Chiptune Double Feature

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Hey, how's it going, everybody? You're listening to another episode of the Super Mercado Brothers Video Game Music Podcast. Thanks so much for joining us. This is a podcast where we share and discuss the very best in video game music. My name is Carl Brueggemann. And I'm his brother, Will Brueggemann. Boy, do we have a really exciting... sort of dual focus episode today. Yeah, this is a chiptune double feature. There are two amazing...

fairly new chiptune scores that we are going to focus on today because both of them are very short, not long enough for a full episode, and we thought this was a really good pairing. So they're both 2025 scores. I would say at least one of these you may not have heard of before. I would say the big focus on today, what I was really, really excited to share this with Will and all of you,

is a recent Sean Bialo score called Bunny Bomber Blast, which came out in August of this year. And so that's going to be what we're starting the episode with the first half. And then the second half, we're going to be playing a new flashy goodness score, Dreams of Aether, which came out in April of this year. So it should be a really fun time. I know that we both really enjoy Chiptoon, and I will say that...

The system choices for these two scores, I guess I would say they're not what you would typically expect. Well, I'm going in fully blind today, so I'm excited. This is going to be... Kind of a classic scenario where this is my first impression of all this music, and Carl is very much sharing it with me, so I'm excited to dive in. That's really awesome.

I love that. I love when we can get kind of the first impressions here. So let's talk a little bit about Sean. So what you heard playing in, that was a different Sean tune from Donut Dodo, which is a score that came out a few years back, just to kind of set us up here. So yeah, we're starting off. with his most recent score. And you can go on his Bandcamp page and check out Bunny Bomber Blast. So a lot of you probably haven't heard of this game. It uses the Namco C30 chip.

And that's not necessarily a household chip, right? It is a wavetable chip, a really good and robust wavetable chip that Namco used in some of their arcade.

So that was what Sean wanted to use for this score. It feels nostalgic and it feels comforting, but it also feels like... uh kind of fresh and new because i for one have not really heard a whole bunch of uses of this chip so yeah i think that was a really good choice uh for this score so what do you say will should we dive into this really fun score let's do it man

All right. First track we're going to play. And really, we're only playing six tracks from the score. And there's really only about six. I think after that, there's a couple of jingles and like really short, like stage complete tunes. But for the most part, it's just about six long pieces of music. and we're playing them. We'll start with Bunny Blaster BGM composed by Sean Bialo.

You guys are listening to Bunny Blaster BGM. This is from Bunny Bomber Blast, composed by Sean Biello. This just came out in August, just last month, and it is so caffeinated, so fun, so energetic. You can tell just by the title of this game, but definitely when you listen to the music, the heaviest influence is Bomberman in the Bomberman series.

musically, and I think the choice of this chip having just this wavetable sound was a really good choice for that too, because when we think of the sound of the TG-16, it's somewhat similar. to this. So I think that was one of the reasons maybe that Sean went with that chip. But let's just talk about this composition, this energy. Oh, Will, what are your thoughts on Bunny Blaster BGM? My first thought is that it really...

Reminds me of Bomberman music, just in both the level of frenetic energy, but specific music choices, like the kind of emphasis on some of these blues... scalar elements and even some of the specific rhythms really remind me of it but oh my gosh is it just ever delightful it's such a colorful um and rhythmic arrangement and there's just dazzling

sort of candy, sugar-rich ear candy everywhere you look or everywhere you listen, really. Yeah, Will, this chip is so cool. So apparently there was a very similar version of this chip in the earlier part of the 80s that was mono. this chip came out one of the things that was added was full stereo support so that's kind of cool for a chip like this and that really adds a lot it really makes it sound sound full and yeah i don't think there's

too much kind of post-processing or mixing really done to this. I think this is just really what you get with the sound of the chip. It's a cool sound. Yeah, I heartily agree with you, sir.

