Bad Guys Get Dead - Magmasquid3D

Review by Karl Magi

Overall Album Impressions

Bad Guys Get Dead’s Magmasquid3D paints vivid imagery of a world raddled by rogue technology by incorporating classic FM synth and NES chip sounds, along with other synth elements. There’s aggression, jagged edges and omnipresent threat radiating from the music which unfolds in the form of a video game soundtrack.

I find the use of classic chiptune sounds deeply enjoyable on Magmasquid3D. The biting tones of the SEGA Genesis-like FM synth add razor edges and ferocity to the music while the NES chip sounds have a simplicity and clarity that creates auditory impact in every note. Together these elements give the music a distinctive quality and a well-done retro future flavour.

Atmosphere is crucial on Magmasquid3D. Bad Guys Get Dead deploys his synth palette to fill the music with ominous shadows and attacking energy. There are moments of aggressive rage punctuated by rising darkness and brief flickers of gentleness and more tender emotion. Taken as a whole, I find my mind carrying me on a journey through a wide variety of emotional states.

The way in which this album tells the story in video game format worked for me. I got the distinct sensation of traveling through different levels, each track like a stage in a game. The tension and drama built with each track before resolving in the end. It was a fun way in which to organize the tracks.

My Favourite Tracks Analyzed

“Factory Approach” begins as clicking sound like a gun being cocked is joined by a hard-hitting drum throb and oscillating bass. Drifting, wandering waves of medium-high FM synth sweep and a guitar growls, adding an umbra to the music.

The shadowy guitar snarls as heavy, varied percussion moves through open space and jagged bass smashes far below. The harsh ferocity in the music draws me into it.  Now open, tapping percussion shapes aggressively pulsing, dark bass and unsettled synth whorls sweep before a threatening, authoritative voice issues orders.

Powerfully rushing drums and airy sounds move with shaker percussion to open “The Factory.” Churning, gritty guitar forms a hypnotic pulse as elevated, twisting FM synth effectively generates nervous feelings.

The drums are a colossal force as muscled bass heaves along with them. Distorted, elevated sounds create tension as the guitar snarls through. The drums go on full attack before creaking synth moves above them. Shredding bass and ferocious drums smash hard before the track ends on high, tight sound.

"The Port” kicks off with evenly throbbing drums, broken by sharply cutting sound. A groovy pattern forms as percussion and heavy bass interlock. Dangerous, razor-edged synths pulse and growling bass looms in a wonderfully ominous way above the bursting drums. There’s threatening feeling in the gruff sounds that permeate this track. Wildly wandering, high synth ratchets up sensations of growing danger and jangling nerves before the track ends.

A reverberant series of gentle, slightly hurting synth chords accompanies a launch countdown as “Leaving Earth” begins. FM synth notes flare to support drifting piano chords. Undulating, flat-sounding bass moves below a gossamer piano carrying a melody that hopes, but is full of tragic feeling.

Sharp-edged synth shivers through arpeggios spinning above guiding drums. I enjoy the way in which the arpeggios leap and tremble, reaching for the stars. Flat, hollow bass and skittering drums move together. Pained, delicate piano notes float over a steady buzzing drone and into silence.

“Space Walk” starts as hissing breath is surrounded by a bass void and vibrating synths shimmer through it. Slowly pulsing bass adds form while solid, warm synth chords exhale into the track. The way in which the digital sound of the chords creates a majestic, soothing feeling is deeply pleasing to me.

A single bass note throbs continuously and breathy sounds shift. and Gritty, sharp synth adds more motion to the track along brushing snare drum and tom hits. Flaring chords give way to shadowy, but delicate synth moving with more wistful emotion as a steady, rounded pulse repeats.

Jumping drums and broad-sounding, medium-high synth pulses with great weight leap in to open “Space Station.” Twisting, catchy synth wriggles and colossal bass undulates rapidly below swelling synth chords. Ghostly, floating FM synth has and sweeps in extending chords that echo above the surging bass below.

There’s an open, echoing sound to the whole track that gives me the pleasing sensation of floating in outer space.  Drums pulse and tom hits add another percussive element as the yawning bass void throbs. Longing chords give way to a hard hitting, slightly threatening synth pulse before silence falls.

“Into The Time Rift” kicks off as slap bass bounces along with an ominous, lacerating synth. Drums drive with intense force, rushing forward with tremendous speed. After a laser-like blast, a chip sound writhes and intertwines as the raging beat rushes.

8-bit sounds dance and wriggle in intensely quick fashion. I enjoy the way in which the chip sounds evoke wildly twirling guitar. The underlying beat surges before the music fades on shadowed NES sound that moves in tight lines.

Quickly throbbing drums move along with oscillating, layered synths to bring “Re-entry” to life. Nasal-sounding, chip arpeggios sound rapidly unfurl in flying lines. Open-voiced, medium high synth ripples in rounded, gleaming arpeggios that dance with diamond light.

Snare drum creates steady motion. I am enamoured of the NES chip melody that is rich with uplifting emotion. Luscious, enfolding synth creates a reverent, gentle feeling as sharp synth drifts and the sound of a splashdown hits.

“City Street (1985)” commences as tripping, twisting 8-bit sounds flare into a triumphant line before shimmering over the classic chip “drums” that skip along. The distinctive, cutting sound  from the NES chip is well-utilized by Bad Guys Get Dead in this track. Wandering sounds move above breaking, wriggling notes.

Warmth grows in the distance as the brushing drums flicker. A tender melody exudes caressing feelings as smooth arpeggios whirl. Glistening high sounds add ease to the track, over the guiding 8-bit “drumbeat.” Continually spinning arpeggios add texture and a single repeating note closes the track alongside metallic clanking.

A towering, aggressive synth howls out above distantly battering drums as “Endgame” starts. A gruff synth pulse and the hollow, gigantic drums create an effective, crushing beat.  Mechanized, digital sounds fall in angular arpeggios over hard-hitting drums.

Cascading arpeggios add lacerating motion as darkly triumphant notes climb above them. The open-sounding drums batter as tense, raised sounds shiver through the music. Intensely tumbling, interlocking lines of chip sound madly dance above distant drums before the music ends.

“Fanfare” sweeps to life as jet-like sounds fly into the music above victorious chords.  Trumpeting synth weaves a dynamic, flashing melody that is tempered by minor key, 8-bit sounds unwinding over huge drums.  Smooth synth unwinds line with lively energy over charging bass and pounding drums. A more enfolding, gliding synth melody calls out over the rebounding drums.

I find the melody’s elegiac feeling quite emotive as it moves along. Skittering percussion hops while wide synth chords with a metal edge gleam above it. There’s a grittier edge as taut FM synth calls out a tragic melody before mechanistic sounding arpeggios break into flickering chip sounds above bursting drums. Heavy, smashing bass with angry grit and distantly sparkling synth end the track.

Conclusion

Magmasquid3D seethes with darkness and power while taking the listener on a dramatic journey across layered soundscapes. The end result is an album that is exciting, atmospheric and dynamic. I am drawn to Bad Guys Get Dead’s approach to music-making here.