Review: Games- That We Can Play

Games - That We Can Play EP (2010) [Hippos In Tanks] // Grade: A-

“Everything had to be slower and creamier,” say Games about their February relocation to a Bushwick space- a move with the purpose of putting their debut EP to tape. Birthed out of a “severe internet writing frenzy” between since-grade-school musical friends Joel Ford (Tigercity) and Daniel Lopatin (Oneohtrix Point Never), their That We Can Play release is a damn dazzling effort to say the least. Barely 20 minutes, this NY production pair deliver a collection for imprint Hippos in Tanks that’s as assessable and playful as its name implies. Knowing each member’s work with projects Tigercity and OPH (though more mesmerizing than this) it’s Games’ “creamier” aim that drives the duo’s introductorily release so magnificently.

Like their cover art—various former ‘dead’ nation flags—Games are focused on the recollection of sonic techniques and (largely analog) instruments from the 1980s. Having already amassed their own varied collection of old synths, the pair worked That We Can Play out in the (apparently) well-stocked studio of one Jan Hammer, the man responsible for the period-classic television theme from Miami Vice. Apart from capitalizing on just the known pop tune format of an already well-sourced period, Games produce a more sweeping approach including things as indicative as studio production techniques or advertising (a recent video for “Summer Bloom” compiles vintage airline industry ads for visuals).

Opening That We Can Play, is the ethereal, afro-tinged “Strawberry Skies.” Singer/producer and label mate, