Into The Darkness: 4 Themes – music by Cliff Eidelman

If an unused cue from a TV or movie music score is the musical equivalent of a deleted scene, an entirely unused/rejected score (or, in this case, demos) are the musical equivalent to a completely different cut that never escapes the editing room. Such is the case with Into The Darkness: 4 Themes, a download-only EP by Cliff Eidelman, the composer who steered the Star Trek film franchise into dark, operatic territory with 1991’s Star Trek VI: The Undiscovered Country. The four themes in question here are a four-track demo submitted by Eidelman to the producers of the then-yet-to-premiere Star Trek: Discovery, at their request.

What’s interesting about that request is that it didn’t come from Discovery creative consultant (and Star Trek VI director) Nick Meyer, but instead came from Discovery’s initial (and later dismissed) showrunner, Bryan Fuller. Reports have since emerged that Fuller had some very different ideas for launching a new Star Trek series for CBS, but had to rein some of his wilder ideas in. Eidelman’s track titles so specifically reference events in Discovery’s first two episodes that it’s clear that music was auditioned late in the process (as it usually is). “Battle Of Two Worlds” is a minor word swap away from Battle At The Binary Stars, the second hour of the series, and “Mutiny In Darkness” also references incidents in that second episode. So we can say with certainty that Eidelman’s music would have – if the composer had landed the assignment – accompanied a story very much like what actually played out on screen (with Jeff Russo’s accompaniment).

That being said, there’s something a bit less than pulse-pounding about the music presented here. It isn’t just that it’s a synth demo standing in for what was undoubtedly expected to be a full orchestra – I can cut it a break on that front knowing that it’s a demo – but it just doesn’t go anywhere. I’ve probably heard the actual Discovery theme as used on the show itself 20-25 times, and I can hum it. I’ve listened to Into The Darkness about as many times – and why not, when there’s no official Discovery soundtrack release as yet? – and I can scarcely remember Eidelman’s main recurring theme a couple of hours later. I do like his take on music involving the Klingons, as it gives a nod to the guttural, percussive brutality present in themes introduced for the Klingons down through the years by the likes of Goldsmith and Horner and Ron Jones, but that’s almost all I can remember of this EP later.

2 out of 4Scoring film and TV is a collaborative process. It’s entirely possible that even Jeff Russo didn’t hit it right out of the park on his first attempt at a theme, and that he received notes from the producers asking for either refinement or a from-the-ground-up rethink. It is, perhaps, unfair to judge Eidelman’s demos too harshly on the basis that they don’t represent a finished, polished product of that same collaborative evolution. I find the very idea of recruiting an experienced Trek composer fascinating in the extreme. But as a listening experience goes, Into The Darkness: 4 Themes shows perhaps too much restraint and not enough of the in-your-face brassiness that made so many of us fans of Star Trek’s music way back in the day.

Order this CD

  1. Into The Unknown (1:27)
  2. Battle Of Two Worlds (2:16)
  3. Mutiny In Darkness (2:13)
  4. Resolve (1:10)

Released by: Cliff Eidelman
Release date: October 20, 2017
Total running time: 7:06

Quantum Quest: A Cassini Space Odyssey

You can probably be forgiven if the name of this movie – shown primarily in museums and other educational venues – doesn’t ring a bell. Animated in Taiwan to accompany an all-star voice cast that included the likes of William Shatner, Chris Pine, Mark Hamill, Samuel L. Jackson, Brent Spiner Robert Picardo, Hayden Christensen, Jason Alexander, James Earl Jones, future Star Trek: Discovery star Doug Jones, and rookie first-time actor Neil Armstrong, Quantum Quest incorporated real-time data from a number of NASA missions that were then ongoing: Cassini, the sun-watching SOHO, Mercury-orbiting MESSENGER, Mars Odyssey, and ESA’s Venus Express and Mars Express orbiters. I’m kind of sorry I missed this one, because the real-time, interactive nature of it precludes any kind of home video release (or at best would result in a home video release robbed of its most compelling features).

But there’s the soundtrack. Shawn K. Clement (composer on several early episodes of Buffy The Vampire Slayer) pulls out all the stops, with the Skywalker Symphony Orchestra delivering a score worthy of a sci-fi epic (complete with theremin performed by Clement himself). With a barrage of percussion and occasional ethnic flourishes, Quantum Quest‘s score shows a bit of Battlestar Galactica influence (but then, so does a lot of other post-2005 sci-fi scoring). But it’s a very different animal, leaning more heavily on traditional 19th century orchestral influences and using the other elements as flavoring rather than foregrounding them.

