Wipeout 2097 Redbook Audio

	Album Title: Wipeout 2097 Redbook Audio
	Record Label: Psygnosis
	Catalog No.: SLES-00327
	Release Date: September 30, 1996
	Purchase: Buy Used Copy

Overview

Wipeout 2097 is the successor to the popular racing game Wipeout, and much like its predecessor, features some fantastic electronica music. As with the previous album in the series (Wipeout – The Music), Wipeout 2097 -The Soundtrack- features wholly licensed music. Although the majority of the tracks do feature in the game, there was once more that niggling failure that Tim Wright’s (CoLD SToRAGE) contributions had been left out. I hope you will rest well, though, in knowing that the game also acts as an audio CD, which will play in a CD player. The great thing about this is that it features two of CoLD SToRAGE’s in-game tracks alongside some of the other tracks which can be heard on Wipeout 2097 -The Soundtrack-. Read on to hear my opinions of his contributions and what I think of the music from the non-mainstream artists too.

Body

Well, we’ll get straight off the mark here in reverse here (probably a bad idea with the size of those thrusters on the racing pods) and start with CoLD SToRAGE’s tracks, which come at the end of the audio CD. “Body in Motion” is an ambient and relaxing track with an overall ‘feel good’ vibe. My only criticism of this track is that it seems much more linear than the likes of his contributions to Wipeout in terms of its development, despite being enjoyable nonetheless. The other track, “Canada,” is undoubtedly one of the series’ best themes, coming close to “Messij” from Wipeout. Much like “Body in Motion” it holds a similar rhythm all the way through, but this time, Wright introduces a fair number of synth effects and vocals all around the track, just to spruce things up a bit! The Sega Saturn version of the game features a lot more tracks from CoLD SToRAGE, mostly better than “Body in Motion,” but at least these two tracks act as a little teaser of what’s in the game.

Anyway, in regard to the rest of what’s on the tracklist, it’s mostly the same as what can be heard in Wipeout 2097 -The Soundtrack-, and even sees the return of a few artists who contributed to Wipeout – The Music. The instrumental version of The Prodigy’s “Firestarter” is amongst the game’s most pulsating and heavy-hitting themes. The vocal version of the track is much better though, but with the hit featuring controversial and violent punk vocals, it was probably a good choice to just include the instrumental version in this soundtrack. The Chemical Brothers offer two contributions, “Loops of Fury” and “Dust up Beats.” Each track is particularly typical of The Chemical Brother’s early big beat style, each focusing around hard-hitting drums and unique synth sequences. Underworld’s “Tin There” is another hard-hitting track, but seems to create a hypnotic atmosphere, not especially explored by The Prodigy or The Chemical Brothers. Likely, it’s the use of a recycled bass rhythm and constant overlaying of synth sequences which creates this unique effect.

Also on the tracklist, The Future Sound of London’s “We Have Explosive” sticks to the big beat style already exemplified by The Chemical Brothers’ contributions. There is also a remix version of the track called “We Have Explosive (Herd Killing)” on the Wipeout 2097 -The Soundtrack-, which in many sense is more entertaining, if only for the weird effects between 2:50 and 3:00. “Landmass” is a little different, and starts off with an ambient sustained synth note and high-pitched reverberating piano sequence. It’s surprising that this addition didn’t make it to the official soundtrack release, since it’s actually the band’s best contribution, especially in terms of development and musicality. Just as good are the two contributions from Fluke, which are filled with electronica and house goodness. One of these tracks, “V Six” begins with alarm noises and a scintillating fast-paced pumping beat, and after a long development it really starts to come alive at 3:27 with the overlay of a new synth line. The renowned “Atom Bomb” is the better of the two tracks though, with this one featuring a much stronger melody and gripping whispered vocals.

Summary

Through creating a multitude of different and inviting sounds, be this a calm atmosphere, a heavy hitting musical assault, or melodic invasion, the tracks which feature in this game are great exhibitions of what can be achieved through electronica. Furthermore, this sort of futuristic sound is absolutely perfect for the game which itself is based far in the future. With the inclusion of CoLD SToRAGE’s two tracks, I feel that this redbook audio is well worthy of a good listen. So, get out your game, put it in your dusty record player, skip the first track (which is blank), and get listening.

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