LOST MANGROVES
Mangrove Cove is the first level, and its theme plays the part brilliantly. The leading saxophone has become a staple of Donkey Kong Country - the beginning notes of this track signaling the triumphant return of one of platforming's greatest franchises and the start of one of the greatest 2D platformers of all time. Spawning a bouncy beachy atmosphere, the whole song just screams "FUN!", devoid of any kind of negative emotions, and helps propel the player through the first leg of the journey. So DK enters Mangrove Cove, runs forward a bit, and, whoops! He slips into a pool of water, triggering
a nigh-unholy fusion of Mangrove Cove's theme and Aquatic Ambiance. If the triumphant saxophone of Mangrove Cove is meant to prepare the player for the game's overwhelming sense of scale and chaos, this piece is likely being used to remind the player that the big ape has a softer, more sensitive side (I believe it's somewhere around the pelvis). A plucky guitar and smooth synths surround the player in an impenetrable bubble of euphoria, before DK bursts out of the water to continue his expedition. Is it getting hot in here, or is it just me?
Canopy Chaos introduces the player to Cranky Kong, who
rips off borrows Scrooge McDuck's pogo abilty from popular NES platformer DuckTales. David Wise, likely having taken up pogoing himself for inspiration, delivers a track that will make the player want to jump up and down while playing (note: don't do this when playing hard mode). Hell, I'm jumping up and down while writing this post! Similar to David Wise, my talent knows no bounds. With that pogo nonsense out of the way, our next stop is
Busted Bayou. Entangled by a catchy bassline, open ears will melt at this track's smooth tones and saxophone solo before submitting to its intoxicating rhythm. Now some of you may be saying "But Xtortionist, I thought this was a video game soundtrack, not a fusion album in disguise!". To that, I say David Wise has duped you all. Suckers.
The next to last stop on our tour of Lost Mangroves is
Trunk Twister. Backing a mine cart level, this track conveys a "fun" sense of chaos with little sense of peril (to be contrasted with later mine cart themes). A fast pace accompanies a similarly quick-moving mine cart ride, reaching its crescendo with a harmonica solo when DK and friends are forced to jump across submarines that literally rise up from the ocean under DK's feet...er, wheels. This will be but one example of a music hitting its peak in conjunction with gameplay. And just as you're recovering from that mine cart hype, it's boss time! It's a fucking viking seal a makeshift circus tent! Surely the music will be comical and jolly, right? NOPE.
Big Top Bop is a fast paced, hard hitting, guitar-driven track that wants nothing more than to inspire you to kick this seal's ass. I just snapped a pencil in half while listening to it! Hopefully I won't kill someone while listening to Volcano Dome...
AUTUMN HEIGHTS
Having defeated the seal menace, a huge barrel blast takes us to Autumn Heights. Our first stop is
Windmill Hills. An eternally jolly track, a quick pace is established - meshing perfectly with the often-quick moving windmill obstacles in the level. And those harmonicas will melt even the most cold-hearted of individuals. A word of warning though - resist the urge to frolic naked in a field of flowers after listening...I tried it and all I got was dehumanizing stares and an odd rash.
...Next up is
Mountain Mania - a jaunty track and one that features one of our first examples of dynamic music in Tropical Freeze. A delightful track on its own, mounting the steadfast rhino Rambi adds a layer of percussion to the tune - enhancing the tune's pace and urgency. The melody itself can be a bit silly, but then again, so is one gorilla riding another gorilla riding a rhinoceros while the first gorilla propels the team with a pogo stick through an exploding mountain range where the mountains are shaped like owls. Video games. Needing a break from all that mountain madness, we enter
Horn Top Hop. A much calmer level, the music reflects a leisurely walk through the woods. More dynamic elements return, with the percussion dropping out while DK rides one of the floating leaves. We also see dynamic interaction with the music - owl characters play various horns throughout the level, and these horns are synced to the music. Activating the horns often affects DK's navigation of the level, so playing along to the rhythm is key.
But enough of that pansy "walk through the woods" crap - we need action! We need thrills! Perfect timing, actually, because
Sawmill Thrill - our next minecart level - is up next. If Trunk Twister was urgent and "fun", Sawmill Thrill is urgent and "OH GOD I'M GONNA DIE". The stage itself is constantly reassembling and disassembling itself, and offers even more unpredictability by taking DK from a cart to a log flume back to a cart before the explosive finish. The music reflects the stage design perfectly, generating persistent tension and peril. Of course, I would never be caught sweating... *wipes brow*
Enough fuckin' around on the ground - it's time to climb the mountain!