All right, let's move on to one of my favorites from the score. So, so, so good. This is Burrowing the Hatchet BGM. Absolutely amazing. Burrowing the Hatchet by Sean Bialo. A choice for Track of the Week. So when we get to the end of this first score today, I'll have Will pick the Track of the Week. This is a contender for me.

Love everything about it. It's literally every single thing. The implementation, the instrument choices, the groove, the melody, the backbeat, everything. It's just so... colorful it's a 10 out of 10 chiptune you cannot get better than this yeah it's possibly an 11 or like an 11.5 out of 10 it's so good it's maybe the best

chiptune i've heard in years or in ever me too man i mean it's so good it's just undeniably catchy and joyful the arrangement is colorful the melody is both concise but free and kind of has these little soloistic, bluesy interludes, but it's all around just such an undeniable hook. It's like the balancing point, middle ground.

This is a struggle with a lot of modern chiptune composers. What's the balancing point? Like, how jazzy do we want to get? How much soloistic moments do we want to have? And sometimes it can be a little too wandering, where this, the balancing point, is really, really tasteful, and it has a lot to owe to the... old school, 80s, 90s era.

of chiptune video game music. And so I think because of that, like, yeah, there's these little moments, but he never strays too far. And yes, I will say that when I was listening to this, in this particular track, when it came up on his Bandcamp page, it was what made me just really want to do this episode. and really want to show this music with you, Will.

I'm so glad you like this track. It's just beautiful. I mean, all the voice leading, too. To me, it's all about that intro hook. Oh, God. So good. That is just freaking phenomenal. And it's just... it's that kind of it's the thing that I most love about video game music which is just this like really palpably catchy

but simple sort of minimalism. There's like a minimalism that's made to be like undeniably catchy. And that has it, that has one, that's like a classic video game intro loop riff, like a mega. and Capcom level. It's just so iconic sounding. And then when that melody comes in and it's just so catchy, but yeah, also unrestrained. Like it doesn't feel, it doesn't have that thing where like every note is etched from the guy.

odds and it's this like haiku of minimalism but it's also like very hooky and very like it just feels polished and every moment was um sort of labored over yet it has that spontaneous feeling of like a band playing. It's just this great sweet spot for chip music especially because I think it's like a big part of the charm of chip music is hearing the chip do dazzling things.

coloristic things that are sparkly and impressive or that have a human touch like things that sound soloistic and kind of almost improvised like it has a different kind of character when it's coming out of a chip. Speaking of character, what a perfect choice of chip for Sean to use. Really, you could tell he's kind of writing for this chip. It's just so colorful.

Really, really exciting. I know our buddy Carlos is probably jamming out to that track. That kind of reminds me of him as well. All right, let's move on. The next piece we have is Short Fuse BGM. Here we go. This guy's got chops. This is Short Fuse BGM. So, so good. Okay, so the track starts, and we've heard a lot of BGM tracks that have this kind of vibe.

bluesy kind of alternating between two chords and doing a lot of repetition on each chord but then he goes to places that are super super unique and he really shows you that He's still taking this track just as seriously as any of the others. And I will say, like, the start of it is a little sillier, maybe, than a lot of the other tracks. But he doesn't just rely on that. I mean, it really does go places. And that chorus...

has some vert quality to it. We get a little bit of the jazziness coming in there with some of those really tasteful, fast-moving changes. Just... god what a master there's a lot of colorful sort of like jazz fusion japanese jazz fusion influence throughout and just classic game music like there's an aspect of it where i'm reminded of like ducktales for the nes but there's also parts that remind me

of classic Sega arcade music and there's parts that sound like Sonic. Still lots of Bomberman here too, especially the rhythm of the accompaniment. So Bomberman-y. Yeah, I think there's just lots of that kind of...

but he clearly has his own particular voice. It's like the way he's balancing all these elements. There's one little device he used in this song and the last song that I just wanted to call out that I think is really interesting, and it feels like a little expressive touch. It's kind of...

like when the melody is squealing in a high register and it jumps like a ninth or it jumps up an octave and then some just for one little note and then back down. And it almost feels to me like he's like imitating a guitarist playing a harmony. Sure. Imitating like that squeak of like an amp when you're getting a smidge of feedback or even like a singer when their voice sort of cracks and gets thin. But it's this technique that.

