Our series of music round-ups covers sound you'll only find in virtual reality, produced by artists who socialize and work there. From acoustic to hardstyle techno, what's sonically relevant is being documented with us.
If you find an artist you like, click through the track information to give that person a follow (and buy something!). Your support is what keeps them making music–and we always love new sounds.
The industry of AR, VR, and XR are fraught with spiderweb-like connections between different areas of development and performance. Where it originally seems like activities on one platform or company would not affect anything else, small ripples in one area can actually have larger repercussions at the far end of another.
The Rec Room announcement of the Sept 2021 Grimecraft performance.
What occurred was an experiment, taking the VRChat venue, Grime Canyon, and rebuilding it on a different platform entirely using Rec Room's map authoring tools. But something else happened in the process–it created a musical landmark in that game, one that will likely be repeated by someone who was inspired by the original event.
That's how VR works. No social platform within the community's confines are ever completely isolated.
As this pattern grows, the wires between each digital microscene become more and more entangled. The historical data piles up, and there amasses so much cultural content that it attracts a specific type of person: the hungry writer, the music buff, the tech fan, but also…
On May 7th, 2022, Shelter will hold its second meet-up and irl performance–this time at VR World in Manhattan NYC.
One of the goals of this (and possible future in-person appearances) is for the virtual music scene to be taken more seriously on a wider scale. This a great goal, but won't come without its challenges.
Shelter originally came from a group of clubs that developed in late 2020 and early 2021 from real-life, professional DJs who no longer had venues to play at due to Covid. Because the group of performers who ported their operations into VR happened to be largely male, it created a dynamic with similar clubs that felt equally masculine, despite femme and nonbinary performers being invited to play at those venues. 2021 became a learning experience of navigating these sadly familiar waters in EDM, but in the end was met with a counterculture of more queer and femme-run spaces to offset the imbalance. Shelter has since made strides to be absolutely up-front with inclusive messaging, but for a while the vibe was what it was.
As Shelter grows, more of this kind of discussion is going to be had. Want to field the interest of a journalist in meatspace and get in a bigger paper? Not every article will be a fluff piece about the promised utopia of the metaverse. Some will dive deeper, ask harder questions. Give feedback. Give opinions that aren't always positive. Shelter has a very dedicated fanbase, one that can respond quite negatively when they hear something about their favorite venue that isn't what they want to hear. This must be tempered if Shelter is to meet the real world head-on and be successful, and learn how media often interacts with performers to get maximum engagement.
For example: two paragraphs back, I purposefully typed something honest yet incendiary to get a reaction. Imagine a writer interested only in content aggregation, realizing that Shelter's patrons will absolutely dogpile and hate-share an article criticizing the venue. Those unhappy clicks drive ad revenue up, and the savvy editor sees this and thinks, "Let's jerk them around and write a few more articles to get them to visit again and again." It's a common tactic, but overall 2TD and staff might realize: some of it might be necessary to get more curious eyes on Shelter. It makes no sense how this works with bad news sometimes, but it does. It's a little PR trick.
And then there's the critic who works earnestly. The Metaculture has a policy of listing off any artist who submits music to the magazine, in order to give them a fair chance of gaining more listeners. What happens if someone starts actively reviewing music and giving point-blank feedback? What if it inadvertently brings the wrong reaction? Feedback has to be measured, or else it will turn outsiders away from Shelter entirely.
These possible futures depend on Shelter's long-term intent. It seems like they might want to make more irl deals, so eventually some of these challenges will have to be overcome. Remember: play it cool. Everyone has to, or else this special little space will be dismissed as niche and end up ignored by wider audiences in music.
A still from Rollthered's "Ice Cold".
New This Month
For April, things kicked up even more excitement musically.
Rollthered publishes Ice Cold, a track and music video that helps to show off the vibes of what the VR music scene is about. The MV features visuals, throwbacks, and AR face tracking. We think this is one of the best songs Roll has produced, period.
Cyntheszr and Aria Veil team up on Threat, a gorgeous techno track with a little bit of a 90's vibe floating around somewhere in the back. You could do a vogue routine to this. I honestly hope someone does.
