Select Adventure: A Celebration of Identity brings together some of the finest BIPOC artists in the VGM community. Each track reveals a different story, and that journey is also reflected in the artwork, designed by Troisnyx. Despite the staggering variety of sounds on display from cumbia to prog rock, veteran mastering engineer James C. Hoffman ensures a cohesive listening experience. What's more, all proceeds from the album will go to Pixelles for BIPOC workshop leaders and coordinators for their monthly online workshops. Pixelles is a non-profit initiative committed to helping more people make and change games. They're based in Montreal and have already succeeded in building a supportive community of game creators, both hobbyist and professional.

Album producer Rahul Vanamali had this to say:

"With Select Adventure, we take a dive into the cultures and experiences that have shaped the identities - both musical and otherwise - of these BIPOC VGM artists today. The nature of the tracks varies widely, but running through each one is a powerful and personal story, and we're excited to have you experience the musical tales we have to tell. We're also very pleased that any sales of this music will be directly benefitting an organization that actively uplifts marginalized groups, so we appreciate your support!"

Only one question remains: which adventure will you select today?

ADDITIONAL LINKS
GameGrooves: https://www.gamegrooves.com/
Pixelles: https://pixelles.ca/

Dionté George: Composer, Performer, Producer
Felix Arifin: Composer, Performer, Producer
Rahul Vanamali: Composer, Performer, Producer
Legendav: Performer
Erica Wong Ping Lun: Composer, Performer, Producer
Audio Mocha: Composer, Performer, Producer
Ro Panuganti: Writer-Composer, Performer, Producer
FirahFabe: Composer, Performer, Producer
Steph Nguyen: Composer, Performer, Producer
Epic Game Music: Composer, Performer, Producer
Troisnyx: Writer-Composer, Performer, Producer
Jason Beardsworth: Performer
Greg Slater: Performer
L.D. Worton: Producer
BeanBops: Composer, Performer, Producer

Album art by Troisnyx
Album mastering by James C. Hoffman
Producer: Allen Brasch
Executive Producer: Rahul Vanamali

-Track 1-
Dionté George: Composer, Performer, Producer

Ever since I was younger, I have been someone who tried to figure out how things worked and connect the dots with what I had. This became more apparent when I started doing more creative outlets like music, photography, video editing, and even writing. When I first started writing for this album, I created two characters (who happened to be the title of this track) to represent me and my fascination with piecing things together. Bits being the one who takes something at face value and deconstructs it for Pieces who take those parts and creates something new. For this track, I utilize the styles and concepts of music that helped shape me (Black American Music, Ambiance, Polyrhythms, and some sci-fi/ early PC noises) and string them together to help convey the theme a little more.

-Track 2-
Felix Arifin: Composer, Performer, Producer

I’ve always wanted an excuse to combine my love of lo-fi hip hop, representing my country of origin, Indonesia, and my ultimate dream of writing music for a romantic visual novel. Thankfully, I was offered a chance for this project! I came up with something cute, sensual, and endearing for an Indonesian character you might meet in a VN.

As a composer who grew up in Indonesia and moved to Canada, I’ve always strived to bring a piece of my musical culture whenever I composed. Being displaced from Indonesia since I was young means that I still have a lot of learning to do when it comes to Indonesian music and its cultural legacy, but I think that being able to incorporate pieces of it into my musical language and tapestry is an excellent way for me to understand myself, my place, and my identity in the musical world at large!

-Track 3-
Rahul Vanamali: Composer, Performer, Producer

I’ve recently gotten extremely fond of what I call a “prog percussion” ensemble (frequently quartet)—two marimbas (one of which plays the bass part), a vibraphone, and a drum set. It’s quite a unique sound that isn’t heard too often, and I knew I wanted to use the same combination of instruments on this album, although I ended up replacing the bass marimba part with a bass guitar (played by Legendav) for the additional bassy crunch

The track is essentially a combination of many musical ideas that I found extremely interesting to listen to (and to play), that I may expand upon further down the line. These ideas include additive phrases found in my favourite progressive rock and jazz music and my fascination with numbers, as well as minimalistic and repetitive phrases inspired by contemporary chamber percussion, with video game music-influenced licks and harmonic movements!

