Escapist Editorials

Escapist Editorials
An Interview with Metroid Metal

Jordan Deam | 8 Jan 2010 10:40
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Sometimes, a couple bars of a familiar tune is all it takes to send you back to a time and place you hadn't thought about in years. That's how it is for me and old-school videogame soundtracks: A few bleeps into Snake Man's theme from Mega Man 3 or DuckTales' "Moon Song," and I'm instantly transported to the dimly lit game rooms of my youth. But if listening to the Metroid theme takes me back to a friend's basement circa 1991, hearing Metroid Metal's take on it actually sends me back to the planet Zebes - space pirates, Chozo ruins and all.

Metroid Metal is the pet project of Grant Henry (aka Stemage), a musician and web developer with a love of progressive metal and videogame soundtracks. Beginning in 2003, Henry set out to apply his recording and guitar-playing chops to the score of Nintendo's classic adventure-platformer. "Nobody had really taken the Metroid soundtrack and really gave sort of a prog-rock feel to it, so I decided to give it a shot with a few tracks," Henry says. "Originally the plan was to do the first game's soundtrack, the NES soundtrack. Then, after it was done, it was like, 'There's so many other good ones, too,' so I just kept going."

Henry's catalogue now includes 25 covers of Metroid songs spanning nearly every entry in the series. They aren't simply recreations of the old soundtracks with rock instrumentation, either. "I've never done straight covers," he says. "There's a lot of extra stuff going on, mostly in the rhythm section, that kind of makes it metal, you know? Messing with time signatures and rearranging parts, plus the occasional solo." The results are songs like "Brinstar" and "Lower Norfair" that bring the mystery, suspense and epic scale of the Metroid series into the modern era.

According to Henry, Metroid's music is more suited to the metal treatment than most NES game soundtracks. "After playing the games later on, after having not touched them for so long, it just reminded me of how good the music was. And not only how good the music was, but it also has this feeling where there's constant tension," he says. "The music goes back and forth between having sounds that are more positive and then having more dissonance as well. I was like, 'Well, that kind of fits right along with what a lot of metal music is like.' And there's so much melody there without a lot of rhythm - it kind of gives me some freedom to play around with the rhythms a little bit."

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