Glass Persona's Archangel/Illuminate is just beautiful. "This is a two track single," the producer explains, "with a blend of dark and vibes, all in the veil of techno and progressive house." Our favorite has to be Archangel for its gentle piano highlight towards the end.
That's all for now! Tune in next time for more music, and don't forget to follow your favorites here.
Our new series of music round-ups covers sound you’ll only find in virtual reality, produced by artists who socialize and work there. From acoustic to hardstyle techno, what’s sonically relevant is being documented with us.
If you find an artist you like, click through the track information to give that person a follow (and buy something!). Your support is what keeps them making music–and we always love new sounds.
This installment of the music round-up includes some of the most impressive releases in the (so far) short history of this series.
Vibe Tribe Establishes A Benchmark
First up: Vibe Tribe, the neontastic, cyberpunk-inspired venue within VRChat, celebrates its first anniversary with the new release Vibe. This compilation album features work from artists such as Purrincess, Xenon Chameleon, Senchineru, Tektheist, Realmlist, and Xystran. Because the VR music scene is still developing, Vibe might turn out to be a collector’s item; there’s a physical CD on sale on the release’s Bandcamp page, so you’re encouraged to click through in order to grab a copy.
After seven years away from publishing anything new, Tainu returns to the VR music scene with the downtempo electronica tune Parallax.
“Parallax began as most my songs do: A simple loop that I would listen to off and on over several months, trying to find the inspiration to actually finish a track,” Tainu explains. “However, what makes this release so special, is that it likely would have never happened had I not discovered the VR club scene and the countless friends I’ve made there.”
Rollthered Does, Too
“Hope is a song I wrote when feeling stressed,” musician Rollthered says of his new release. “There is a lot going on in the world right now that can be confusing and frightening. But in the end, things will get better.”
Rollthered often hides his production value behind joke-laced tracks, but you can always hear the skill that never quite goes away. Not so this time–he’s serious in his formal return to music production, the result being a beautiful drum n bass banger.
CYNTHESZR Epitomizes Hard Techno
Techno producers in VRChat are always the picture of “The VR Sound”: tight production and intense delivery. CYNTHESZR carries on the tradition with Raid Spray, a track begging to be picked up and added to sets. We’re looking forward to hearing how this appears at Concrete or Ghost Club.
Tongkii Is Truly Orange
Tongkii, the melodic electronica producer, has published his latest album Orange. Orange feels like a summary of his musical prowess, condensed and pushed a little further in skill–you can perceive where Tongkii might be headed sonically with the well-made Hear Me.
Terkoiz Enacts A RITUAL
“Your first mistake was summoning us.” And so goes the story in Terkoiz‘s entrancing new track, RITUAL. What’s interesting about this work is how easily Terkoiz could have leaned into the heavier sounds for the entirety of the song, but chose to round it out with a softer cowbell at the end that works perfectly.
Purrincess and Xenon Get Experimental
Rounding out the Vibe-Tribe-associated-sandwich is an EP release by Purrincess featuring Xenon Chameleon, Slip. Slip features two tracks: its namesake, and I Can’t Stop. The album is another testament to how the two work together seamlessly, as well as how amazingly it would fit on some esoteric music stations.
The vibes are real and very trippy. Give it a listen:
Our new series of music round-ups covers sound you'll only find in virtual reality. From acoustic to hardstyle techno, what's sonically relevant is being documented here.
If you find an artist you like, click through the track information to give that person a follow (and buy something!). Your support is what keeps them making music–and we love new sounds around here.
This biweekly installment of our music round-up continues to unveil nothing but impressive talent.