4 out of 4Given the subject matter and the talent involved, it’s a bummer to have missed Quantum Quest while it was still a current concern. (Even the spacecraft upon whose data the movie relied are not all there now: Cassini, Venus Express and MESSENGER have all ended their missions by crashing into their respective planets.) The soundtrack makes quite a souvenir of both the movie and that very busy era of interplanetary exploration.

Order this CD

  1. Cassini (0:47)
  2. Anti-Matter (1:34)
  3. Sun City The Game (3:11)
  4. Opportunity To Serve (0:45)
  5. Departure Station (1:45)
  6. The Core (1:11)
  7. The Battle (1:14)
  8. Ignorant Moronic Fools (1:05)
  9. The Void (1:39)
  10. Ghost Fight (0:44)
  11. Incoming (0:55)
  12. Fate Of Trillions (2:06)
  13. Dave In Space (1:05)
  14. Fear / The War Machine (3:25)
  15. Ring City (0:35)
  16. Are You Milton? (1:18)
  17. Destroy The Dave, Destroy The Light (1:54)
  18. Cassini Commander (0:44)
  19. Flipping Switches (1:25)
  20. Destroy Me (1:02)
  21. Operation Photon Extermination (3:17)
  22. The Message / Dave Delivers (4:18)
  23. Universe Of Possibilities (2:18)
  24. The Quest (remix) (5:23)
  25. The Message / Dave Delivers (demo) (4:11)
  26. The Message (remix) (6:32)

Released by: BSX Records
Release date: September 1, 2011
Total running time: 54:23

Adam Young – Voyager 1

Throughout 2016, Owl City’s Adam Young embarked on a project to compose, record, and release a film-score-style album every month of the year, based on ideas and events that had inspired him. That’s quite an audacious plan, given that an actual film score could easily take a month just to write and arrange, let alone a finished product in the can. Young’s musical background lent itself to a rock/pop idiom for some of these album releases, but he didn’t limit himself to that sound. Other topics included Joe Kittinger’s dive from the edge of space (long before Felix Baumgartner did it), the Apollo 11 mission to the moon, the sinking of the Titanic, Charles Lindbergh’s transatlantic flight, and more. Oh, and each album was released for free download.

The opening volley is titled “1977”, but it doesn’t sound that much like 1977 at all – it’s very much modern, and seems to be establishing an electronic, almost chiptune-esque theme for Voyager 1, as well a theme that is then picked up in turn by guitar and synths. “Earth” begins more sedately with a synth-orchestral pad of wonderment, occasionally overlaying that with an almost Art of Noise-style beat and samples of the Golden Record’s “hello from the children of planet Earth” phrase. “Asteroid Belt” is a gentle drift through the solar system’s undeveloped real estate, while “Jupiter” returns to a steady beat and an electric violin statement of Voyager’s theme. “Europa” maintains a staccato rhythm and is slightly more ethereal, leading into a slightly mysterious opening for “Saturn”, which quickly establishes its own beat and a somewhat mellowed-out version of Voyager’s theme. “Titan” is heavy on piano, and still has a beat underlying everything.

Following this is “Neptune”, an oddity in that it wasn’t visited by Voyager 1, but rather Voyager 2. It’s given a strange, fuzz-pedaled musical treatment, befitting a strange icy planet. “Pale Blue Dot” returns to the electronic sounds of “1977”, still with a steady beat, a sound which continues – in a more echoplexed, “distant” way – in the final track, “Interstellar Space”. This track also picks up the Voyager theme established at the beginning of the album, and again is slathered with a heavy beat at times.

2 out of 4It’s an ambitious thing trying to provide musical accompaniment for such a far-reaching historical event as the Voyager missions. It’d be ambitious for any composer to do, even Hollywood veterans. If there’s a failing with Young’s Voyager 1 album, it’s his tendency to fall back on a programmed beat so often. There’s something a little less than majestic about trip-hop beats over ethereal synth passages. At times I like that sort of thing; here, it’s done too much, and becomes the underpinning of everything rather than a sparingly used flavor. It’s nice enough music, but doesn’t really connect me to the subject matter.