Alpine Incine is out next destination, and what a destination it is! As we enter, a vista of seemingly infinite pine forests is guarded by an overcast sky. The scene feels a bit lonely actually, but that's the nature of being a gorilla in a huge world. The music here conveys a sense of wonder, scale, and isolation that seems tailor-made to fit the onscreen action. The track is also an excellent display of layering, starting with synth, then adding drums, then bass, then more drums, then some accordion - all added seamlessly and without cluttering the track. You won't hear it for long, however, as we soon have to board a hot-air balloon to venture beyond the clouds. Rising even further above the hate than John Cena, we enter the second phase of Alpine Incline.
The track here shifts from feelings of loneliness to those of relief - clear skies give way to new adventures...which brings us to
Wing Ding - a mountain stronghold seemingly built by the resident owl population. The track's slightly-quirky nature reflects the owl structures well, but the real standout here is the dynamic between platforming and vine zip-lining. When platforming on the ground, the track feels, well...grounded, with backing percussion and a more firm approach. When zip-lining, however, the track shifts to become airy - the percussion drops out and wind effects can be heard. The zip-lining version in particular conjures up feelings of smooth flight - like a gorilla piloting a blimp.
Just like that, it's boss time again! This time, it's a giant owl named Skowl...that looks familiar...never mind, it's probably nothing. Anyway,
Mountaintop Tussle is our boss track this time around. It's quite a sinister tune - likely reflecting Skowl's willingness to smash bananas Gallagher-style (an unforgivable sin). I also like how the track incorporates an accordion - also featured in several other tracks in this world. With Skowl defeated and the banana avenged, it's time for world 3!
BRIGHT SAVANNAH
Like the first two worlds, Bright Savannah also starts out with a triumphant bang.
Grassland Groove is our entry point, and it features one of the liveliest tracks in the game. What's special about this track is its three distinct sections. The level itself also has three sections, so let's break them down: The level design goes like this - Platforming->Clinging->Platforming/Clinging. The music goes like this - Female vocals->Male vocals->Female and male vocals. Notice a pattern? In addition to how the gameplay informs the music and vise-versa, I have to throw one more nod to just how bursting with energy this track is. As such, it makes a suitable follow-up to Mangrove Cove and Windmill Hills. Too bad the joy doesn't last...sound the tornado alarms, because it's time for
Frantic Fields! Playing the part of
Bill Paxton, Donkey Kong must enter the heart of an intense tornado for
science bananas. The beginning of this track represents uneasiness - you just know it's going to explode at any moment. Suitably, the track ramps up exponentially when DK boards Rambi - introducing percussion and additional horns to the track. What follows is a breakneck expedition into the "finger of God", backed by frantic (hurr) and fast-paced music. We also see DAT FLUTE return, creating some thematic consistency with other tracks in the world.
Unfortunately, a stray lightning strike from Frantic Fields sparked a raging wildfire in the savannah. I guess the only thing left to do is
Scorch 'N' Torch!
...whoops, wrong track. Anyway,
Scorch 'N' Torch is one of Tropical Freeze's most popular tracks, and for good reason! The opening bass and subtle percussion weave an intoxicating web of atmosphere that's sure to ensnare unsuspecting players. The player firmly in its grasp, the track layers in synth and thundering drums before climaxing with DAT FLUTE. In painting a picture of a gorilla traversing a wildfire, Scorch 'N' Torch probably isn't what comes to mind. Players expecting a more chaotic and perilous track may be disappointed, as the tune evokes feelings closer to tragedy. After all, this savannah was somebody's home. BibleThump.
Here it is. Fans wanted it and they got it. The moment many of us were all waiting for...and it lasts less than twenty seconds? Well, only if you rush ahead. Entering
Twilight Terror, we're greeted by an old friend. This friend has been with us since 1995 - in our heads, in our iPods, in our smartphones. This friend propelled us through a web of thorns and supported us in our never ending struggle to pilot a stubborn parrot through a windstorm. This is Stickerbush Symphony, remastered for a new age. Though while many expected a potential remix to be used in a significant, potentially bombastic context, what we get is about one of the most subtle instances of fanservice I've ever seen. Playing normally, a player can easily bypass this track without ever realizing what it is. Those that stick around, however, will be treated to a nostalgic trip that invites reflection on the past. And of course, the track features DAT FLUTE to blend in seamlessly with the rest of the world's tracks.
Last up for Bright Savannah's levels is
Cannon Canyon. Or Bramble Scramble (2014). Or Rickety Rafters. Whatever the case, all of the aforementioned levels use this track. Cannon Canyon is a smooth, laid-back track with multiple distinct sections. After the opening, which evokes desolate settings, we get some thundering drums, then some guitar, then finally a catchy dose of DAT FLUTE. The guitar and drums return before giving us one last run with the flute - this time backed by a choir. This track, like, goes places, man.
For our world 3 boss, it's DK vs three I.R. Baboons. The track here is
Triple Trouble, and I love how it reflects the Baboons' playful approach to murdering DK with bombs and hammers. A fast pace compliments the action well, and there's a hint of Asian influences - possibly referencing the bosses' ninjutsu skills. Believe it! I'll go now...
SEA BREEZE COVE
World 3 is done, and we're onto the cool waters of Sea Breeze Cove! First up is
Deep Keep. This track is no joke, reportedly making Neiteio
jizz rainbows on at least one occasion. The track itself is short lived in gameplay, similar to Twilight Terror, though a bouncy tempo and smooth synth make it intensely listenable outside of the game. Diving under the water, however, leads to the first encounter with
Aquatic Ambiance Returns Again. A much higher fidelity version of the beloved original, this track incorporates atmospheric sonar pinging effects and a pinch of electric guitar. A very faithful remix of the original, if it ain't broke, don't fix it. Next up is
High Tide Ride. When a conversation about a song "going places" comes up, this should come to mind. What starts as a leisurely mine cart ride soon turns perilous as DK plummets into some kind of undersea Temple of Doom. The track perfectly conveys the constant near-misses with obstacles in this level's gameplay and relentlessly propels the action forward. A nice touch is the sonar ping effect which is present after DK rides under the ocean.
Amiss Abyss. 'Nuff said.
...Nah, but srsly. In fact, Aquatic Ambiance may have just met its match. A strong backing bass and graceful melodies make this track one of the game's best. The piano captures the grace of DK's swimming and the sheer beauty that Retro created with this level. The "climax" around 1:20 seems to be timed to that it plays just as DK approaches a swarm of jellyfish seemingly engaged in synchronized swimming. The track and level are already too much at this point, but alas, we're propelled on by a firm tempo that may be a subtle nod to DK's need to keep swimming (unlike in past games, DK must continually press forward to find oxygen bubbles). A wonderful track in its own right, and further enhanced by its accompanying level and vise-versa, Amiss Abyss is one for the ages.
There's a lot to cover with Irate Eight so I'll try to keep it moving.
The vanilla-named track is sadly short-lived in the game, but lives on eternally in our hearts (and iPhones). An infectious bassline and unexpected saxophone section make this groovy tune a foot tapping extravaganza.
Irate Eight (Underwater) is the calm before the storm in this particular level, skillfully weaving together Aquatic Ambiance and fan favorite Lockjaw's Saga from DKC2 together to create a feeling of impending peril.
Irate Eight (Tension) focuses purely on Lockjaw's Saga to create a well, "tense" feeling. The song feels quite heavy and overwhelming to me, further adding to the tension of being stalked by
Lorthos, the Tidemaker. Finally, our boss for world 4 is a giant puffer fish...fitting. The music track here is
Fugu Face-Off, and I find it highly adept at generating a feeling of being overwhelmed. The tempo here is unyielding, successfully capturing the feeling of being trapped in a small space with a large spiky fish, while a nice variety of melodies keep things fresh.
JUICY JUNGLE
Arriving at world 5, there isn't much further to go. We start here at
Harvest Hazards, a level with one of my favorite tracks in the game. The beginning of this track is a textbook example of great layering, starting with a backing melody, adding maracas, throwing in some extra percussion, before tossing in a final layer of percussion and the track's lead melody. Again, this is all accomplished without muddying up the track. My favorite part of this tune is the climax beginning at 1:40, which brings the track to a satisfying conclusion before doing it all over again. A natural follow-up to Harvest Hazards,
Fruity Factory gives me a feeling of curiosity...fitting, as much of the level discloses the enemy Snowmads' fruit pop production process. Throughout the world, we see the Snowmads gather the fruit, slice the fruit, juice the fruit, and finally freeze the fruit to create the final product. Fruity Factory displays yet another vital part of the process, and is tied together to Harvest Hazards with a similar lead instrument.
Panicky Paddles takes place both above and underwater (underjuice), displaying the Snowmads' fruit juicing process. On the surface, the familiar Harvest Hazards theme plays. While swimming in juice, we get
an ethereal, electronic mashup of Aquatic Ambiance and Harvest Hazards that also has a satisfying climax. This is one of the most atmospheric tracks in the game and certainly makes me want to dive into a vat of fruit juice. Not that I haven't already. Or have...have already.