It seems very particular to Sean that I haven't exactly heard in the consistent way that he's used it in both these tracks where it feels like there's like a... a kind of humanity that he's trying to get out of it or a kind of humor or a sort of, there's something he's doing with that little device that I don't know. I want people to listen out for it because I'm going to be listening to see if I can hear that in other tracks. Yeah. Sean is definitely be.

one of my most excited composers to look out for, just the future of his career. Wow, what a talent. All right, this is another one of my absolute favorites. Excited for you to hear this, Will. This is Grave Detonator BGM. . .

That's the best thing I've ever heard. That is so flippin' good. It won't quit. This track will not... quit it gets better and better and better and better better like exponentially until you just can't handle it anymore grave detonator bgm will talk to me oh god it's just it it it's almost like the musical equivalent of like

drugs or something like it feels dangerous like it's like addictive how delicious all of these colors and harmonies and it's just it's we've talked about this with princess connect before but it's like the idea of music that is just so stuffed with satisfying pure entertainment in a sense. Like it's just every single solitary second and every little molecule of this piece is designed to give you like sugary pleasure.

in your ears. And it's just, it's such a sensational experience. I mean, the amount of craft and technique that it takes for someone to be able to execute something like this really cannot be overstated. Like this is musicianship at its... highest at its finest level it's like make no mistake video game music and chip music is

arguably a little niche um even still to this day but this is musicianship at the level of anybody i'm sorry like you could just put this up there like whether you like it or whether you detest it but the the sheer virtuosity I guess you could call it in terms of arranging and execution is...

It's really unparalleled to a lot of... It's crazy. To really anything I've heard in a really long time. It's just unbelievable. Overwhelming. These tracks he made for this Bunny Bomber blast, oh my God, just... Yeah, even you saying that name again takes the previous sentence that I just said and makes it sound so silly. Because we're talking about, oh my gosh. Yep. It's surreal, man. It's a crazy world.

Let's play. This is a combination of two short tracks. We have continue and name entry. Here we go. You guys are just listened to, I should say. That was continue and name entry. two short pieces uh yeah i did want to show uh some of these too because yeah the short little jingles are also outstanding yeah short little quick it sounds like it might be an arcade game or at the very least an arcade inspired game Haven't really heard much about it, so it seems a little bit obscure. But, man!

He absolutely nailed everything in this. I can't wait to hear more of his work. Yeah, to me, it's interesting because this music, were I to describe it on paper, does things that don't typically... I don't know. It doesn't excite me in the way that this does. And that's why I think music is really hard to talk about because so often it's about the specifics. Because all the words that we're using to talk about this could be used to describe other music that I might really dislike.

because it's like really... particular the kind of taste that sean is displaying here for melodic restraint versus melodic i guess like flexibility or ornateness if you want to call it that um and the the way he comes down on it is very different from like my own personal taste yet he's selling me on all of these choices he's doing all this kind of nimbleness with a melody that it's like if I were writing something I probably wouldn't go there

but he makes it really delicious and appealing in this way that like, it's just, it's hard to talk about because it's just the product of his really great taste. It's like a chiptune. He's like a chiptune magician or illusionist or something. You can't help but just applaud. He surprises you in so many different ways. Yeah, just amazing stuff. It's just crazy that...

We only have one more track before we move on to our second score. There's more that I want to say about that because this is really like a special, this is clearly a really special soundtrack. and a really special composer. After this next track, we can spend a little bit of time just kind of talking about just, you know...

Just the experience we had just with this short little score and just what we've heard so far from this very talented composer. Is that the whole thing? I'm not ready for it to be over. This is a good, today is a really good one-two punch because the scores are super, super different. It actually couldn't be more different. Next week we're doing a redo episode. We're just doing this one again.