Order this CD

  1. 1977 (4:46)
  2. Earth (4:40)
  3. Asteroid Belt (2:49)
  4. Jupiter (3:58)
  5. Europa (4:18)
  6. Saturn (4:55)
  7. Titan (4:04)
  8. Neptune (2:16)
  9. Pale Blue Dot (3:39)
  10. Interstellar Space (4:20)

Released by: ayoungscores.com
Release date: October 1, 2016
Total running time:

Beep – music by Leonard J. Paul

The soundtrack for a documentary about the evolution of sound in video games, Beep is very much an exercise in electronica, with a healthy dose of chiptune. That seems like an almost obvious way to go, right? Except there’s a bit more to it than that.

Many of the tracks on the Beep soundtrack album are ethereal and just a little bit hypnotic – repeating musical figures that sort of draw you into their sonic spiral. That’s no accident: these sequences were built on a foundation of procedurally-generated tunes. The repeating sequences were created at random by a program (given certain parameters), and then everything on top of that was the work of the film’s human composer. It’s an interesting way to have man and machine working together, and for the subject matter of Beep, it works. Even as a listening experience with none of the context of the movie, it’s very relaxing.

There are a few places where it gets a bit more active, though. There are two versions of “Half Steppin’/Freaky DNA”, a tune that sets up a funky groove, and there’s an ode to game music’s 4 out of 4less melodious early years in the form of “Dave’s Atari”, which gives you a really good idea of an Atari 2600’s actual range of notes and octaves. (And it’s still musical in its own way.) “Wood Bug” has a feel similar to “Dave’s Atari”, but with a more modern sound palette.

Beep may not be everyone’s cup of pleasantly arranged sine waves, but it’s mesmerizing and yet unmistakably pays tribute to the 8-bit sound of the early video gaming era. Those are two really strong selling points for a listener in the right frame of mind for something different.

Order this CD

  1. Beep Movie – Main Theme (1:17 )
  2. Banana Seat (5:28)
  3. Karin Originals (5:21)
  4. Orange Shag (3:31)
  5. Buckwheat Pancakes (4:03)
  6. Riverbank (4:10)
  7. Ankylosaurus Almonds (2:12)
  8. Rotary Dial (3:07)
  9. Dave’s Atari (1:58)
  10. Skipping Rocks (7:45)
  11. Half Steppin’ (Genesis Remix) – Freaky DNA (1:21)
  12. Help Steppin’ – Freaky DNA (3:07)
  13. Beep Logo (0:06)
  14. Magic Hour (4:20)
  15. Pluto (4:43)
  16. Galaxies (2:30)
  17. Googol (3:31)
  18. Crusin’ The Cosmos (4:50)
  19. Quadra Sunrise (3:54)
  20. Wood Bug (2:06)
  21. Backyard Flight (4:10)
  22. Beep Movie – Closing Theme (2:40)

Released by: Bandcamp
Release date: September 16, 2016
Total running time: 1:16:10

The Voyager Golden Record (remastered)

This isn’t a typical music review, because it can’t be. There’s no single artist whose style can be latched onto and studied; it’s a various artists greatest hits from the breadth and depth of humanity. Perhaps it’s best treated as a historical document than a collection of music.

In 1977, with mere weeks to go before the launch of Voyager 2 (the first Voyager spacecraft to leave Earth), Carl Sagan, Jon Lomberg, Ann Druyan, Frank Drake, Linda Salzman, and Timothy Ferris won last-minute approval to assemble a kind of “time capsule” to attach to each Voyager. Copyright clearances had to be obtained, greetings had to be recorded, the whole thing had to be edited, mastered and pressed onto gold-plated copper records, to be encased in aluminum covers attached to the spacecraft…all in a matter of weeks. Photographs are also encoded onto the records, and those too had to be selected, annotated, and cleared for copyright. It was really something of a shotgun wedding as far as putting a record together goes – and at numerous stages of its development, there were high-ranking NASA officials who made it clear that, as far as they were concerned, Sagan’s greatest hits record could stay on Earth with him. The Golden Record was a bear to put together, and it was a constant struggle to keep it on the flight manifest.

The rapid ramp-up from idea to execution, as well as the state of the art in 1977, means that there’s some unavoidable tape hiss from the original recording media. Ozma Records has done a marvelous job of cleaning everything up as far as sound quality, but sometimes you can’t overcome the limitations of the original medium. The track list is exactly as it was on the LP attached to the Voyager spacecraft (which, as a result of being mastered at a lower speed than 33 1/3, could hold more information).

