As a result we have some great references to jazz ( Gusano Bar), to punk rock ( Hex) or even western music ( Riding The Servohorse, again). The ‘80s were a real beginning of computer music and that’s what Salvinsky’d taken as a base – but then he built a very multi-layered world above it. Our current culture tends to search the past and reinterpret it anew or take it for inspiration at least – in cinematography ( yes, Stranger Things), in games (all the retro ones), in music (from Greta Van Fleet to Daft Punk). It’s always been fascinating to imagine the future (Blade Runner’s just a top of an iceberg), but creating music based on the culture that doesn’t exist anymore makes the whole idea even more nostalgic, since it’s a long-gone time that the music brings to life. In one of his interviews, a composer, Salvador ‘Salvinsky’ Fornieles, mentioned that the album’s about “how we think ‘80s music would have evolved” with today’s equipment. However, there’s much more around that core. The game’s made out of pixel art graphics and vibrant synthwaves, and the synthwave is what the soundtrack gently orbits around most of the time – s ometimes putting it to the front ( Pirate), the other time just slightly remarking it ( Riding The Servohorse) or going really far from it ( Him), but always being very consistent in rediscovering ‘80s with what were the most typical factors for the era. It doesn’t try to be 40 years old music, it doesn’t fake anything – what it does insead, it takes an idea of synth music and the style of ‘80s, and makes it all fresh.
That’s how the Narita Boy soundtrack sounds like.
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