First up is an acoustic album by one of VRChat's most prominent live singers, Im_Naku. This two-track EP is heartfelt, and Naku sings his heart out in it. We're proud to see him spread his wings and fly a little more with the aptly named Two:
For hardstyle, Aria Veil and Etller team up to flip the Ghost In The Shell theme for a refreshingly new, high-energy take. Not enough can be said about how good this track is, so take a listen:
Terkoiz, having previously created music in the lo-fi and ambient realm, gives hardwave a try with the new song Liar:
In the land of Drum n Bass, Wookiedubs debuts Wook Roller. It's an impressive composition with enough callbacks and switch-ups to leave on repeat, showing off the producer's prowess:
"I made a cute little bootleg," is Amnesia Station's official quote about this bass-boosted Delilah take:
TⱯPPS shows off a serious side again with a bootleg of Madeon's All My Friends:
As a teaser for their upcoming mixtape, Xenon Chameleon has released Cute Alligators, a nine-minute mix of breakcore, house, and a little bit of an extra trip:
Meanwhile, in the realm of classic dance music, Schlick gives us a a cheeky title with solid tunes in N.F.T (Nice Fluffy Techno):
A new entry to the music scene, Electro Punk82 might change in their journey–but their visuals are already engaging. Here's their first musical attempt. Follow along if you like the early sounds of developing talent:
Rounding out submissions for this biweekly installment is Tongkii the melody-maker, providing yet again with the new release Be Here:
That's all for the round-up this week! We hope you found an artist you like. Until next time!
Mapping the constellations of the VR music world isn't exactly easy. Both performers who get their start outside and inside virtual reality can change trajectory mid-development, pick up new projects, and change stage names while finding their signature sound. The immersive space that encapsulates them can have just as much of an influence on what they create, like heavenly bodies spinning into orbit shortly after a massive collision.
The music that results can emerge from a special combination of forces: pressure to perform with equally-high-achieving colleagues, ideas bouncing off of mutually shared walls, and sonic influences shared at rapid speed. Time compression in VR plays a big part, too. Sure, you released that amazing EP last week, but what about now? Seven days in virtual reality feels like a month, so a successful musician might be inclined to head back to the drawing board sooner to crank out another hit.
This past year alone has had huge musical offerings in VR for anyone to stream and enjoy. That said, here are some recent track releases from just a slice of who is actively producing in the grid. There's a wide array of genres and experience level, so we've organized them a little more easily for readers to find what appeals to them.
The Planet of Hard Sound
Experimental clubs, such as Vibe Tribe and Hei$t, often see some of the same amount of creativity and energy between them. Remember, virtual reality is like an incubator and pressure cooker for these talents. The experimental vibes here are part of what makes the resulting audio, from techno to witchhouse to footwork, so concentrated and intense.
These tracks pull no punches on listeners. Their work is top-notch, and they know what they're here to do–make you dance.
Remember the name "glass persona" for now. We'll revisit them further in this article under another name:
Onumi and Realmlist are examples of producers consistently bringing experience and fresh fire to their tracks. Onumi's visuals are one-of-a-kind yet commercial-ready, while Realmlist is always full of surprises:
Etller and Senchineru's work is razor-sharp, with an intensity often categorized as the "VR music" sound:
Here's an example of a collaboration EP. Lufz and K1N put out a two-hitter recently, with more promised on the way. Drum and bass has really taken off in VR, thanks in part by the influence of MUZZ's presence to help foster its growth.
Horror-inspired artists Gloomstone and Eberstark also recently teamed up to produce this banger:
Ambient And Starry Galaxies
Virtual music tends to be stereotyped as harder audio, but it isn't necessarily true of all of it. Some of it is so immersive and emotive, it wraps you up gently and threatens to carry you away. In a way, it still contains that intensity but goes in a different direction with the definition.
The range for this group of music is still rather wide, so it contains everything from mediumcore, trance, house, and beyond.
B-step is a genre to keep your eye on with its connection to VR. Burstup is one such producer in the field:
House and melodic are well represented in VR, with plenty of clubs spinning music that makes you want to relax and enjoy a drink:
The ambient side of the virtual music scene also intertwines with VR's creative worldbuilding community. Cirrex (another b-step producer!) has a hand in both of these spaces, creating sound both inspired by natural landscape and functioning as moving music for game sequences:
Here's another collab effort, this one between Terkoiz and ju.no. This beautiful EP features a remix and a flip:
Remember "glass persona"? Their other stage name is TⱯPPS, and they released a beautiful album called Home recently. Home proves how VR music doesn't need to have a hard edge. It can be enrapturing and immersive, too:
Raw talent shows up ready to experiment in VR as well. Keep an eye on these types–they're sure to go places:
Voices In Orbit
Acoustic and live performance is an often-overlooked part of the virtual music scene, but is quite present. Having an overlap with Twitch vtubers, the subdivision is a big attraction that often brings in heavy views with VR concerts.
