How far can you break down a video game, into its bare essence? To the point that it can be reassembled and played inside your mind with nothing more than your own imagination? That’s the concept of Equip’s 2016 debut, I Dreamed Of A Palace In The Sky. As mystical as a phantasmagorical lucid dream, Equip delivers us a serene, yet at times deeply ominous concept album of an RPG played within one’s mind. A mix of the halcyon, early-polygonal games of the PlayStation, and the golden age of high-quality pixel art role-playing games of the Super Nintendo, along with a playful approach to mixing and harmonies that lead us intrepid explorers down fascinating, lichen-infested groves or dark, moldy dungeons. Druids and danger lurking behind every corner.
Debuting in 2016, Equip showed the world their unique RPG-midi fusion style through this album. In that year, modern-style vaporwave was relatively young, yet one of experimentation. Artists were taking chances with heavy hitters like the fascinating and iconic News At 11 or the swirling plunderphonic NEW GAIA by the artist of the same name. Equip was not an exception to the heavy releases that year and struck with one of vaporwave’s most recognisable albums since Palm Mall, by virtue of its exceptional atmosphere and fusions of plunderphonic sound effects and original melodies.
The album starts with a track composed entirely of Final Fantasy menu sound effects. Where on a lesser album this could seem gimmicky and rote of vaporwave’s ‘unique-for-the-sake-of-it’ trappings at the time, these effects are all used with meticulous certainty, especially in setting up the album. We aren’t just hearing these sounds, these are noises of the album’s menu itself, that we navigate through simply by listening. And, for instance, notice that the next track “I Dreamed Of A Palace In The Sky ~Opening Credits~” uses none of the sounds? You wouldn’t hear them in an example of the track’s name; they are absent. An example of the particular use of the samples.
These effects are a cornerstone of the album and truly enhance the experience. For the listener to truly believe this game is being played in their minds, that the titular palace truly has a hold, these effects bolster that aural landscape by showing us not as passive listeners, but as players of the album, through which every crispy footstep is our own in this lonely castle.
But these are flourishes. Low-poly icing on the polygonal cake. The album must stand on its own in terms of the composition for it to be worthwhile for future spins, something that it absolutely achieves. What feels so strong about the album is the mixed layering of longer ambient harmonies with the more melodic midi synths. This expands the album’s sound to allow for a deeper listening experience. You can focus anywhere on the music and still be transported away. These sounds, too, are uniquely mixed to create a specific soundscape that shows the skill of Equip in how he understands the world he’s made.
Just the right amount of reverb on footsteps. The ever-so-slight crust on a druid’s dark laughter. These call back to memories of old midnight play sessions of our favourite RPGs. The entire concept of the album is realised in both these mixes and that of the midi instruments. Drums are just so squishy and textured as to allow for a feeling of momentum. They switch to airy synths, giving a wandering or morose sound. As seen on tracks like “Druids (Encounter)”, the lengths to which Equip has gone to master these sounds in a way that are satisfying and additive to the track’s atmosphere is impressive. It pays off wonderfully.
That said, perhaps some tracks outstay their welcome, for instance, “Cloud Generator” doesn’t need to be seven minutes long, and some tracks like “Reunited” could be cut in half. Overall, however, it’s an iconic album. Fitting for either ambient or close listening with its focus on both long harmonies and unique sampling of game sound effects. This album gets a recommended 4 out of 5 for any aspiring adventurer, daring enough to seek out that palace in the sky!
If there’s one aspect that is definitive to vaporwave, it’s nostalgia. The same goes for synthwave, future funk, and all those genres that came to be with the ‘80s revival that has been going on in the last few years. All of these genres are defined, at least partly, as being a sort of lamentation for the loss of certain aspects of culture: fashions, certain sound tropes, certain places, and the general feeling of novelty there was towards technology. But more than grieving them, these genres celebrate those aspects, presenting them with a sleek coat of varnish so as to show them in a new context.
But the fact remains that these genres were born as a way to seek familiarity. It’s not terribly unlike what one might go through after they’ve lost a close relative. One might find themselves going through their belongings, remembering the times spent together, and later, trying to re-experience their presence. A cardigan with that special scent, a wristwatch only for special occasions, the uniform worn to work for so long. The same thing happens with culture; one might find themselves looking for these “talismans,” because their absence is simply too painful. In being defined by nostalgia, all the aforementioned genres are defined by loss. Music, among all art-forms, is reproducible in ways that no other artform is, and thus, can be revived more easily
Which brings us to the album in question. What better genres to explore loss, regret, and, of course, the acceptance and optimism for the future, than these? Where else might one find this kind of respite? In a statement for UD, Strawberry Station told us:
“It’s a story of how I processed living through the pandemic and lockdown on my own in a foreign country. It covers all the emotions I’ve been through in the past two years – isolation, depression, loneliness, and regrets about missed experiences. But also acceptance, hope and optimism for the future.”
Strawberry Station presents the listener with an album that is, by his own admission, a departure from his body of work. Lowlight 2 is a multi-genre affair, notably distant (for the most part) from his usual future funk. Apropos to what inspired it, the album has a very wide range of emotions, with very distinguishable passages of melancholia. The whole project is imbued with a lingering feeling of lethargy, which at times becomes much more apparent. Certainly, a feeling that will come across as all too familiar. But, as we’ll see later in the album, this is not a permanent state of being. And that, above all things, is the most important one to take away from this project.
Now then, on to the album!
Album Art By Strawberry Station
(As the tracklist was not finalized during the review process, the final tracklist differs from what is presented below.)
“Yes, No, Maybe”
Somewhat reminiscent in form and feeling of HOME’s Resonance. It fills the listener with a sensation like looking out the window of a spaceship. The repetition of the main “phrase” of the synth creates a sensation of calm wonder, a sort of relaxed uncertainty.
“Things You Can’t Fix”
The closest in sound to Strawberry Station’s former work that the album gets. The song opens with a robust bass section, punctuating with a playful “Oh well!” It’s a very stark (yet friendly) declaration of powerlessness. It’s a call to snap out of a funk and spring into action regardless of bad circumstances, which is very appropriate. This track marks the start of an emotional high in the album, if placed a bit early. This peak is signaled not by the tune, but by the beat.
“Still Here”
The strongest song in the album. The beat in this track is decidedly in the trap side, which is then balanced by the synths, which keep it “on topic”. Strawberry Station noted this album marks his debut on the vocal section, and he does so outstandingly. Combining soft, harmonic passages with strong rhymes, he states, in very succinct terms, what he wants this whole project to be: “I’m staying right where I am, and I’m still here, under cloudier skies.”
“Stay Strong”
A combination of the first and third track. Much more emphasis is placed on the beat, similar to a french house track. The feeling of uncertainty from before is explored again, in a much more confident manner. The vocals remain soft, as they were in “Still Here”, so as to signal the stability the artist had found and which inspired the creation of the album.
“Comeback Kid”
With certain shades of Trevor Something and Slick Moranis, the new sound grows more and more confident, this time entering the realm of synthwave. Of particular note are the vocals, which demonstrate how in his element Strawberry Station is with the genre. The faster pace and the lyrics match the title of the song, which continues the line of thought presented in the last track.
“Stay With Me”
In a marked change of moods, the album goes from synthwave to lo-fi. The title speaks of a separation, a plea of sorts. Which is, again, very appropriate to the subject. So as to not lose unity, the synths from the first tracks are reprised, and the sweet and playful voice sample used drives the point home in an almost painfully pretty way. It’s almost as if one were hearing the voice of a loved one in their mind.
“See The Sunrise (Ft. Phaun)”
The second cheeriest track in the album by far. If the rest of the album was an exploration of present circumstances, See The Sunrise is the setting of a goal and a promise for the future: Eventually things will be better. The song states this with complete calm and conviction. It’s reminiscent of Macross 82-99’s “Aogashima Island.”
“Peace”
The mood changes once more rather drastically, this time into vaportrap. While not increasing speed, the song is very focused, as if made in a moment of pure inspiration. The vocals also change into something one might expect from the later works of Chester Bennington, only softer, so as to retain unity with the rest of the album. The most dramatic song in the album. While short and focused, it has a clear feeling of tension not seen throughout the rest of the album. It imbues the listener with the feeling of taking a big decision.
“My Oh My”
“My Oh My” feels like the climax of the album. It is the cheeriest track, and, in following with the themes explored throughout the album, speaks of a bright future waiting past the current hardship. In contrast with “See the Sunrise”, “My Oh My” speaks as if it were already in said future. Compared to the rest of the album, it’s relentlessly happy and playful. It would feel out of place in the album, were it not for the drums and beat, which keep the song in the context of the rest of the project.
“Filling In the Gaps”
Sounding like an early Aphex Twins track, “Filling In the Gaps” is once again a combination of the moods of two previous tracks. Here, the listener is presented with the focus of “Peace,” combined with the careful confidence of “Comeback Kid.” While one of the shortest tracks, it serves as a bridge between the earlier fantasies and real life.
“Bright Side”
We see some of the ideas explored earlier in the album revisited here. We have the vocals from “Comeback Kid”, the “call to action” feeling of “Things You Can’t Fix”, plus the addition of guitars and the fastest beat in the album. So as to cement its point, the album begins to close with this invitation to be optimistic while reminding that looking on the bright side means acting upon the things one is optimistic about.
“Bright Side (Reprieve)”
Finally, we reach the end of the album, which restates what Bright Side did, but shifts the pitch of the melody, giving it a sense of finality. But most importantly, so as to make its conclusion clear, the track restates (while lending the vocals more protagonism) what mattered most in the last track, and what is ultimately the whole point of the album: “we cannot erase the past, it’s a losing game”.
