1. “The Adventures of Prince Achmed” – Morricone Youth. This wild, expansive piece grabs from a wide array of movie soundtrack, traditional, and current indie-rock influences as part of a soundtrack for Lotte Reiniger’s 1926 German animated silent film of the same name. (The film is the oldest known surviving animated film.) It’s the sort of genre-defying, eclectic, intensely unique music that doubles as a “stump the music journalist” game.
2. “Cumulus” – Koltbach. This is straight-up what trip-hop sounds like in 2016. The stark, staccato beats, the dusky mood, and the lush piano all hearken back to early trip-hop. The burbling, zippy synths update the sound pleasantly. This is solid, impressive work.
3. “Rattlesnake No. 3” – The Aquaerials. Thundering piano low-end commands my attention pretty thoroughly, and this high-drama instrumental piece has it in spades. Some pad synths play in for atmosphere, but this one’s all about the piano.
4. “Vi 1” – DYLDO. A cascading, woozy bit of piano and violin, like a quartet on psychedelics. It’s a bit of a disorienting piece–it feels like something familiar hidden in the waves, but the modulations make it uniquely other. Fascinating.
5. “Anillo delicado encantado” – Jorge Segovia. A playful, quirky piece from Segovia that sounds at the beginning like the sort of work you might find in the adventuring segments of an RPG (Final Fantasy came to mind first, then Zelda), but it rapidly transitions into a lusher, fuller section and back out. There’s a lot going on in this short piece, which is what makes it such fun to listen to.
6. “Slooshy Klang” – Niles Cooper. Not actually slooshy or clangy, this piano-and-violin work is a sort of deconstructed Carly Comando piece, as a pulsing, pressing lead melody gets anxiety and breaks up into staccato parts. The violin just adds to the air of uncertainty. It’s the sort of thing that appears at the nadir of a protagonist’s arc in movies: really sad, in a majestic sort of way.
7. “Rain” – Frode-5. Not too long, not too short, this solo piano piece sets up a pensive mood, inhabits it, and lets it fade off into the distance. Restraint is key here, and overall the piece works wonderfully.