Hot Old Fashioned is one of the best EPs from a VR-related band right now:
Different singers have different styles, and you'll need to catch them in-game to see the effect of their presence on stage. Still, they releases tracks online as well:
Hungry for even more? We'll be revisiting the subject of VR music every once in a while to resupply you with new releases. This even even the tip of the iceberg yet. There are so many tracks, EPs and albums released in the past year, it would be impossible to cover them all in one article. Until then, here's hoping you've found someone new to support.
Every sequel and reboot picks apart Tobe Hooper’s 1974 version, trying to reproduce what can’t be copied
Tobe Hooper’s 1974 horror movie The Texas Chain Saw Massacre is beautiful in its singularity. While it’s often lumped among its grindhouse peers and slasher brethren, very little of it is actually comparable to the rest of its genre. To this day, it remains sun-scorched madness: A few young adults fall into a rabbit hole to hell, where they discover a face-wearing behemoth and his deranged family in a dilapidated farmhouse.
The movie doesn’t have much plot structure, and you can divide it into the half where the lead, Sally Hardesty (Marilyn Burns), isn’t screaming a lot, and the half where she is. The cackling cannibals who commit the titular slayings complain about gas prices, gentrification, and their own displacement in a society that’s leaving them behind, rendering them as ultimately human, but nonetheless ghoulish. And by the end of it, audiences are left thinking exactly what Sally does as she laughs hysterically in the back of a fleeing truck while Leatherface, stymied, swings his chainsaw in the middle of the road: “What the hell just happened?”
Because the original film is so singular, making a sequel seems like an inherently misguided idea. Any look into not just the film, but its behind-the-scenes chaos, seems to indicate that no one can replicate it, even though duplication and returns to form are often horror’s gory ethos. That hasn’t stopped filmmakers from trying, with the most recent attempt, Netflix’s direct sequel Texas Chainsaw Massacre, serving as the latest example. But unlike the usual horror sequels, which usually just ratchet up the body count and confuse the canon, 1974’s Texas Chain Saw Massacre is special. The sequels to this horror standout don’t just feel like attempts to copy the original’s success, they feel like fumbling efforts to figure out why it worked in the first place — duplication by means of psychoanalyzation. As each sequel has pulled out a thread of the original and tried to make that the entire fabric of the piece, they’ve each made a different argument for what’s important in the first film.
Photo: New Line CinemaLeatherface in 1974’s Texas Chain Saw Massacre
Hooper returned to direct the 1986 sequel, The Texas Chainsaw Massacre Part 2. By that point, he had graduated from the miniscule budget of the original film into a much grander allowance from Cannon Films, purveyors of the violent, the camp, and the explosive. Hooper’s aim with the film was pure black comedy and buckets of blood, as if even he knew he wouldn’t be able to top himself. He felt that audiences at the time didn’t really get the humor of the original film, so Part 2 wields it like a sledgehammer to the skull, amping up the political commentary so it becomes a full Reagan-era parody.
1990’s Leatherface: The Texas Chainsaw Massacre III was distributed by New Line Cinema, at that point famous for being the studio behind A Nightmare on Elm Street. Dubbed “The House that Freddy Built,” New Line was intent on reversing the tone ofHooper’s 1986 sequeland finding the most reproducible and audience-friendly elements from the original film. The clear purpose was finding the streamlined heart of Texas Chainsaw Massacre in order to make it into a franchisable horror staple, this time with journeyman director Jeff Burr at the helm. But squabbles with the MPAA over the 1990 film’s violence and its rating ended up neutering its potential, and not even a leering performance by a young Viggo Mortensen and a hilariously goofy trailer based off Excalibur could save it. In the original film, Hooper relished his uncontrollable energy. This watered-down Chainsaw proved there was no mold for that, no matter how hard Burr distilled the story down to its base slasher elements.
1995’s The Return of the Texas Chainsaw Massacre is the closest the series has gotten to reigniting the original film’s unpredictability. It has a truly wild third-act twist, and it features a sweaty, manic “Oh my God, he’s in this?” performance by Matthew McConaughey. Its closeness to the original is understandable — it was written and directed by the first film’s co-writer, Kim Henkel, and his film is full of Illuminati experiments and borderline self-parody, as victims “experience horror on the pretext that it produces some kind of transcendent experience.” Return dissects the first film’s chaos by providing conspiracy structure, lacing cabal-esque reason into delirium, and ignoring the way the fear in the original film was birthed from the fact that it seemingly came from nowhere.
Photo: New Line CinemaMatthew McConaughey in The Return of the Texas Chainsaw Massacre
2003’s The Texas Chainsaw Massacre begins not just with voiceover from the narrator of the original film’s opening scrawl, John Larroquette, but with copious faux documentary footage. It takes the original’s lurid “What happened is true.” tagline to its logical extent and uses it to give the project something more like a true-crime vibe. It filters the original’s cinéma vérité style through a series of biographical checkpoints, figuring that if the original seemed real to people, what would happen if it was real? What if you learned how Leatherface made his masks? What if you found out that he was bullied as a kid? What if director Marcus Nispel and screenwriter Scott Kosar acknowledged his entire family, rather than focusing on four weird dudes in a house with a disintegrating grandmother corpse?
2006’s The Texas Chainsaw Massacre: The Beginning serves as a prequel to the 2003 remake, which feels like destiny, given the 2003 version’s massive box office. (And the way it ends with Leatherface losing an arm, leaving him hard-pressed to operate wood-cutting tools in a sequel.) This movie continues to answer questions no one was asking about the original, to the point that it opens with Leatherface being born in a meat factory, and has him collecting his chainsaw as if guided by a moment of Divine Providence. It drops the dull green and brown color palette of the 2003 version in favor of a bleached, dusty yellow-and-orange look that’s more friendly to the original film, as if it was the look of the 1974 movie that made it a hit. But it’s still a history-book approach to a series best left without one, another attempt to lean on the “truth” behind the characters.
2013’s Texas Chainsaw 3D was the second attempt at a direct sequel to the original movie, released 40 years after it, and filled with nostalgia for it: The opening scene recreates moments from the original movie, and is set in its soon-to-be burned farmhouse. The whole thing hinges on reverence for the 1974 film, without adding anything scary to it. At the end, the heroine and Leatherface are even revealed to be cousins, and they team up, retooling the masked killer’s vicious tendencies as a neighborly quirk. It misjudges Leatherface as a bit of American iconography rather than an object of terror — the cinematic equivalent of Charles Manson T-shirt.
2017’s Leatherface is a prequel to the timeline that includes the original movie and Texas Chainsaw 3D, with Leatherface now imagined as one of a handful of escapees from a mental institution. Like the filmmakers behind the 2003 remake and its prequel, the team behind this one decided the beating heart of the narrative was the explanation of how Leatherface came to be. But instead of providing sweeping answers, they focus on the specific trauma and injury required to create a psychopath. Once again, it’s an approach that plumbs the depths of what it would take for the story to be “real,” boiling the nightmare of the original into true-crime-esque cause-and-effect.
Photo: New Line Cinema2017’s Leatherface
With Netflix’s 2022 Texas Chainsaw Massacre, director David Blue Garcia and the writers are obviously enamored with the original movie’s political themes, particularly the early-’70s economic recession that forced Leatherface’s family into destitution. The family choosing to feast on some New Age hippies is recalibrated for the 2020s in the newest version, which has a bunch of young social influencers looking to gentrify the ghost town where Leatherface now lives. But the film mixes its messages by turning some of the survivors into heroes, just after turning Leatherface into a victim of pure circumstance. Its attempts at grasping at the power of the original are scattershot. Even though it’s more indebted to the original film than any movie in the franchise has been for almost 30 years, the creators don’t trust in the original’s efficacy.
So what does make The Texas Chain Saw Massacre work? Is it some unsolvable formula, or does its troubled production make it impossible to truly remake? Hollywood will likely never really find out. The endless horror-movie process of rebooting and and trying to re-create success is almost always doomed, because it’s trying to attribute complicated chemistry to something very simple. It’s impossible to reproduce originality while remaining original. So this franchise, like so many others, keeps crashing against the rocks of a movie that’s become horror legend precisely because it wasn’t slavishly copying a specific past film. The impact of the 1974 movie impact is clear in the way every single one of these films try to pull out its guts, study them, and use them as a framework for a new creature. For better or for worse, the chainsaw will never stop buzzing.
