An Expression of Interest

Interview: Jason Cox (Xoc)

This is where it all began :)
The post that started it all

I’ve been a Xoc fan ever since SMW (Super Mario World). That album rocked my world like the Tunguska blast, and my musical tastes haven’t quite been the same since. Seriously, as far as major musical influences go, Xoc is right up there with Joe Strummer to me. So, with the power of the interwebs I wanted to find out a little more about the man who created such great tracks. Xoc, or known mortally as Jason Cox, consented to my inquisition, and here we are, so let’s get into it!

Jason: I am extremely flattered, thanks so much!

SMW (Super Mario World) was your first album that I found and the attention to detail just blew me away. All of the little moments from the game were lovingly recreated or even emphasized. I’d heard a few other bands that were doing covers of Nintendo songs at the time, but they were mostly just trying to do a ‘punk’ version, which ultimately just sounded like shit. SMW felt like a love letter to my own childhood, and for the first time made me realize that these games really had created a kind of hive-mind effect on a large portion of our generation. Why did you decide to record SMW, specifically why this game, what did (does) it mean to you, or was it a random choice? Describe some of the lengths you went through in the recording process? About how many different instruments/layers went into the tracks? How did you plan out your versions, or did they spring from improvisation?

Jason: I started learning videogame music sometime in 2000, maybe 2001 – it all started with learning about emulators. The first one I ever used was NESTER, and the ability to single out the separate audio channels was the key, just because I’d never been much good at figuring things out by ear. I could pick out the main melody, but the concept of harmonies had always eluded me. So NESTER opened up a whole universe of possibilities for me.

Nester sound options

When I started using an SNES emulator and listening to even MORE bits of songs, I was amazed at how much went into those songs, especially harmonies and countermelodies that I never would’ve noticed before. The very first Xoc song was Lower Maridia from Super Metroid. That’s also how I got stuck with the name Xoc, actually – the first place I posted it was on the forum, where my user name was just Cox backwards.

By then I had figured out the other system emulators and was finally able to do music from Sega, Game Boy, and with MAME, arcade games.  This was the point where I started going berserk, covering everything I could think of. I tried to form a band, but very few people would take it seriously; or at least serious enough to learn the sometimes difficult parts.

Which brings us to SMW, which was my first full album. I was originally planning on doing a variety of games, in medley form, for the albums. But after reacquainting myself with Super Mario World, there were more and more tracks from it that I wanted to include, so I eventually decided I would do it all.

By the time of SMW I was living in Noah Nelson’s house, and so had an entire room to myself; not to mention access to all of the instruments of the bands I was in. (SMW might not have turned out as good without banjo or melodica!) I was so excited by FINALLY being able to play this stuff – I wasn’t good enough to figure it out when I was a kid – that I really threw myself into it. I confined myself to “Optical Pies Recorders” (my room) for many hours… and after a really long time, when your mind gets a little screwy, things like using the fridge as a bass drum or recording a 20-voice Muppet-style choir seem perfectly reasonable. And, of course, “asscheeks”, which is the penultimate entry on the list of “instruments.” I swear, that was probably the most-asked question: “…you played ‘ASSCHEEKS’?” Yes, I did. For songs requiring handclaps, I set up a microphone pointed at my ass and slapped it with both hands. My reasoning, during what was likely one of those fevered, work-exhausted mental states, was that I was doubling my output; I was getting two handclaps for the price of one. For the price of one red ass, I guess.

[NOTE: the first SMW track I did was the main theme, done as a simple demo with drums, guitar, and two basses. It’s included in the current 30-track version of SMW on the Bandcamp site.]

The first time I heard ghosthouse, I remember thinking, wouldn’t it be great if he took the secret exit, and holy shit you did! It was one of the first times I remember just throwing up my hands and going FUCK YEAH at a song. Sorry if I keep gushing over this album, but you know when you hear a cover version of like a Creedence track, it’s simple and straightforward on a technical standpoint, but it always sounds off, like it’s from an alternate dimension, none of these songs ever felt like that, they just worked, and they worked oh so well. What were some of the things that you were attached to and went out of your way to preserve in SMW? Was there a song that stood out to you as a favorite, or one that you thought THIS is it, this is the one?

Jason: Ghost House was something I wasn’t sure was going to work. It seemed like it was, I dunno, too similar to the SNES version. But the secret exit was absolutely – pardon me – the “way out” of that song. It’s like a punchline; the main figure repeats just a little too long just before it hits.

A big part of it for me was drawing attention to the harmonies and other “buried” parts of the music; sort of flipping the standard focus, so that the most recognizable parts are more in the background, and the supporting parts up front. Because those parts are always there, but they’re sometimes harder to pick out and whistle, y’know?

The entire ending of the album is completely amazing. Castle Medley, perfectly lays out a soundscape for the epic, no holds barred vision of Bowsers castles that I had in my head as a kid, and throwing in the end level medley too just was icing on the cake. Valley of Bowser Medley captures the frenetic energy rush that you got while trying to clear the boss of any of the castles, but specifically the epic final fight, and Vacation just nails the sense of relief, much deserved after the fight. I’m not afraid to admit, that under the right conditions, End Credits still makes this ‘grown’ man tear up. Damnit man, why’d you cover it so well?! Part of it is that wonderful accordion, then the sound of all the Yoshi eggs hatching, the constant build up and chorus line ending, it’s all there. How was the reaction to SMW from your friends and family once it was finished? What kind of response did you get from the internet at the time? Did you feel that you got everything you wanted out of SMW, or was there any kind of reservations or things you wanted to do better?

