than background, it's the texture, and indeed the point, of the entire operation. He debuted in 2016 with 'Thumper', an acclaimed fast-paced rhythm game, and 'Thrasher' takes the concept even further, using gesture controls, spacial audio and VR to make sure the ordeal is as visceral as technologically possible. And the soundtrack, of course, is key yet again - Gibson might not be playing bass here, but his hyperactive themes are instantly recognizable from the opening blast of 'Metal Maze'. It's the kind of fractal, prog-tronic business he perfected almost two decades ago with Rich Porter on the under-heard Wizardzz album 'Hidden City Of Taurmond'.
But plenty of the score's other cues slip into vastly different dimensions. 'Magenta Machine' and 'Monolith' are Berlin school kosmische mind-melters, while 'Mica' exhumes the racing games of the 8-bit era, and 'Timekeepers' sounds like a ritualistic march through Hades. Gibson keeps things moving throughout, and although the soundtrack no doubt takes on a completely different dimension when you're treated to the vivid visuals, it stands up remarkably well on its own.
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Coke Bottle Clear vinyl
Boomkat Product Review:
Lightning Bolt bassist and latter-day game designer Brian Gibson follows up his breakout 'Thumper' with 'Thrasher', the frenetic score to a cosmic racing game where you play as a creature that can traverse different psychedelic realities.
Gibson's soundtracks aren't just soundtracks, they're as crucial to the games themselves as the visuals. He makes rich audiovisual experiences where music is more than background, it's the texture, and indeed the point, of the entire operation. He debuted in 2016 with 'Thumper', an acclaimed fast-paced rhythm game, and 'Thrasher' takes the concept even further, using gesture controls, spacial audio and VR to make sure the ordeal is as visceral as technologically possible. And the soundtrack, of course, is key yet again - Gibson might not be playing bass here, but his hyperactive themes are instantly recognizable from the opening blast of 'Metal Maze'. It's the kind of fractal, prog-tronic business he perfected almost two decades ago with Rich Porter on the under-heard Wizardzz album 'Hidden City Of Taurmond'.
But plenty of the score's other cues slip into vastly different dimensions. 'Magenta Machine' and 'Monolith' are Berlin school kosmische mind-melters, while 'Mica' exhumes the racing games of the 8-bit era, and 'Timekeepers' sounds like a ritualistic march through Hades. Gibson keeps things moving throughout, and although the soundtrack no doubt takes on a completely different dimension when you're treated to the vivid visuals, it stands up remarkably well on its own.
In Stock (Ready To Ship)
Boomkat Product Review:
Lightning Bolt bassist and latter-day game designer Brian Gibson follows up his breakout 'Thumper' with 'Thrasher', the frenetic score to a cosmic racing game where you play as a creature that can traverse different psychedelic realities.
Gibson's soundtracks aren't just soundtracks, they're as crucial to the games themselves as the visuals. He makes rich audiovisual experiences where music is more than background, it's the texture, and indeed the point, of the entire operation. He debuted in 2016 with 'Thumper', an acclaimed fast-paced rhythm game, and 'Thrasher' takes the concept even further, using gesture controls, spacial audio and VR to make sure the ordeal is as visceral as technologically possible. And the soundtrack, of course, is key yet again - Gibson might not be playing bass here, but his hyperactive themes are instantly recognizable from the opening blast of 'Metal Maze'. It's the kind of fractal, prog-tronic business he perfected almost two decades ago with Rich Porter on the under-heard Wizardzz album 'Hidden City Of Taurmond'.
But plenty of the score's other cues slip into vastly different dimensions. 'Magenta Machine' and 'Monolith' are Berlin school kosmische mind-melters, while 'Mica' exhumes the racing games of the 8-bit era, and 'Timekeepers' sounds like a ritualistic march through Hades. Gibson keeps things moving throughout, and although the soundtrack no doubt takes on a completely different dimension when you're treated to the vivid visuals, it stands up remarkably well on its own.
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