Photo: Yana Blajeva/Legendary via NetflixLeatherface unmasked, in the 2022 Texas Chainsaw Massacre
Which Texas Chainsaw Massacre films are worth watching?
MUST WATCH:The Texas Chain Saw Massacre is both a classic and an eternally refreshing piece of cinema, and every horror and questionable barbecue enthusiast out there should watch it. It’s available on Shudder.
MUST WATCH:The Texas Chainsaw Massacre Part 2 is the second-best in the series, over-the-top and darkly funny. It introduces the character of Chop Top, played by future Rob Zombie movie staple Bill Moseley, and he’s likely the most quotable thing to ever come out of the series. Also, Dennis Hopper has a chainsaw duel with Leatherface. Rad. Check it out on Apple iTunes.
MAYBE:Leatherface: The Texas Chainsaw Massacre III isn’t as unforgiving or bizarre as the first two, but if you’re open to a Chainsaw film that feels a bit more like the other horror flicks of the era, give it a watch. Dawn of the Dead’s Ken Foree stars. Rent it on Amazon Video.
MAYBE:Return of the Texas Chainsaw Massacre, aka Texas Chainsaw Massacre: The Next Generation is widely regarded as “the bad one,” and it’s far from perfect. That said, watching Matthew McConaughey shout over a poorly lit kitchen table while Leatherface sobs and screams is entertaining at times, and its last act must be seen to be believed. It’s on HBO Max.
MAYBE: The Texas Chainsaw Massacre 2003 remake is like many remakes from the ’00s — overproduced, with an over-reliance on the monster’s backstory. But it’s generally well-directed, and R. Lee Ermey (the abusive gunnery sergeant from Full Metal Jacket) plays a perverse sheriff in a role that’s the most hauntingly effective thing in any modern Chainsaw film. It’s on Netflix.
MAYBE:The Texas Chainsaw Massacre: The Beginning is good if you liked the remake, but wish it had more bloodshed and more instances of unrestrained cruelty. It delivers those. Once again, Ermey is a standout, providing a nauseating backbone to the frequently unnecessary origin story. It’s also on Netflix.
SKIP:Texas Chainsaw 3D can’t really be recommended in good conscience. If you’re morbidly curious to see a Leatherface film where the triumphant line is “Do your thing, cuz!” it’s available on Peacock.
MAYBE:Leatherface doesn’t really need to exist, but out of all of the Chainsaw films outside of the first two, its narrative concept is the one that seems particularly daring. The most stripped down of the films outside of the first, it’s on Pluto TV.
MAYBE: The 2022 Texas Chainsaw Massacre tries to implement some of the tools used to reinvent the last few Halloween films, including the survivor of the first film coming back as a grizzled hunter obsessed with vengeance. It doesn’t really succeed, but it’s gory enough to be satisfying in spite of all of the missed throws it makes. And the ending is worth the wait. It’s on Netflix.
XREAL Games, the Budapest-based studio behind Zero Caliber VR (2018), announced that its upcoming co-op shooter Gambit! is set to release on Quest 2 and PC VR headsets this year.
Gambit! was first revealed around a year and half ago, promising a campaign-driven adventure full of guns, gangs, mayhem, and rock and roll. Although originally hoping to launch in 2021, now the team says it’s coming in Q2 2022.
Back then we only had a brief teaser to go on (seen below), however the game’s more recent Steam page shows off a bit more of what to expect, including a few new images.
XREAL says Gambit! will feature “20+ hours” of gameplay, that span nine levels across three chapters.
The four-player co-op missions are also said to include “dozens of guns, a myriad of attachments, skins, masks, deathmatch, tournament ladders, minigames, leaderboards, climbing, graffiti, hidden rewards, the GNOP, bossfights, free updates, dedicated customer support, and so on.”
We’re still waiting for the big gameplay reveal, although with the start of Q2 coming on April 1st, we may be getting a peek sometime soon. In the meantime we’ll be keeping our eyes peeled on the game’s Twitter for more info as it arrives.
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