Jason: My favorite part is the ending, for sure – when it speeds up towards the end. That was a specific attempt to invoke the Mr. Bungle album Disco Volante (kind of a mashup, stylistically, of “Merry Go Bye Bye” and “Ma Meeshka Mow Skwoz“). One of the best reactions I’ve heard about that particular track was an angry one: something along the lines of, “that song is so good, but it never resolves at the end? Why did you cut the last two notes off???” I have to admit, that was on purpose (haha). I wanted it to ALMOST make it to the end, but at the last second the “death jingle” interrupts it. But I think the Game Over piece does the job of ending everything on an “up” note, pretty much.

My family has always supported everything I do, creatively, So I’ve been very lucky. Back in high school, my parents allowed my band to practice, at full volume, INSIDE a bedroom in our little 3 bedroom suburban home. We were very loud, very obnoxious, and some things we did really stretched the definition of “musical” to the breaking point – noise saxophone battles, circus metal, funk versions of Paganini’s 5th Caprice, etc. – but my folks let it happen, and I’ll be eternally grateful for that freedom.

But the response from the internet has been something else entirely. I remember getting positive reactions from the first stuff I did (except for an ill-advised Eninem/Metroid mashup I thought was funny, but nevermind). But once I put SMW on, it just exploded. I would check the number of downloads every day, and it just kept GROWING. I had never been a part of anything that popular. It was strange. But also extremely gratifying, and encouraging, and convinced me to continue – ASAFP.

First review from
First SMW review from

What’s Pink and Sucks? This one was very different for me since I did not have any real experience with Kirby growing up. I knew of the weird little pink mouth breather, but I’d never played one of his games for more than 5 minutes at a friend’s house. So, when this one came out, first off, I loved it, second it drove me to find recordings to compare your version with, and then of course, to track down a copy of the game to enjoy properly. Starting off with the telephone always seemed like genius to me, don’t know why, it just fit the sound and tone for the rest of the album so well. This album has been in constant rotation at work for years since it’s so cheery and upbeat, it’s the perfect thing to keep you from gouging out your eyeballs during the daily grind. Vegetable Valley 1 and Ice Cream Island 1 just sound like marshmallow pop, in the best way. I have to admit, every other time I hear Butter Building stage select, the chanting in the background, I’d think ‘Hook! Hook! Give’m the Hook!’ from Hook, but that may be because I have my own deep seeded issues. Holy shit is Grape Garden stage select a great track, you almost feel like you are floating through space. Forest Theme sets the pace like a sack of cement, gradually layering in the rest of the elements for a terrifically solid one minute and fifty seven second jam with an appropriate breakdown at the end. Orange Ocean 2 seriously is a Parisian trip, you can smell the croissants and shit. What made you choose Kirby as the focus of an entire album? Anything you want to share from recording/releasing this one?

Jason: I didn’t play Kirby when I was a kid either! It just never appeared on my radar. It wasn’t until the emulator age that I was able to enjoy it (and probably a hundred other games I never had the money for back then). I really made up for lost time, game-wise.

There’s a quote – I can’t remember by who – that describes hearing Steely Dan for the first time as, “like hearing the Beatles with jazz chords.” And that’s how I felt hearing Kirby for the first time: Super Mario and a3589518203_16other early Nintendo music was simple, elegant, and catchy as hell. But the Kirby music, while still catchy, is so much more intricate and elaborately crafted. Every second is so full of music. Unfortunately, I found this out when learning to play it; particularly the bass parts. So quite a lot of it was recorded at half-speed. I know a lot of artists might not admit to studio trickery like that, but it’s never bothered me. Mainly because I’ve never claimed to be an astonishing player – I couldn’t get up on a stage right now start shredding through metal versions of Final Fantasy or anything. My goal is to create studio recordings of game covers that sound interesting. Accuracy is a close second to that, haha. And anyway, I really like the way pitch-effected music sounds; the timbre of double-speed guitars is such a unique sound. I’d point to Ween and, of course, Frank Zappa as influencing me there.

I really don’t know why the “telephone intro” seemed like a good idea. Because the melody is very simple, and it’s the first thing you hear when you turn the game on, I probably thought that was one way to make it more interesting. I did discover that the lowest note is not available as a touch tone, so that’s why I “played” it with a quick click over to a dial tone in the same key.

The chanting in Butter Building stage select is, alas, pure gibberish. If I had to transcribe it, I’d maybe say WOO HAH HUGGIDDI HO or something. 🙂

Emulator, holy shit, again with your interpretations of not only the game music, but of the other bands that you are cross-breeding them with. Zelda 2 (Beach Boys) blew my mind, and Sonic the Hedgehog – Marble Zone (The Ventures) fits just perfectly!

2Jason: Thanks! The whole thing started with Zelda II, I think; it was entered in a Dwelling of Duels competition. I had also done a Melvins-style cover of Kung Fu (NES), and it sort of snowballed from there. Matching VG music to other artists became a short-lived pastime. I have something like 100 more combinations I want to do. Let’s see… Butthole Surfers doing the title screen from Madden ’93; Fishbone does Mario Party; Sunn0))) does Rygar; Hank Williams Sr. doing Bubble Bobble (I’m not sure what I was thinking with that one, but I’m sure it made sense at the time).

The Beginning of the End is such an epic themed experiment, “100 Songs from 80 games from 10 systems.” Where did the idea for this project come from? How hard was it to choose which bits to use, or was it more difficult to find material you wanted to work with? Were you already familiar with all of these games or did you have to go out of your way to find more material? My son LOVES this album, despite only knowing a very small selection of games presented. He specifically loves the medley version where it all plays as one rapid fire track full of seemingly random bits of awesome, so he wanted me to pass along his compliments to you. What is it about short, almost Wario Ware-like micro songs that you seem to enjoy so much? Your use of them throughout the XOC albums really influenced me in my mix making, showing how useful a short kind of pallet cleanser can be. On top of that, it really makes those tracks more endearing because they don’t go on for 3-4 minutes too long.

Jason: I think Beginning of the End came from a few different directions. First of all was my love of … I guess it’s called blipcore? 3-second hardcore/grindcore songs? Like the pre-S.O.D. cassette “Crab Society North” was one of the earliest. I’m a John Zorn fanatic, and Naked City’s “Torture Garden” has always been in my top 5 albums of all time.

The other factor was (and is) that other VG artists rarely cover the brief fanfares and jingles. Sometimes as an intro/outro, but almost never as a standalone track, on its own merit. So that was a part of it too, just wanting to “fill in” the list of musical pieces that have been covered in the VGM community.

There weren’t a whole lot of games represented that I wasn’t already familiar with; Donkey Kong Country was one I didn’t know, and Military Madness was suggested to me by a friend. I was really happy to do all of the music from arcade games.

If You Don't ListenIf You Don’t Listen To My Music I’ll Kill This Dog, this one has some brilliant arrangements. The Metroid tracks on here are all phenomenal. Lower Maridia is so damn creepy, as it should be, and it just keeps building, and getting better. Phendrana Drifts gave you some room to be more atmospheric and spacey, like some dark, unused, Doctor Who themes. Kraid (country version), hell, yes. Almost without exception, everyone I’ve played this for has fallen in love with this version. Holy shit, what drove you to cut this version, tell me, I must know the story/inspiration behind this track.

Jason: After the first 5 years of doing Xoc, I was honestly surprised at how much material I’d collected. Most of the
tunes in the “Earlier Years” section were simply posted on my website, or perhaps MySpace, directly after completing them; I wasn’t thinking in terms of “albums” then. The country version of Kraid’s Lair… well, that really only happened because I was unsatisfied with my own “straight” cover. I could never quite get it to sound right, and my playing just wasn’t up to Minibosses or Advantage standards. So this might have been the point where I thought, okay, lots of others can do just straight covers with distorted guitars a lot better than I can, so I’ll do a totally different style – that would at least stand out. I also happened to have a banjo handy.

Metroid doesn’t steal all the spotlight here, Adventure Island’s Overworld #1 is probably the funest track on the album, and that Misc. Mario Medley that just swaggers in like some dark magic, bell bottom wearing mother fucker. Finally, Sonic the Hedgehog – Green Hill Zone, sigh, I cannot tell you how many times that song has made my day. That seriously is one of the most chill video game related tracks ever. The whole arrangement is spot on as a cover, and again, adds so much depth and character to the track that it becomes a whole new meal to enjoy. Do you have any favorites from this release, or any other production related anecdotes about it?

Jason: Sonic Green Hill Zone was one of the earliest covers, maybe directly after Super Metroid’s Lower Maridia. It might be my favorite from the early years (although the Donkey Kong Jr. Medley is much closer to my childhood nostalgia). Besides not playing as much Sega growing up as Nintendo, at the time it was much harder for me to figure out the music from Sega Genesis games – simply because I didn’t know of an emulator that could isolate the various melodies. So now I have to admit to relying on fan-made MIDI covers to pick apart the music. I wish I had kept track of who made those.

Let’s change gears a bit. You’ve been particularly prolific over the years with your own video game related solo projects as well as a lot collaborative albums and even a few groups you were a supporting member of. In no particular order; XOC, Recreational Episiotomy, The Buttfuxtables, Hemostat, Heavy Friends, The Soundry Courter Project, Theophagus, Las Pesadillas, and I’m sure I’m missing some too.

6Jason: I’ve played drums for Las Pesadillas since 1995 or 96. There have been some hiatuses and lineup
changes over the years, but the core group is still together: Noah Nelson (guitar, vocals), Glenn Newport (bass), Damian Sol (violin, keyboards) and me on drums. The four of us have been part of many other projects
along the way; one that’s still together is Radio Orangevale, which is Noah, Glenn, Kevin Coughlin (an outstanding drummer, from Sacramento’s best surf band Hypnotic IV), and me on guitar. I also played guitar for the punk-metal-sex-grind performance spectacle KnifeThruHead for 10 years; KnifeThruHead grew out of Old Man Homo (with me, Damian and Noah), etc. etc.  I could go on and on – a diagram of all the bands and bandmates I’m connected with (and all the bands THEY’RE connected with) would be overwhelming.

For my solo projects, I’ve always found it easier to get stuff done when I’m working within specific parameters, or within a “box.” Xoc is videogame covers; Recreational Episiotomy is a mix of jokey grind (but with disconcerting lyrics) and jump-cut weirdness in a sort of Naked City vein; Hemostat is a mix of dark ambient and harsh noise. There’s a specific goal, and the limitations are what defines the method. (If that makes any sense.)

You are in process of re-releasing the Theophagus recordings, which you started when you were about 16. What drove you to start recording these tracks? Did you come from any kind of music background or family?

Jason: In the beginning, Theophagus* was just about me learning about music and recording simultaneously, by experimenting.  All that stuff I was saying about working within parameters? The big exception has been Theophagus, because it’s really just me without any filters.  It’s the only project with traditional “songs”, that’s for sure. At the time, my main songwriting influences were the Pixies/Frank Black, Steely Dan, They Might Be Giants, and probably Beck.


My mom taught me piano, and later got me started on guitar. But my main instrument has always been drums – my uncle, a real multi-instrumentalist, helped my folks get me a real drum set, and I took lessons for years. As I say, my family has always been completely supportive!

* “Theophagus”, the name, was something I thought I created; I took what I thought was the prefix for “god”, and the suffix for “eater”, and decided that it meant “GOD EATER.” (It was years later that I found out that “Theophagy” was a real thing, with the Eucharist, etc.) Originally it was a joke name for a metal band.  Y’know, like, how far can you go with violence, size-wise? “Megadeth” is just killing a bunch of humans, and something like PLANET KILLER – well, shit, there are LOTS of planets. How about something so big and so evil that it eats GODS? I think the furthest you could go would be, I dunno, how about “EXISTENCE PUNCHER”?

You can hear a lot of things that would go on to be staples of your later works, such as the use of many improvised instruments, extensive voice sampling, and other forms of distortion. Some of the stand outs to me, from the collection I had when you first released some of them years ago are Coffin Conga (remake), Elephantine, Friscoids, Gwambesque, Motel Window, Oasis=Mirage, Ping Pong, Rigor Mortis Song, The Cold Shoulder, and World War Zero. Theophagus covers such a WIDE array of emotions more than anything else. How do these tracks feel, and what do they mean to you now after all these years?

Jason: I’m a much better singer than I was then, and I’m STILL horrible at it. And I never could get the hang of tuning guitars. So for at least those two reasons, a lot of it is hard to listen to. But even at the time, I was thinking of most of it as being “demos” – a way to try out ideas and get them recorded, and hopefully re-record the best of it all later in a proper studio. That thought never really went away – ONE of these days, I can do these songs the right way!

The Soundry Courter Project was your way of keeping sanity at your day job. Did anyone ever realize what you were doing, or care? How were you getting the music to and from the work computer, stacks of CDs, zip disks, work computers aren’t known for having large hard drives.

5Jason: Wow, that’s amazing you ask that – I’d forgotten how I did do that stuff. Because that project started in around 2000, and a thumb drive larger than 500 MB was probably a science fiction fantasy back then. Everything done in Windows Sound Recorder was done as WAV files, which are notoriously large. I had a few methods to get those files home: one was to bring in a portable MiniDisc recorder, plug it into the headphone jack, and record the finished songs in real time. This worked okay, except for the EQ sounding a bit bass-heavy. A better method was to split the song into a bunch of fragments and e-mail each one somewhere. My work e-mail would only send attachments smaller than 3 MB, so a 2-minute song would require around 7 or 8 e-mails. But believe it or not, the best method I found was to use AOL Instant Messenger. I would sign on at home, go to work, sign on as my “work self”, and transfer files. It took forever, but… I was at work, so I had other stuff to do. (hahaha)

No one has yet found out about what I did – I don’t think they’d understand even if I told them.

XOC & Heavy Friends actually introduced me to Stemage, and then Metroid Metal, so many thanks for that. That series was interesting to me because of the collaboration between all of these distant people, you didn’t see a whole lot of that back then. How did the first one come about and what was the experience like working with all these different artists remotely like?

Jason: I had tried something similar on the forum (I solicited musicians to record themselves playing a portion of a specific Metroid tune, that I would then add into a single mix; it was never really finished), but I didn’t think of it again until joining THE SHIZZ. ( is a forum dedicated to the Minibosses, and has since grown into a substantial hub of the VGM online community.) So one day I just asked the forum if they would mind sending me… “something.” It had to be an original recording, and it had to be unaccompanied (a solo instrument, voice, or any other sound). The first volume (actually an EP) had a handful of participants, so I filled in quite a bit in terms of arrangements. But as the project grew, there are plenty of songs where I don’t play at all – I only wrangle and mix everyone together. I think the big appeal to Heavy Friends is that anyone who has contributed hears the albums differently; hopefully I’ve been able to surprise people with HOW I used their sounds.

I only just recently discovered Las Pesadillas, and was eternally grateful their catalogue is on Bandcamp. This lovely band is described as ‘punk-gypsy-spaghetti-surf-rock’, and that is an entertainingly appropriate description. You play drums, additional percussion, misc. instruments and provide backing vocals. How did you get involved with the band, did you know the other people, or was it the style, or both? How involved were you in the songwriting process?


Jason: I joined the original founding members Noah Nelson and Steve Sullivan to form a trio, first called Teenage Superstars, and then Ed Special and the Nightmares. It was originally going to be a one-off thing: they had a gig coming up, they were without a drummer, and so I would learn the songs, play the show, and that’d be it. Well, y’know, that was twenty years and three bassists ago, and we’re still together.  The majority of songs are Noah’s; he is an incredibly talented and prolific singer-songwriter in his own right, so that has mostly informed the style of the music. As time goes on, and with various line-up changes, it has become more of a democracy. …Though there is one Theophagus song that we still play exactly as I wrote it – “Desert Flower”, a song about the movie Raising Arizona.

Looking forward, what do you have lined up? More collaborative albums, playing with local bands, or is there some new solo material on the horizon? It’s obvious that music has meant a lot to you throughout the years, and has been a natural outlet for expression and creative freedom. Is there anything you’d like to say or add?

Jason: Trash Can Eagle Records, my new Bandcamp label, is my new favorite hobby.  It’s an easy way to share all of my music with the world – for someone who grew up writing song lyrics on a state-of-the-art Apple IIc, it’s practically a dream come true.

There are two long-overdue Xoc albums in the works – one is a collaboration with Damian Sol – and Las Pesadillas and Radio Orangevale are both playing shows, writing new songs, planning new albums; I have thousands of ideas for Xoc and all my other projects, but I’m also supporting my bandmates in their own solo projects as well. (Just wait until you hear Noah Nelson’s new solo record…)

I’m as excited as I have ever been to play music. I’m lucky enough to play and create with my best friends, and I don’t think we’re going to stop any time soon. And I’m just as lucky to have my own projects on my own time. And you KNOW I’m not going to stop.


Big thanks go to Jason for agreeing, and providing some of these great pictures from over the years

(I’m looking at you Kraid the Kid)

All of Jason’s albums we talked about and much, much more can be found at his TrashCanEagle page below.

Featured post

The Tomorrow Children

“Playing online would be great, if it weren’t for all the other players online.” That has often been my thoughts regarding any and all online multiplayer games since you had to call your opponent to sync your baud rates. That changed the first time I got to explore The Tomorrow Children’s first alpha. The kicker was in the odd story, and the ways in which you interact with other players within the world. Unlike most single or MMO games, you don’t play as a singular unique hero trying to save the world, instead you are a projection clone whose purpose is to gather resources, seek out survivors, and rebuild civilization. You never see what’s behind the projection clone, only the vast, beautiful void, and the few characters and monsters that roam there.


For me that’s where the allure of the game came from. It really plays out like a grand sandbox experiment. Given enough time of inaction, your town will run out of power/resources, and be overrun by Izverg (the Godzilla like monsters that roam the void). So in order to survive you have to cooperate with other players, with almost no method of interaction, save for a few gestures. If this were any other game, you’d have people using tools to block off important municipal buildings, actively trying to destroy the town, or even sabotaging the delicate infrastructure players create out at the resource rich ‘islands’. However, I never had that experience, not in Alpha, Beta, or Live. The trolls would visit, but the knowledge necessary to troll seemed a bit higher than most cared to invest, leaving you with a fairly cooperative and harmonious community.


That mostly silent, nearly invisible community is what struck a chord with me. By the nature of the game, players are not visible in the world unless they are performing an action, and even then it is only for a moment, and then they are gone (sharing a shuttle ride is one of the few exceptions). This also strangely highlights players actions, more than the players themselves. In keeping with the styles and themes of the game, your labors are more important than you yourself. All of the resources in the town square are there because someone harvested them, carried them to a loading station, picked them up back in town, and walked them over to the correct receptacle. Monuments, lights, housing, ledges, everything else added to the world was added by an industrious comrade for everyone’s (hopeful) benefit.


Saluting statue
Saluting statue

The game visually and aurally stood out from the crowd with its heavy handed Soviet stylizing. The team at Q Games had a field day creating their own versions of Soviet period propaganda that fit their world, including little instructional propaganda films that littered the environment. Sonically the game benefited from a unique distillation of traditional triumphant Soviet anthems, and brooding synthesizers. This created a wonderful juxtaposition after spending long stretches listening to a threatening musical drone as you explore mysterious islands, only to return to town and are bombarded with overly triumphant march music. The sum of its collective parts all worked together to cement you into this beautiful, collective experiment.


As with most great experiments however, people didn’t find enough time to enjoy them, myself included. I played the game way more before it came out than when it was live with a lot more users. By the time it went live, life had just moved on, and there were too many other shiny distractions for our collective attention. I’m not surprised that it’s sunset hit sooner rather than later given the niche appeal of the title, but that doesn’t make it hurt any less. Especially more because it’s the first game I can really think of that I had formed an attachment to, that I can no longer play. It’s gone, poof. There isn’t an offline mode, or single player experience, it’s just, gone. All I have left are my memories, and the screenshots/videos I captured along the way. I’m not going to get into the need for digital archiving or attempts to preserve unique online experiences, that’s an amazingly cool thing that should happen whenever possible, but most often it’s just not feasible. You wouldn’t want it as a single player experience either. Sure you would at least be able to run around and experience the beautiful engine that was built, but that isn’t THE game.


Without all those other projection clones briefly popping up as they interact, and cheering on their fellow workers, without logging in and seeing the progress others had made over night, without someone firing the defense turrets at absolutely nothing, wasting all the ammunition you thoughtfully crafted, without stairways to the heavens, without someone cutting down the apple tree, without that person who doesn’t mine, but finds fulfillment in just sorting the deposited minerals, without someone to stand next to on the shuttle, it would be a dry, emotionless, void.


I’ll close this out with a few of my screenshots from the game, along with my sincere thanks and gratitude to all the folks at Q Games who poured their hearts into this title over the last few years.



The Tomorrow Children™_20171031232701

Life with a Switch

New consoles are always an exciting, and frustrating time for gamers. The excitement of a new piece of hardware, and gaming experiences, mixed with the uncertainty, and debt. Almost every big console launch has had a comparatively small assortment of titles available on day one, and the Switch was not any different. Still, despite the lack of initial games, and even features, the Nintendo Switch has found it’s niche in my daily routine.

My son (about to turn 13) and I have been playing the crap out of Breath of the Wild. While I’ve beat the main game after pouring in over 100 hours, he’s still about 10 hours in, and loving it. This is really his first Zelda game, having known the character forever, he never could quite connect with any of the recent games, or the patience for any of the older ones. So being able to share differing stories of our adventures through Hyrul has been amazing. Showing him the similarities between this game and the first, has ignited his interest in the originals, and will hopefully lead to a summer play through.
20170407_100242Sadly though, the lack of other games to play will still be a bit embarrassing for a few more months. Seeing the rows of empty cartridge slots in my carrying case is a constant reminder of the lack of non Zelda related games. I picked up Snipperclips, and it’s been a big hit at home, despite some Joy-Con range issues due to the distance of our couch. I also bought Shovel Knight, for the 3rd time, 1-2 Switch, and a physical copy of The Binding of Isaac. These all get their time in the gaming rotation, especially now that my Zelda time is waning. The fact that we are a month+ into the launch and we still don’t have concrete information regarding the Virtual Console is disheartening. Optimistic me is hoping they are really trying to Nintendo it up, and provide a quality digital experience for their classic titles, but realistic me is bracing for re-purchases, and limited releases.

Speaking of realistic, there is a whole other elephant in the room, and it’s tied to HDMI auto-switching. I try not to just leave the Switch on the dock whenever it’s not in use, so as to not wear out the battery, but often in the evenings it will wind up on the dock to make sure it is good for me to take to work in the morning. Well, if I’m watching a movie, or playing on my PS4, invariably after 30 minutes, and hour, two hours, at the most inopportune time, the Switch will cycle on to check for updates I’m assuming, and triggers your TV to change from it’s current input to the Switch. I’ve disabled the “match TV Power State” option in Settings, to no avail. My Samsung TV won’t allow me to disable the feature on it’s end either, so, now I have to make a conscious effort to un-dock my Switch before settling in for a movie or a lengthy Persona 5 session. It’s not the end of the world, but it’s an annoyance that none of my other consoles/devices cause.


I hate hauling around a ton of stuff to and from work, and as such, if it won’t fit in my work bag, I won’t take it. For the longest time I would be bringing both a 3DS and a Vita to work for lunch time entertainment. As time went on, and I cleared through my Vita backlog, and the releases dwindled, it stayed home, and the 3DS came along. The Breath of the Wild SE case, while a bit loud for an office, fits just fine with my Surface in the bag, and stays tucked away until break time. The screen brightness works just as well indoors as outside enjoying some fresh air, and luckily I haven’t run into odd battery life/inaccurate readings like others I’ve seen.
All in all, life with a Switch right now is, ok. Breath of the Wild is amazing, and being able to play that on the road, or at work has been great, but most other offerings are Beetle Figurestitles that I’ve played on my Vita long ago. The showcase of indie developers on board right before launch was a pleasant surprise, and hopefully the follow through on that end will continue, and not just be lip service. 2017 would be a great time for a new Suda51 game on the Switch, but that won’t likely happen till next fall at the earliest. While I’m excited about a bunch of the indie games announced, it highlights an absence of NEW first party content, for their NEW first party console. Oh, and I’m still gravely disappointed that it doesn’t have some evolution of the Streetpass system like on the 3DS, and fruitlessly hoping that its integrated somehow with the Virtual Console. We know you don’t want to start cannibalizing the 3DS install base more than you are, but that’s just how people see the Switch, as mobile, and as a mobile device it should have more connectivity/social features in this day and age.

Well, if you’ll excuse me, it’s lunch time and there’s a shrine I need to clear 🙂

Nintendo Switch says Hello

So a few months back I shared a few thoughts on what I hoped Nintendo might be planning with the still code named NX. Well, the curtain has been pulled back to reveal the Nintendo Switch, which fits most of the leaked descriptions as far as form factor and functionality. It is somewhat modular in that the actual system contains a screen, which can be docked to connect to a TV or taken to play on the go using two little  Joy Cons that slide on the sides of the unit. How does the Switch match up to my hopes, well, it’s hard to tell yet.

Form Factor: So, it appears to be larger than I was hoping for portability sake, sporting a reported 6.2″ multi-touch screen. While that’s a shame for ensuring that it tags along with me everywhere, it does open up a lot of potential for local multiplayer opportunities. Of course nothing on battery life, but we are treated to dual analog sticks, which plays into each Joy Con able to be used as it’s own controller for multiplayer games.

Compatibility: Nintendo has stated that the Switch will not play Wii U disks (of course) or 3DS cartridges (sigh). It would have been nice to have one device that could service all of my Nintendo needs, but the 3DS is still making money, so it kind of makes sense that they don’t want to kill off a good thing. What they haven’t commented on is Virtual Console support. The DS/3DS has such an exhaustive library, a concerted effort to bring that content to the Virtual Console would open up millions of people to great content they otherwise might not have experienced.

Launch Lineup: A new Mario title was visually teased, and some slightly updated versions of Mario Kart 8 and Splatoon were featured, along with an unknown version of Skyrim. Easy money is on remasters of a few big Wii U games, like those above, being available at launch, with probably 2 other big titles, most likely the new Mario, and Breath of the Wild.

User Interface: There was no UI featured at all in the preview we got, which was a bit disappointing. I’m still holding out hope for a more 3DS inspired home screen that can be customized with items earned from playing purchased titles. These items could be tied to or a replacement for a trophy system, which is also something Nintendo has skated around for the past few years.

So, we know more, but not a lot more, and it looks like it might be January before all the cards are laid out. The wait is frustrating, but it’s kinda  nice to be looking forward to a new Nintendo system again.

Nintendo NX- A few thoughts..

So, at some point this year Nintendo is supposed to not only unveil, but release their next platform, currently called, NX. There is a lot of speculation that it will either be a hybrid console/portable or have some sort of functionality to help bridge that gap. Given market saturation with handheld devices, namely smartphones, this might seem like a bad idea, just look at the relative commercial failure of the Vita (Note: I love my Vita), but it could be the only unique niche that they can successfully try to explode.

Nintendo has never led the charge with super powered hardware, so it is unlikely that they will try to jump into the current fight for the VR space. Let Oculus, Sony, Microsoft, and Samsung throw all of their R&D money at the first wave, and whatever comes after NX could easily build off of the lessons learned from this first real VR generation. The days of motion controls are effectively dead, at least in the way we know them now. Nintendo knows how to make a solid portable device, and despite the disappointment of the Wii-U, we know they can make a solid console. Sony’s Playstation Vita might have had a longer shelf life if they had supported it more, and not opted for overpriced proprietary memory cards, but here we are. Microsoft has no portable device, and even their Windows 10 smart phones are having trouble moving units (I tried the Lumia 950 for two weeks, it just didn’t do it for me).

If Nintendo can truly pull off a hybrid console/portable it really could be a hit, especially with all of us older farts out there. The path to victory won’t be easy though, in order for this to really succeed they will have to hit a few points to win hearts, and gain traction.

*Form Factor– If it’s going to be portable, it needs to be portable. Despite my love for the Vita, it doesn’t stay with me all the time due to it’s size, while the 3DS fits comfortably in most pockets. It will need a large and pretty enough screen to make mobile play attractive, without drinking all of the battery-milkshake up in an hour. Add in battery, and the requisite input options people will demand (dual analog sticks, shoulder buttons, touch screen), and you could easily wind up with a device too bulky to want to take with you.

*Compatibility– Just how portable will it be? It’s very doubtful that it would be able to play full console quality games un-tethered from a base console, so, what does it play? If the new Nintendo account system is being overhauled the way I hope it is, they should start making Virtual Console titles from ANY previous system playable on the mobile handset with or without the main console. Now you would have a legitimate portable device with an instant catalogue of your favorite games, and the input methods necessary to play them. These titles would also be less hardware intensive and would hopefully play nicer with the battery life. Will the mobile device also be compatible with their new smartphone offerings, or will they be content having those be separate worlds? It would be really strange if the new Pokemon AR game isn’t available at all to play on the new Nintendo system, so how will they work with those titles?

*Launch Lineup– Again, what can I play on it? They will have to have at least two big titles at launch for the main console, likely to be Zelda and something else. If they release the console while leaning on the promise of big games within a 5 month launch window, it will send mixed messages to those of us who devour video game news. Are they rushing the launch? Are they really committed to this, or is it another Wii-U?

*User Interface– Nintendo has more fun with their user interfaces that Microsoft or Sony, and they should continue to embrace this with the NX. Further the integration of their properties into the UI, make navigating the system more entertaining or dare I say nostalgic by having much more dynamic interface methods, but still have the option for quick and simple. Make it customizable with icons/backgrounds earned from completing challenges in games, similar to the stamp model they are experimenting with, or the badges on the 3DS. Have the option to make your main menu a Mario level, with different applications being blocks, again, not a forced experience, but an option, and make it easy for 3rd parties to create their own interfaces/stamps/badges/icons/whatever.

I’d love to see the NX be a hit, because after all these years I still love Nintendo games. Yes, there are a lot of amazing game experiences that you can never have on one of their systems, but then again, there really is a lot of genuine fun to be had on their systems. Looking forward to the next few months leading up to E3 to see for sure what their new plan is.

Artist Spotlight!- The Theater Fire


Few bands instantly clicked with me the way The Theater Fire did. Many moons ago two friends and myself went to see a Blue Mountain reunion show at the Granada (the bottom is a recording from that night actually). Three bands would go up that night, and I wound up loving the opener more than the band I came there to see that night. The Theater Fire is a 5-6-ish group of multi-instrumentalist country wizards. I say wizards, because they make such painfully good music seem effortless.

They managed three albums during their run; a self-titled debut, Everybody has a Dark Side, and then Matter and Light. To call them a country band, would be a frustrating understatement. Their sound pulls from all of the influences that originally created country, while still sounding fresh and relevant. They perfectly blend in zydeco, old school gospel, early rock, and mariachi can’t forget those Spanish horns. Some songs evoke riding on horseback (The Desert), others call in the sounds of the rail road (Tease The Hangman), somber dirges (Pallbearer’s Fall), the steel guitar tinged memories of the past (Swimming), and epic southern instrumentals that would give Quentin Tarantino the shivers (El Chupacava), and that’s all just from their first album.

When I saw them at the Granada they were promoting their new CD, Everybody Has a Dark Side, now one of my favorite albums from the past ten years. It starts off with the hauntingly prophetic Kicking Up the Darkness, which really set the tone for the album perfectly. The steel, accordion, keys, and horns all create a wonderfully desperate soundscape. Barrel Riders brings in the whimsy while setting the stage for a song about a fad from another time, managing through rhythm and lyrics to transmit the laughable scene to auditory life. Land of Nod, fuck yes, such a relaxing song. Again, using only the necessary ingredients to piece together the right sounds for a catchy, enjoyable, relaxable song. Hey Jimmy hits the ground running, because, well, he has to. It’s another wonderful story song, with another fitting musical arrangement. The album ends with Members of the Show Em How Its Done which can be seen at the bottom.