If you spring for the physical package of either vinyl records or CDs, a book is included with the complete selection of photos included on the original records, as well as essays and memoirs from those involved with the Golden Record who are still with us. I backed the initial Kickstarter for the project, but only up to the digital download level due to budgetary concerns on my end; I’m seriously considering circling back around and buying the Golden Record compilation a second time just for the book.

If there’s a feeling one gets from listening to this message-in-a-bottle thrown through the outer solar system and right through the heliosphere, it’s one of feeling humbled. The wide variety of life and experiences on Earth is mind boggling, and some of the sequencing is canny – the launch of a Saturn V rocket followed by the cries of a human baby. We’re still in our infancy, pushing our way into the universe by brute force, and still trying to figure out how we can survive a journey to another planet within our solar system. The Voyagers are going further – one of the Golden Records has already left the solar system, never to return – bearing a snapshot of our hopes and dreams circa the summer of 1977.

And in the troubled summer of 2017, maybe we need to revisit those hopes and dreams too.

This title is not being given a rating due to its unique nature.

Order this CD

  1. Greetings from the Secretary General of the United Nations – Kurt Waldheim (0:43)
  2. Greetings in 55 languages (3:46)
  3. United Nations greetings / Whalesong (4:04)
  4. The Sounds of Earth (12:18)
    • Music of the Spheres by Laurie Spiegel
    • Volcanoes
    • Earthquake
    • Thunder
    • Mud Pots
    • Wind
    • Rain
    • Surf
    • Crickets
    • Frogs
    • Birds
    • Hyena
    • Elephant
    • Chimpanzee
    • Wild Dog
    • Footsteps
    • Heartbeat
    • Laughter
    • Fire
    • Speech
    • The First Tools
    • Tame Dog
    • Herding Sheep
    • Blacksmith
    • Sawing
    • Tractor
    • Riveter
    • Morse Code
    • Ships
    • Horse and Cart
    • Train
    • Tractor
    • Bus
    • Auto
    • F-111 Flyby
    • Saturn 5 Lift-off
    • Kiss
    • Mother and Child
    • Life Signs
    • Pulsar

  5. Bach: Brandenburg Concerto No. 2 in F Major, BWV 1047: I. Allegro – Munich Bach Orchestra/Karl Richter (4:44)
  6. Ketawang: Puspåwårnå (Kinds of Flowers) – Pura Paku Alaman Palace Orchestra/K.R.T. Wasitodipuro (4:47)
  7. Cengunmé – Mahi musicians of Benin (2:11)
  8. Alima Song – Mbuti of the Ituri Rainforest (1:01)
  9. Barnumbirr (Morning Star) and Moikoi Song – Tom Djawa, Mudpo, and Waliparu (1:29)
  10. El Cascabel (Lorenzo Barcelata) – Antonio Maciel and Los Aguilillas with Mariachi México de Pepe Villa/Rafael Carrión (3:20)
  11. Johnny B. Goode – Chuck Berry (2:41)
  12. Mariuamang? – Pranis Pandang and Kumbui of the Nyaura Clan (1:25)
  13. Sokaku-Reibo (Depicting the Cranes in Their Nest) – Goro Yamaguchi (5:04)
  14. Bach: Partita for Violin Solo No. 3 in E Major, BWV 1006: III. Gavotte en Rondeau – Arthur Grumiaux (2:58)
  15. Mozart: The Magic Flute (Die Zauberflöte), K. 620, Act II: Hell’s Vengeance Boils in My Heart – Bavarian State Opera Orchestra and Chorus/Wolfgang Sawallisch (3:00)
  16. Chakrulo – Georgian State Merited Ensemble of Folk Song and Dance/Anzor Kavsadze (2:21)
  17. Roncadoras and Drums – Musicians from Ancash (0:55)
  18. Melancholy Blues – Louis Armstrong and His Hot Seven (3:06)
  19. Mu?am – Kamil Jalilov (2:35)
  20. Igor Stravinsky: The Rite of Spring (Le Sacre du Printemps), Part II—The Sacrifice: VI. Sacrificial Dance (The Chosen One) – Columbia Symphony Orchestra/Igor Stravinsky (4:38)
  21. Bach: The Well-Tempered Clavier, Book II: Prelude & Fugue No. 1 in C Major, BWV 870 – Glenn Gould (4:51)
  22. Beethoven: Symphony No. 5 in C Minor, Opus 67: I. Allegro Con Brio – Philharmonia Orchestra/Otto Klemperer (4:38)
  23. Izlel e Delyu Haydutin – Valya Balkanska (5:04)
  24. Navajo Night Chant, Yeibichai Dance (Ambrose Roan Horse, Chester Roan, and Tom Roan (1:01)
  25. Anthony Holborne: The Fairie Round – Early Music Consort of London/David Munrow (1:19)
  26. Naranaratana Kookokoo (The Cry of the Megapode Bird) – Maniasinimae and Taumaetarau Chieftain Tribe of Oloha and Palasu’u Village Community (1:15)
  27. Wedding Song – Young girl of Huancavelica (0:42)
  28. Liu Shui (Flowing Streams) – Guan Pinghu (7:36)
  29. Bhairavi: Jaat Kahan Ho – Kesarbai Kerkar (3:34)
  30. Dark Was the Night, Cold Was the Ground – Blind Willie Johnson (3:32)
  31. Beethoven:String Quartet No. 13 in B-flat Major, Opus 130: V. Cavatina – Budapest String Quartet (6:41)

