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- Kierkegaard's Umbrella
- Mothersbaugh on the Beach
- Clown Breath (Variation #2)
- In The Court of the Junkyard King
- Last of the Lonely Tumbleweeds
- Kierkegaard's Neon Lights
- Home Is Where The Ground Is
- Waltz of Urban Blight
- LF/HF in Four Dimensional Bossa Nova
- Low Fiber/High Fructose
- Sneaky Snacky
- Clown Breath (Variation #3)
- 144 Gears Marching in 14/4
- Slightly Ominous Theme Heard While Waking From A Dream
- White Dub in the Psychic Temple
- Lee's Vampire Dub
- Clown Breath (Variation #4)
- The Unmistakeable Scent of Clown Breath
- Home Is Where The Pulmonary Artery Is
- Eric Dolphy Memorial Hospital
- Fugutive Foxtrot
- Kierkegaard's Fire
- Waltz of Impending Doom
- Home Is Where The Hurt Is
- These Clown Shoes Are Made for Walkin'
- Tres Monolitos de las Llanuras
- Kierkegaard's Columnated Ruins
- Obelisk Strategies
"I was five years old in 1982. I remember sitting on thick brown carpet, plugging in the joystick, and playing Yars Revenge on the Atari 2600. The music consisted of a single, oscilating drone. Thirty years later technology has granted us the wish of near-infinite possibilities: it's not uncommon for some games to feature vocal choirs and symphony orchestras. Of course, as Orson Welles famously remarked, "The enemy of art is the absence of limitations."
A few years ago my friend Jay Tholen asked me to write music for his adventure game about a mute, handless clown named Dropsy. We talked about junkyards and circus tents, we looked at photos of open country roads and graffiti and neon lights. Jay showed me his early pixel landscapes and it made me think, perhaps video games represented a type of modern folk art. He embraced the limitations of medium and created something honest and beautiful. I wanted to do the same with the soundtrack.
The themes for Dropsy were composed almost entirely on piano. After months of preparation, I booked a single, 12-hour recording session and tried to leave enough space for each musician to contribute their own voice. Everyone looked at the images Jay provided and we talked about the different locations inside the game. I can hear the subliminal influences of Joe Raposo's early music for Sesame Street in the music now. I hear the mechanical pop of Devo and the doom metal of Earth. I hear the limitations working their magic. The music is alive."
- Chris Schlarb