Unfortunately there isn’t much of their third album, Matter and Light, that I can link to here. Fortunately one of the best is, Swashbuckler Blues. That live clip shows the care going into the different elements, regardless of how tiny they may be to the song. That slow intro, letting each of the pieces settle right into place always gives me a smile. I also always appreciated the phrasing of “it’s strange how I and my old man”, using I instead “me and my” for some reason always stuck out to me. The only other one on shareable is Dahl Parts. It starts off with a fun little guitar and xylophone setting the pace, before far more serious lyrics start setting the scene. No chorus here, just a few dark descriptions, and a haunting horn.

At that seems to be about where the band left us, with three wonderful albums and no filler. They managed to strike that perfect balance when recording that captures the individual elements and the desired end result, without over producing and killing the warmth of their work. The Theater Fire manages to to live on that short list of bands who has zero skippable songs. As usual, if you like what you hear, purchase their tunes which are available on most major sites. So, below I leave you a great song to end on, from the night that started it all 🙂

MIX TIME! 9-7-15 Sociable

Forgot to post this one here a little while back. It’s a fun and mostly relaxing mix as the seasons started to change into something a little more comfortable. One of my favorite filler tracks shows up, Emir’s Dream. Tried not to go overboard on the video game tracks from my current playlist. Enjoy 🙂

Random Cuts!- 091

As I continue what seems like a life long journey to organize my music folder, there are inevitably folders that I just don’t remember obtaining. In an effort to more easily get posts on here, as I continue organizing I’ll post a few thoughts on some random bands found during the search.

Today though, we have 091, a 5-man Spanish rock band from Granada. They apparently were kicking around from 1982 to 1996, and managed to publish 7 studio albums (thank you Apparently two of their albums made there way into the Music folder, Tormentas Imaginarias (1993) and El Baile De La Desesperacion. Being a non-Spanish speaker, my thoughts will be limited almost solely to the sound itself.

Tormentas Imaginarias starts off with La Calle Del Viento, which seems to be the track of theirs that caught my attention the most. It, along with the rest of the album has a decidedly early 90s feel. All in all it’s still a pretty fun little track with good energy, however like a lot of stuff from then, it runs on a bit longer than it really needs to.

Wasn’t finding the album version of this one, but did dig up this live version, which is pretty close to the recorded cut. Cayendo is a pretty lean track, with a great hook, and it doesn’t overstay it’s welcome. This track could easily have found it’s way onto road trip mix-tapes back in the day.

The title track, Tormentas Imaginarias, has a bit better flow than some of the others on the album, with better harmonies, and a more subdued overall feel. The main hook continues to drive the song, and despite it almost clocking in at 4 minutes, it never really seems to spend too long in one spot and makes for a pretty good listen.

If you like what you heard, check out some of 091’s other stuff on YouTube, there are a lot of live recordings. Otherwise purchase an album or two and show a band no longer together some love.

Album Spotlight- JUNK PLANET – by Dutchmassive

Raised on radio country as a kid, certain kinds of music just didn’t register with me. Rap, hip-hop, and metal would be lost to me until I was about 20. As such, I didn’t participate in the golden age of hip-hop, and don’t have the nostalgic memories most people have when they hear a track that belongs on a Walkman. While I might not have had my feet on the ground floor, I can appreciate the good tracks in hindsight, and appreciate all of the amazing things that came after. How I stumbled into Dutchmassive’s work is lost to time, but fortunately, his music is not. Listening to JUNK PLANET was one of the first time’s I connected with hip-hop, it became a kind of Rosetta Stone for the genre. Enough about context, let’s talk about the album.

The 18 track album is a great mix of downbeat interludes, throwbacks, and collaborations. It hits a stride early with Soul Searchin’ featuring Pack FM. Dutch goes straight into how he sees himself in the current state of the music scene (“I’m not an MC, I’m just a fan who likes to interact”), and how labels, with complicit musicians, have been fucking things up for years. Pack FM steals the end of the track with one of my favorite bits on the album, “The game is saturated by cats who made it and had their reputations fabricated. The school of hard knocks, here’s my diploma, graduated, paid my dues, here’s my receipt, see where the funds were allocated.”

BusStopBuildingblock is another great story track detailing a series of bad turns on a bad day. At each turn though creativity, determination, and the desire to play a Walkman keep you from giving in. Its a nice chill version of ‘what doesn’t kill you makes you stronger’. Like a few tracks on the album, it lets ring at a moment of despair “FUCK THE MALL” (which reminds me of the great Fuck You bit from 25th Hour). No matter how lousy things might be turning out, don’t give in to the productivity hell that is the mall. It’s another one of the positive tracks on this album.

Just me and my Walkman, god damn, if every there was a track that ALWAYS puts a smile on my face. Words can’t quite express how much I love this one. The playful piano pairs well with the upbeat flow as Dutch takes a stroll through memory lane, with the light shining down on that blessed piece of Sony technology. Even during the slice of nostalgia, he still uses it as a platform to take on the current state of music and it’s various mediums of delivery. On the topic of quality is one of my favorite lines, “I push pause and wonder, what if he was gone ’cause he died of hunger?”.

Junk Planet may not be non stop perfection, but it’s damn sure worth a listen. If you like what you hear, pick up some of his stuff from the Band Camp page he runs. Support the good guys/gals out there, if not you, then who?

Status Update!- I’m Not Dead Yet!!

Too many spinning plates has led to a lack of posts of late. I’m working on two more interviews, another album spotlight, and another gaming update. Start of Diablo 3 season 4 stole a week from me, as well as some personal items, not to mention The Taken King and The Phantom Pain.

So anyways, hang in there, more fun is on the way, until then, keep it Kaizers

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