I know I didn't want to have the same energy, so it's going to be a good palate cleanser with the second score. All right, we have one more from this first score. Let's take a listen to Do Not Feed the Moles, BGM. Bye. Hats off. I want to stand up and applaud. I'm just so impressed with the score. Sean Bialo, ladies and gentlemen.

And Do Not Feed the Moles. That is all the tracks we're going to play today from Bunny Bomber Blast. One of the most exciting chiptune scores, just collection of chiptune music. I've heard in a long, long time. Like, that chorus there for that track, it's so vert-y, but it's, like, catchier than vert. Like, it's like, it's like something about it is, uh...

I don't even know how to describe the differences, but it's... Will was saying, like, every single note is catchy, which is true. It's just, like, he's jam-packing every single moment to be as entertaining as possible. Like, I'm just blown away by this.

Yeah, I mean, I think you can analyze the chord progressions and all the different musical devices. It's evoking familiar things from the past, whether it's in games or in pop music or... various genres like i i definitely get a lot of like 90s almost like oh I guess like R&B or like Neo Soul, that kind of grammar, that sort of keyboard harmony, which I just happen to really love. But he's also very versatile. It's like he has a particular sense.

of harmony in a lot of these tracks in this score share a common energy for sure. But there's all these little subtle moments that just show what a sensitive musician he is. It's ironic to listen to this. music and be like oh what a sensitive musician but like yeah i don't know if you listen with a careful ear you can hear all these little

And whether he actually had to think all of these details out or it's the product of he's been playing and writing for so long that these things become second nature, it's all one and the same thing. But at some point, there's a sensitivity. There's an attention.

mentioned a detail in the music that is just oh my gosh yeah his creativity in his ear like the ideas that that he's able to pull off it's absolutely insane like who would ever think of of doing some of the things he does but he gets to the finish line I'd love to hear him do something that isn't a chiptune. I'd really love to hear him... I don't know, write for real instruments or like make something like that. I'm sure we'll get that opportunity. People that have snobbish opinions about.

video game music that they could um or just chip music in general or electronic music like that they could sort of contend with um the quality of these ideas like i think you could do all this stuff with guitars and you know, keyboards and stuff. So now it's up to you. You have to pick track of the week. Are you thinking burrowing or are you thinking grave detonator, which, which has your heart today? I know it's hard to pick. I still have to go.

with burrowing the hatchet i i that intro vamp is so strong and direct and that b section like it's so hooky and appealing the melody of that is just really And it also has all these delicious harmonies and nimbleness and the production and everything. All of the other tracks, as undeniably genius as they are, they do feel kind of like... They're a little more indulgent in like...

you know, colorful where like that one feels like if you have to show someone one piece of game, like that's like going on the Mount Rushmore. It truly is perfect. It's a perfect piece of music. So I'm excited to do this one, two punch. This is a really good palate cleanser. Now we're going to come chill out.

little bit here so i said that both of the chips of these scores were kind of not what you'd expect so i would say that that namco chip is a little more obscure this is definitely not obscure but it's not a choice i would think of um if i was gonna you know Make a score to a new retro game. It's the GBA. So this is kind of a love letter to that era of video game music. So I would imagine flashy goodness has a real nostalgia maybe with this quirky chip in that era. So yeah, it's a new original.

score that was made on the GBA chip. Pretty interesting. That would be surprising if you would ever choose that. I feel like that would maybe be one of your last choices. Would you agree, Will? The GBA? I mean, I think I would have a lot of nostalgia for it if I could figure out how to actually implement it.

I think there's a lot of unique... uniqueness to it and the mixture of kind of like more psg square wave synthesis with these very sort of archaic and compressed samples there's there's a really i mean i think the to me the the score of metro Metroid Fusion is the ultimate example of like, you can do really sophisticated, you could do anything that you need to do on the GBA. And when you hear like, listen to Metroid Fusion.