Released by: Ozma Records
Release date: 2017
Total running time: 1:51:04

Stargate SG-1: Music From Selected Episodes

If there’s a property I didn’t expect to resurface in the soundtrack world in the summer of 2017, it’s the Stargate TV franchise. In hindsight, though, I wasn’t paying attention to the clues – Intrada has long championed the musical output of Richard Band, brother of Full Moon Pictures producer Charles Band, and composer-in-residence on Full Moon’s extensive slate of low-to-mid-budget horror movies. And, patterned somewhat after the arrangement that governed music during the entirety of spinoff-era Star Trek, Band alternated on episodes of Stargate SG-1 with Joel Goldsmith for the show’s first two years on the Showtime pay cable channel, with other composers occasionally filling in (including, ironically, Star Trek’s Dennis McCarthy). This 2-CD set from Intrada gather’s Band’s carefully selected highlights from his time with the Stargate franchise.

The episodes for which Band felt he’d done his best work were Cold Lazarus, In The Line Of Duty, In The Serpent’s Lair, and Singularity – oddly enough, all early favorites of mine. Listening to the scores Band composed for these episodes, which feature small orchestral ensembles attempting to fill out and deepen the sound of synthesizers and samples, it’s easy to tell the real musicians from the electronic sounds. With the show opening every week with an adapted version of David Arnold’s theme from the original Stargate movie (for which Arnold had to be paid for every usage), the rest of the music budget – especially before Stargate SG-1 found its legs and popularity with its audience – was tightly constrained. But even when roughly half of what you hear is synthesized, it’s still a fun listen. Military drums, low, urgent brass ostinatos, and actual recurring themes (including quotes of Arnold’s theme) – the music of SG-1 was everything that the music of the show’s Star Trek contemporaries usually wasn’t: propulsive and threatening and dangerous. Stuff was happening in the music rather than it being relegated to background wallpaper. Nowhere is this better exemplified than in the nearly-nine-minute solid cue covering the entire final act of In The Serpent’s Lair: literally wall-to-wall music for the show’s climax.

Cold Lazarus, which uncovers a painful incident from Jack O’Neill’s past, is the outlier here, with gentle piano accompanying the unfolding revelation that Jack had lost a child. In The Line Of Duty and Singularity are far more representative of the musical sound of Stargate SG-1 as a whole, with both quiet passages, mysterious music for the team’s discoveries of ancient (or is that Ancient?) mysteries, and gung-ho action music where needed.

3 out of 4I remember, when first seeing that Intrada was releasing a new round of Stargate TV scores, being a bit let down that Joel Goldsmith’s work wasn’t represented. Now I realize this wasn’t a downside: Richard Band was as much a part of SG-1’s sound in those heady formative years of the show – where anything was possible and the Stargate franchise had yet to fall into the trap that befalls many a long-running series, namely slipping its neck into the noose of ever-thickening continuity – as Joel Goldsmith’s sound was. Much like the Star Trek: The Next Generation box sets that finally gave Dennis McCarthy’s work exposure in the wake of a massive all-Ron-Jones soundtrack box set, this SG-1 soundtrack set redresses an imbalance and is worth a listen.