Traversing juice cubes before they're ready to be frozen, we're treated to
Jelly Jamboree. Appropriately a walk on the weird side, players are treated to odd melodies and even a vocoder section and they make their way through this strange environment filled with giant fruit and oversized jelly cubes. It's unconventional, but so is the level and environment. Detouring into a fruit smashing plant, we encounter
Jammin' Jams. Featuring callbacks to Harvest Hazards and Jelly Jamboree, Jammin' Jams' quick tempo blends well with the perilous smashing devices found throughout the level. Placed near the end of the world, it's use of both Harvest Hazards' and Fruity Factory's lead instrument, along with Jelly Jamboree's vocoder helps put a nice bow on the, well...not frozen part of the island.
The last stop on our tour of the Snowmads' factory is
Frosty Fruits, and it's a departure from earlier levels. The level being frozen itself, this is where DK's enemies freeze their juice cubes to make fruit pops...those motherfuckers. Anyway, this beginning of this track gives me vibes of infiltration - fitting, as DK is drawing nearer to the Snowmads' treasured stash of fruit pops. Seasoned DKC players will notices a seamless callback to In a Snow Bound Land from DKC2. Also, unlike all previous levels, Frosty Fruits is almost completely on ice, so I find it appropriate that it shares very little instrumentation with previous Juicy Jungle tracks.
One obstacle remains between DK and returning to his island, and it's a pissed off polar beat with a giant hammer. This battle takes place in the
Punch Bowl, and it's arguably the longest boss fight in the game. The tempo of this guitar-driven theme is a bit slower than Big Top Bop's, fitting the more drawn out war of attrition that the fight involves. Jelly Jamboree's vocoder returns during the song's downtime, and the "chorus" is a duel between synth and a guitar. While a bit slower paced, it keeps the blood pumping in a long-winded battle.
DONKEY KONG ISLAND
The time has come and so has Donkey Kong...to save the island! It's a journey through enemy territory that's captured fantastically by
Homecoming Hijinx, our first level theme. This tune embodies the Snowmad's grasp on DK Island - the epic melodies and heavy percussion propelling the player on their first step into the last world of the game. As arguably the "main theme" of the game, I quite enjoy it for its darker tones. But as Homecoming Hijinx conjures up peril and resolve,
Seashore War conveys the simple desolation of a frozen beach - once vibrant and teeming with life - under the control of adorable viking intruders. The lead guitar and vocals invoke reflection, isolation, and a bit of sadness, with the end of the loop being a bit more uplifting. A slower tempo invites the player to take their time and observe the wasteland firsthand. Dripping with atmosphere, this is easily one of the game's best tracks. Is someone chopping onions?
Only a few more to go.
Aqueduct Assault is up next and this theme is one of the most driving in the game. Aqueduct Assault is an epic orchestral piece and is accompanied by a brisk level that encourages constant forward momentum. If I had to come up with a brief phrase to explain how this track makes me feel, it would be "Time to save the motherfucking island". Nearing the very end,
Forest Folly is encountered. Similar to Seashore War, this track invokes a strong feeling of isolation, thought the latter part of the tune becomes a bit sinister as it incorporates elements from Homecoming Hijinx. Echoing synth elements later in the track reinforce the icy aesthetic. Also similar to Seashore War, the level takes place in a once-lively area from Donkey Kong Country Returns that has since been frozen over - further supporting the desolated and isolated nature of the theme. Getting closer and closer, the only way forward is to power up the factory in
Frozen Frenzy. This subtle remix of DKC1's Fear Factory features percussion of a mechanical nature, reflecting the environment of cold steel the level and track take place in. The percussion occasionally gives way to brief calms before continuing to bang away, and similar to Forest Folly, synthetic sounds evoke thoughts of ice and snow.
This is it: The final showdown with Lord
Peaceful Ruler Frederick and the last obstacle between DK and the reclamation of his island. Did I mention the fight takes place in a volcano? Certainly, whatever music track is backing this fight must be aggressive and intense...luckily,
Volcano Dome delivers the goods. Immediately whacking the player with some gnarly guitar, the track then gives way to what comes across as a fusion of synth and guitar as its lead instrument. The backing guitar is heavy, reinforcing The Snowmad King's presence. As a whole, the track features a quick tempo and constant aggression, hopefully inspiring the player to kick this guy's ass once and for all. And the player does. And then something magical happens.
CREDITS
Click ( ͡° ͜ʖ ͡°)
Tropical Freeze features my favorite credits theme of all time. It's equal parts celebratory, somber, uplifting, and nostalgic love letter. In particular, the second half of the track is a live sax rendition of Stickerbush Symphony - no doubt played by Mr. Wise himself. Wise knows what the fans want and he not only gives it to them, but gives it to them in a highly personal way. There's only one way fans wanted this game to end and Wise exceeded expectations. Long live the king.