And when you hear a composer like Flashy Goodness who has better tools than maybe they had back when these games came out, you can definitely hear that creativity. So let's now move on to Dreams of Aether.

And this is by Flashy Goodness and RezoForce. It came out in April. Let's start off with Heart of Many Dreams. Here we go. You guys listening to Heart of Many Dreams. This is by Flashy Goodness, who did compose, I believe, all the music, but it is a collaboration with Reson Force. It's from Dreams of Aether. A GBA score. in 2025 really outstanding and man you're hearing that creativity flashy makes the gba sound maybe as good as i've ever heard it

Really beautiful, imaginative music here. Outstanding. I think it's also been mixed, clearly. Like, I think they've definitely mixed and stuff all of the samples. So I imagine there is a... They either made custom samples and then mixed them after they were kind of processed. But the mix here sounds really nice. That's not to take away from the GBA arrangement and how fantastic everything sounds. But I also appreciate that there is...

that sort of process and that's something that any modern chip tuner sort of has to contend with of like whether you're using retro sounds of like how do you actually do the finishing stage of mixing it and panning things and kind of like making it sound And there's, you know, different people come down in different...

levels of like what's authentic and what's allowed and stuff but i think this is a really nice sweet spot i agree and one of the best things about it is the choice of drum samples i think is is really smart here like you don't really feel like they're overly compressed and overly degraded and there are some gba games where however those samples were fed through maybe the choice of sample the length whatever uh just sounds so so degraded in chintzy where these

These really come across well. So let's move on. This is customization. advanced version so this is a melody that is very familiar to fans of flashy's aether series this is a multiple aether games have come out at this point and this is a melody that it seems like flashy goes back to uh in a lot of them So customization, advanced version.

That is a bop, folks. That's Customization Advanced Version by Flashy Goodness, and that is from Dreams of Aether. Very familiar melody there, but love the arrangement. Really, really tasteful. That intros... It's really cool just having the more 8-bit sounds and then bringing those samples in. Really outstanding chord progression, surprising stuff. Good implementation, yeah. I mean, I think whatever tool, I'm not sure how...

flashy, created GBA music. I'm not sure how people tend to do that these days. I can just assume that there's a lot more flexibility and customization, no pun intended, than the developers had back in the early 2000s. And so you can really hear that, like the mixing. Part of it, here's part of it, right? I think back then, a lot of the choices they made were, does it sound good on the built-in GBA speaker? Whereas now, it's like, okay, this is going to be a soundtrack release on Bandcamp.

There's maybe a little bit more thought of how to mix it and how to make it feel polished. And does this ever feel polished? Yeah. It really does. And I'm just really drawn, actually, to the idea of the GBA implementation. I'm realizing I have so much more nostalgia for it now than... you know i would have thought originally but there's little moments where i'll be like oh the color of that synth reminds me of like the minish cap or like you know there'll be certain choices that

bring to mind very nostalgic GBA soundtracks. And it's not necessarily even because of the composition, though I think the composition is so strong and also feels inspired by game music, but it's just that sort of like...

The sounds themselves, I have a sort of fondness for, you know. Totally. Let's move on to a boss theme. That's kind of the bulk of what we're playing here on the score. I'm curious to talk. We have one stage theme that we'll play, and I'm curious to get your opinion. And what do you think is going on with those? But anyway, boss here. This is Oceanic Breeze. you

outstanding arpeggio work. I love this track. I would never assume this is a boss theme, but it is. It's Boss Oceanic Breeze by Flashy, and I think Reservoir Forest maybe did some implementation or some arranging work.

on the score. Again, Dreams of Aether. Will, what are your thoughts on this? I really love it. It's all very colorful. It sounds like a GBA score in... stylistically, you know, in terms of the composition and the nature of these arpeggios and the melodies are all really strong, really catchy and have that sort of nostalgic early 2000s quality, honestly.

Yeah, it's kind of cool to start the day with, you know, the crazy bunny music and then go to this. I feel like it's kind of the perfect thing to come down with and relax as we... close out this episode and also just chip wise too it was interesting going from that that wavetable chip to you know there's actually some similarities because these samples are so degraded that some of the samples kind of have a wavetable quality

to them. Yeah, just really impressed with Flashy's work on this score. Let's move on. The next track we're going to play is Friends We Made Along the Way. What a sweet piece of music. Friends we made along the way. One of my favorites from Dreams of Aether. This feels like, in my humble opinion, you could plop this into Mother 3, and I think it would fit right at home. It has a lot of heart to it.

Very serious, too. Not really anything particularly silly in this track. Just very sweet and earnest. I was really into it. What are your thoughts on this one? I love the groove. I really love the opening vamp, the voicing of those harmonies. There's these like in some of the major seventh chords, there's these little half step rubs. The voice leading is really strong. And that whole intro vamp is just really catchy.

I think that's my favorite part of the song, honestly. I kind of got the feeling with some of the melody that it was a really appealing idea, but then it was, to me, this is just, in my opinion, like... on the side of almost too many notes, where it's like we were talking about with... in the last score how it was like really notey but was feeling good to me this is sort of like what I'm saying by like sometimes I'll hear a melody and I'm like oh there's like too much happening here and it's not

quite direct as i feel like it wants to be because there's like a really strong idea at the core um but i don't know i really love all the harmonies and i love all the arranging and i love the general like mood and atmosphere of the track Um, but I don't know. I felt like the melody wasn't kind of cooking in the way that I wanted it to. Gotcha. Let's move on to a stage theme and I only included one. And so to me, this sounds like it's like a, like three short little.

hearts. And so I'm curious to get your ideas, Will, of like what you could envision this being. Very, very unique stuff. So very short here. Let's take a listen to stage two in a sleepy tavern. Really cool. 51 seconds there. Wow. I mean, so much creativity. I adore that melody. And in 51 seconds, we heard like three different iterations of it.

Really, really interesting. First of all, Will, what do you think the context could possibly be with that? Like, are these stages just like short-timed events? Or what are your thoughts? I have no idea, but I love the idea of this sort of melodic integration or this theme and variation. It's like a big part of game music and this sort of colorful genre bending thing that he's doing here is wonderful and also is like...

to be this sort of celebration of three sort of classic VGM sounds, if you will. It's like that first one almost sounded, the first two actually were very reminiscent of Dave Wise. I mean, I would really say all three of them. of them um to be honest but the the first two especially felt very donkey kong country um the second one being more of like that sort of jazzy approach but the rock one definitely brings to mind something like if we're gonna keep it in the gba sphere like

is like F zero maximum velocity. Yeah, totally. Video game rock. Capcom Konami sort of sound yeah to do that to have a little resume builder and all in 51 seconds it's pretty crazy but really strong you know we were talking about that previous track the melody was was not one of the strongest parts of it where This track, the melody, the ideas are really, really strong, and it's kind of cool to go through the paces in such a short amount of time.

All right, let's move on to another boss theme. Now we have Boss, the King of Onsen, Manic Spirits. Possibly my favorite from Dreams of Aether, this is Boss, the King of Onsen, Manic Spirits. Really like this track a lot. That rhythm guitar sample is so hilarious. It's very nostalgic and familiar to me. Reminds me of games that I played on the GBA because it's just so low. So the attack...

is just not very fast on it. By the time it gets all the way down to the... It's just kind of wonky, but it's... He makes it work here. So good. You know, something that both of these soundtracks have in common today is the use of really thoughtful and beautiful harmonies. Really great chord voicings, voice leading.

Just in general, a thoughtful approach to the chords and harmonies. And an approach that is a beautiful sort of celebration of classic Japanese game music. And you can tell that... both of these composers, we'll just call them, that they both sort of share... that love in that familiarity with that grammar and you can tell they've been very influenced by

uh you know the entire corpus of game music um up until this point and i it's something that i really love about both of these scores and even though stylistically they're different um i think a track like this you know pairs probably much closer to the Bunny Blaster music just because of how kind of dancey and high energy it is. But even outside of that, if we're just looking at these two very distinct composers, there is something that they share, which is that...

sensibility of being influenced by game music harmony in particular. Yeah, this one just really does it for me. Outstanding work to both Flashy and RezoForce. All right, next up we have See You in Another Dream.

Here we go. That was See You Again in Another Dream. That was all music from Dreams of Aether, and our playout is also going to be from Dreams of Aether. It's going to be Boss Volleyball Versus. So thanks for joining us on this really fun chiptune double feature. We had Bunny Bomber Blast by Sean Bialo, and we had Dreams of Aether by FlashyGoodness and Resoforce.

Two interesting chips that we don't really get to hear a whole lot when it comes to 2025 chiptunes. Different composers with different skill sets, different styles. Really cool to have them all together. Yeah, Will, what are your thoughts on the music that we listened to today? Man, the time just flew by today, honestly. Yes, it did. This was just an absolute and utter delight. It's very inspiring, just beautiful music. Definitely puts me in touch with...

what I love about, I mean, this is kind of what I was saying, I think on the secret of the forest episode, but it's great to be inspired in that case by music we were deeply familiar with. And in this case, something fresh, but I feel just as kind of like motivated and encouraged. this as on that episode just because it's

You know, great art, great music is a really inspiring thing. So, yeah, this was just such a delight. It was a really fun time. I'm glad I got to show you this music, Will, and show all of you this music. Yeah, I think that's about it. Anything you got to plug, Will? I actually do finally have something to plug. Carl asked me that every single episode, and I almost never do. Even when I do have something, it's like...

I feel like I always forget or I'll remember it like after the episode, but I actually do have something to plug. I am... going to be releasing music. I have a solo project coming out. I'm going to be releasing original songs under the name Will Rover. And I'm going to be putting out content on... uh, Instagram and Tik TOK. Uh, you can find my handles. I will Rover. Nice. Um,

And yeah, I'm really excited. I'm working on an album that's going to hopefully come out sometime in the fall and going to be releasing a bunch of singles in anticipation of that. Sick. I think I've mentioned this project a little bit before. It's going to be largely acoustic, kind of... probably more ballads and slower heartfelt songs, I guess I would say. But yeah, the first single is called Paradise, and it's going to be coming out hopefully this month.

just putting some of the finishing touches on that. And yeah, going to be definitely releasing a lot of new music over the next year. So I'm really excited about this. It's been kind of a long time coming, but I feel ready to kind of... start putting music out into the world. So yeah, Will Rover. Find me on Instagram and TikTok. The handles are IWillRover. I'm really excited. I've heard a lot of it. It's really, really outstanding. So you guys should look forward to it. Yeah, I think...

You've definitely heard glimpses here and there, I think, of some of the emotions from different tracks of Will over the years that maybe he's going to tap into in this project. And so, yeah, I know a lot of you are really big fans of that. It's going to be all chiptune. that's going to be all VRC7 and VRC6. No, no, no. This is very different than video game music, but I will say...

I've been so influenced by game music that it's like, it's just constantly working its way into the way that I approach writing for melody, the way that I approach harmonies. Like, I wouldn't be surprised if somebody listens to my songs and are like, this makes me think of Zelda.

Zelda or this makes me think of, you know, whatever. Oh yeah. I mean, you can't escape it. Like when you showed me the tracks, like, I mean, all of them just have that kind of unmistakable will quality. And part of that will quality is just the reverence for the music that you, you know, grew up.

with and so I think that's still there so very excited for everyone to hear this stuff and for you know to hear the whole shebang that's really exciting man me too that's about it we'll talk to you guys in a couple weeks my name is Carl Brueggemann and I'm Will Brueggemann have a great week everybody Peace out.