You can grab a copy of this cassette here from Business Casual Starting 9/17!
And so the album ends, in stark contrast to its hesitant opening, with complete confidence. This album shows us a more integral artist, molded by circumstances into a richer, more versatile musician. While certain passages feel slightly less confident than the others, the project manages to remain a cohesive story, and states its point loud and clear. This project, in line with the genres defined earlier, is defined by loss, but more so than loss, the will to overcome and dream of a better future.
In a semi-underground genre like vaporwave, there are plenty of chances for an artist’s creativity to shine. No pressure from major labels, no “brand” to uphold. Just pure and simple art for art’s sake, an expression of the imagination. The latest record from クリスタルKITSUNE (Crystal Kitsune), Oneiromancy and the Memories of a Past Life, is one of those fruitful moments, neatly combining vaporwave, future funk, vaporfunk & lo-fi into a theme touching on dreams, memories & nostalgia.
The album begins with “Intro” – a garbled “don’t forget me” repeats over background music before diving into the first song, “Mirage of You (あなたの蜃気楼)”. The album kicks off with a driving, bittersweet melody and a hint of that all-too-familiar future funk bubblegum pop. A good start, immediately differentiating itself from the usual carefree sounds the genre is known so well for. The next track, “Liminality (feat. matsura)”, is another speedy track that’s more in line with the future funk standard. Jazzy sax and Japanese pop vocals are chopped up and peppered throughout the song, while a driving 4/4 house beat keeps things nice and danceable. It’s not as overly sentimental as the first song, but it is more fun.
Album Art By mazamuno
“Wishing You Well” cleanses the palate from the previous tracks’ high energy with its slow, droning tempo. Chunky, 80s drums with gated reverb and pitched down vocals are at the forefront of this track and not much else. It’s not bad, but a little more going on would be nice, as by the end it gets repetitive. However, the energy level ramps back up with the next song, “One Last Night”, a soft, jazzy number that falls in line with the bittersweet tone of the album. The track has a filter throughout, which produces an interesting effect that sounds like you’re listening to it in the next room, or even underwater. Before we can call this a fully-fledged future funk record, クリスタルKITSUNE mellows out with “Drinks at Midnight”, an interesting cross between vaporwave and lo-fi hip hop. The slow-paced, smooth horns give some serious coffee shop vibes. If it weren’t for the muddy vaporwave reverb and sidechaining, this is a track one could imagine on ChilledCow’s “beats to relax/study to” stream.
Following that is “Tuxedo Miss🌹 (戻ってきた)”, a poppy, bass-heavy future funk track with yet another Japanese vocal sample utilized. It’s a bit conventional, but it’s not bad – just a fun, danceable track, with its saccharine melody contributing to the overarching theme. Continuing with the apparent pattern of “fast, slow, fast, slow”, we’re met with “Crystal💎Mainframe”, a fairly standard-sounding vaporwave track. Lots of reverb, with a very faint melancholic melody in the background. It has a surreal quality, like hearing a song in a dream, waking up, and only remembering bits and pieces of it. Before we can move on from that, クリスタルKITSUNE hits us with an interlude, “Intro 2 (Fear of Failure)”. More dreamlike qualities and sounds here, though it’s hard to make out what’s going on apart from the prominent thumping of a heartbeat.
The next track, “Who Am I”, is interesting. A haunting, wispy vocal and a synth line are chopped up over a house-influenced drum beat. It’s got a certain muddiness to it that works well, like finding a warbly cassette tape in the rain. “ドキドキのDREAMWAVE” is another track with heavy lo-fi influence. It has a gloomy, almost romantic melody that conveys a sense of longing, something that wouldn’t be out of place on aNujabes record. We take a turn with “Heart is Racing”, a fun, carefree song with a quick pace. Again, another retro Japanese pop track with a future funk kick and snare layered over top. While bereft of complexity, it really works well in its simplicity. The next two songs “Star-Crossed Lover“, and “天体SPIRIT” are standard vaporwave/vaporfunk fare. More meaty drums, pitched down vocal samples and saxophones. ““綾波Fading Light”, fittingly named, isn’t a bad way to end the album. It certainly gives off an “end credits” vibe and wraps things up nicely.
With such a wide variety of subgenres thrown into 15 songs, you would think any sort of cohesion would be out of the question. While it does linger too long (two or three tracks too many), Oneiromancy and the Memories of a Past Life has a delightfully sentimental atmosphere that is best experienced from start to finish. It’s an album we recommend you scope out via BandCamp – there are plenty of interesting comments and notes on the track pages that dive further into this, as well as some very cool artwork. Overall, a good album (dare we say concept album?) that will have at least a few tracks to satisfy, regardless of your favorite flavor of vaporwave.