-Track 4-
Erica Wong Ping Lun: Composer, Performer, Producer

Being half Chinese-Mauritian and half Canadian with a European background, I often consider my identity as where I am most comfortable. Mauritius is known for their beaches, and these are one of my favourite places to be. I often draw inspiration for melodies and other creative ideas when relaxing there.

As such, “Coral’s Theme”’s mood is a nod to Mauritian beaches. To encapsulate my Chinese heritage, the melody only consists of five notes, creating a pentatonic scale that is often associated with Chinese music. To represent my Canadian and European heritage, I recorded the main melody on flute. This is also my main instrument and thus is a big part of who I am.

-Track 5-
Audio Mocha: Composer, Performer, Producer

I knew that I wanted to make a cumbia track the moment I joined the album. I’m more commonly known as a surf rock kind of guy, but I knew I wanted to make a song that would convey what I hear during the holidays when I’m with family. In particular, I knew that I wanted to make something that was inspired by Afrosound.

Afrosound was a group that formed in the early 70s whose music has become a staple at Colombian Christmas parties. Tracks like “El Pesebre”, which conveys that Christmas imagery in its music video, are common in playlists during the holidays. As long as I’ve been alive, I’ve been exposed to their music and have grown to enjoy it more and become appreciative of it as I’ve gotten older and have been away from home. If you listen to that track, as well as others of theirs like “La Danza De Los Mirlos”, you can clearly hear that it shares elements with surf rock, such as the amount of twang on the electric guitar and the use of tremolo picking. In a way, I didn’t stray far at all from my surf rock, but rather, a big chunk of my guitar playing influences come from cumbia, whether it is subconscious or on purpose.

These are the big reasons why I went with cumbia—it lets me express both who I am as a musician nowadays as well as pay tribute to my roots. As for the title, “El Paisa Y Su Bicicleta”, I was born in Medellin, which is part of the department of Antioquia in Colombia (think of it like a state) and most of us born there are Paisas. Those who know me know that bicycling is a huge part of my life, both for transportation as well as recreation, and cycling is a huge part of the culture in my home (I’m not the only cycling guitar player in the family after all). This is why, in English, the title would read “The Paisa And His Bicycle”.

-Track 6-
Ro Panuganti: Writer-Composer, Performer, Producer

Heaven Knows is a hybrid love song and illustration of the immigrant experience, told through a more optimistic perspective of a 2nd-generation immigrant. The same love and adoration for adventure and appreciation for acceptance one may feel for a person, also comes from the excitement of entering a new country. Musically, it sits as a ballad, mixing expression and passion with rock and acoustic-rock elements. The incorporation of Eastern/Indian-inspired leadwork and slightly unconventional (to Western standards) chord changes laid with blues-based rock arranging also works to represent the feeling of having multiple cultural identities much as an immigrant experience.

Oh give me one last ride, I've made it this far
Her eyes they echo into the night, they speak into my flight

And watching out ahead, the breeze it calls me,
Though many say that, a fool believes but this fool believes in you

Heaven knows what I'm here for,
I'm not sure what she sees in me but she let's me be myself,

I doubt that I'm the first, we've made it this far,
The sweet allure of the freeing spirits, I long to cheer it now,

But will I make it, I wandered somewhere new,
My heart can't take it, but breathing in this summer air will do.

Heaven knows what I'm here for,
I'm not sure what she sees in me but I know that I want more.

-Track 7-
FirahFabe: Composer, Performer, Producer
Steph Nguyen: Composer, Performer, Producer

The lotus flower, also known as “flower of the dawn,” symbolizes purity, commitment, and optimism. The lotus emerges from the dark muddy waters to bloom above the surface. As it rises above the darkness, it is cleansed by the water, revealing its true strength and beauty. The lotus symbolizes the national flower of Vietnam and the resilience of its people.

Dawn represents the start of the fiery sunrise, as it prepares for revolt. The sunrise at dawn is a reflection of the sun on the Filipino flag, symbolizing liberty and unity. The rays from the sunlight represent the Filipino provinces that retaliated against the Spanish.

The lotus flower and sun together represent the strength and resilience of the Vietnamese and Filipino people rising above adversity.

-Track 8-
Epic Game Music: Composer, Performer, Producer

As an Indigenous person of Canada, I've spent a lot of time thinking about the horrific discoveries of the remains of Indigenous children unearthed at government-sanctioned  residential schools. This song tells the story of their waiting spirits beckoning for their remains to be found, so that ultimately the world can know the truth and finally set them free.

-Track 9-
Troisnyx: Writer-Composer, Performer, Producer
Jason Beardsworth: Bass guitar
Greg Slater: Guitar
L.D. Worton: Additional Production

This is a song I hold close to my heart, because it entails prayer, rhythm, and positivity—things that I have always cherished. I grew up in a repressive family who did not see me for who I am and what I want to be. My passions and viewpoints were not respected, and I was abused at every turn for even the slightest infraction, including for wanting to play drums. I was to learn “feminine” instruments according to my parents—instruments that didn’t require me to spread my legs. I was desperate to learn the drums, as the rhythm beckoned to me ever since I was three years old. The fact that I am playing all the drum and percussion parts in this piece, and the fact that this piece is called “The Drummer’s Prayer,” show that I am, at least for now, in a safe harbour away from my family and from other abuses of the country of my birth, free to express myself in the way I feel most called to do.

When my parents were away, I would take advantage of their absence and beat the rhythm on pillows or other objects that I could find. The rhythm became a language of love and a means of communion with my Maker; at least, that’s how I would begin to perceive it. Over the years, the rhythm began to signify love, comfort, consolation, faith, defiance, and hope. These beautiful things were imbued into my rhythms as I continued to fuel my interest by playing various hand drums I had acquired over the last nine years through the help of my fiancé and friends. This positivity and passion have deepened within me, and have come to define me and my outlook. Now, I feel like I can express glimpses of it through my songs, especially this one. The driving drums, the unhinged chanting, the ringing of the tambourines—all of these are my expression of unbridled joy at finally being able to express the feelings behind a prayer that I once hid away.

Lord,
the sun is gone,
the night is here at last.
All my thoughts are gone,
but I am here at last.
Lord,
tonight is yours,
this heart is yours,
this song is yours.

Wake! O heart of stone,
for I can feel him near!
Wake! O melody
that all the world will hear!
Lord,
tonight is yours,
this heart is yours,
this song is yours.

REFRAIN
Stand by and watch me,
stars above me,
trees around me,
wind beneath me!
Stand by and watch me,
hearts around me,
hearts from far away
beating with me!

Lord,
the night is dark,
but I can feel you near.
My eyes can't see your face,
but I still know you're here.
Take my beating heart,
my beating drum,
for I am yours!

-Track 10-
BeanBops: Composer, Performer, Producer

“Memoir for Myself” showcases musical parts that metaphorically tell a theme of simplicity and learning. As a 2nd generation Vietnamese individual living in the US, I always wanted to learn the instruments from my country. The Erhu is a staple to Vietnamese folk music, so I wanted to learn how Vietnamese music is made and how to play it; however, it's a tough instrument to start. It took me years to learn, and lots of YouTube tutorials, but I realize that learning the basics is necessary. This song shows that you can create beautiful songs with the basics of instrument usage as long as you’re doing it with pride, confidence, and dedication to the culture of the instrument. This overall theme defines my identity as someone who cares for their culture even if they weren’t initially from there. You can still showcase your culture even if you haven't learned or experienced the cultural item.