Order this CD

    Disc One
    Cold Lazarus

  1. Teaser (3:42)
  2. Is It Really Jack? (3:53)
  3. Jack At Ex-Wife’s House (3:25)
  4. Jack Visits Charlie’s Room (3:24)
  5. The Crystals (2:14)
  6. The Crystal Monitor (2:18)
  7. Jack And Wife On Park Bench (3:08)
  8. They Re-Activate The Crystal Monitor (2:03)
  9. Pushing Back Through Gate To Hospital (3:53)
  10. Jack Meets Alien Self And Finale (9:10)

    In The Line Of Duty

  11. Teaser (2:50)
  12. Medical Time (3:12)
  13. O’Neill Comforts Cassie (3:05)
  14. O’Neill To Burn Victim (0:38)
  15. Teal’c Gives O’Neill Advice (2:28)
  16. Daniel Talks To Girl Survivor (2:07)
  17. Bad Guy Bandages Doc (2:20)
  18. Daniel Talks To Alien Carter (2:26)
  19. Finale – Daniel And Then Others Visit (10:11)
    Disc Two
    In The Serpent’s Lair

  1. Finale (8:50)

    Singularity

  2. Teaser (3:34)
  3. From Stargate To New World (2:36)
  4. Sam With Girl And Back Through Gate (2:49)
  5. Sam And Little Girl Get Closer (2:58)
  6. Heart Attack And Operation (3:36)
  7. Jack And Teal’c Escaping Battle (4:22)
  8. To The Underground Site (2:35)
  9. Time Is Up And Finale (8:26)

Released by: Intrada
Release date: June 27, 2017
Disc one total running time: 67:01
Disc two total running time: 40:01

8 Bit Weapon – Class Apples

I remember the Apple II. By way of the Franklin ACE 1000 clone that was later sued off the market, I grew up with the Apple II as my first computer. I programmed it – or tried to – endlessly. Trying to get music and sound right with the native Apple II speaker was an especially bruising experience: endless data tables, pokes, and very seldom getting what I wanted out of the machine. A whole sub-industry was born to bolt better audio capability onto the Apple II via add-ons like the Mockingboard sound card. It was never as easy as just plugging a MIDI-capable keyboard into it and just playing what was in your head.

Except that now, it is. And that’s how we got Class Apples – a new MIDI controller interface, and a modern-day software hack allowing for samples to expand the sound of the Apple II, and 8 Bit Weapon doing what 8 Bit Weapon does. The entirety of Class Apples is performed on Apple II computers, with minor post-production tweaks providing the finishing touches that the Apple itself can’t (reverb, stereo tricks, a bit of flanging here and there). It’s still the same lo-fi machine that it always was, but the Apple II can do more musically thanks to persistent fans of the machine grafting new abilities onto it, inspired by technological developments that have taken place since the Apple II’s heyday.

The music here is all from the classical repertoire, and heavy on pieces with complex counterpoint. Everything has a beat to it, and there’s a strong Hooked On Classics vibe to the whole thing. It’s hard to nominate any one track as a standout – each of them have their own charms – though I’m always a sucker for “Ave Maria” and, well, just about any flavor of Bach.

4 out of 4Computer music may be nothing new, and classics filtered through computer music may be nothing new, but there is something new here – significant musical capabilities have been grafted onto a machine that was known for little more than the plaintive PR#6 “BEEP” that accompanied a startup or reset. Just as 8 Bit Weapon helped alert the public to the possibilities of the NES and Game Boy as musical instruments, the same can now be said of the not-especially-musically-inclined Apple II. It’s a musical tech demo that is, if you know anything about the Apple II’s native sound capabilities, surprisingly listenable. You had me at INIT HELLO,S6,D1.

Order this CD

  1. Sheep May Safely Graze (Bach – 2:55)
  2. Two Part Invention (Bach – 1:03)
  3. Prelude and Fugue 1 in C Major (Bach – 1:29)
  4. Für Elise (For Elise) (Beethoven – 2:14)
  5. Eine Kleine Nachtmusik (A Little Night Music) (Mozart – 5:24)
  6. Invention 8 (Bach – 0:51)
  7. Prelude in C Minor (Bach – 1:35)
  8. Rondo Alla Turca (Mozart – 2:07)
  9. Invention 14 (Bach – 1:13)
  10. Air Tromb (Bach – 1:29)
  11. Ave Maria (Bach & Gounod – 2:52)
  12. Moonlight Sonata (Beethoven – 4:43)

Released by: 8 Bit Weapon
Release date: July 22, 2017
Total running time: 27:55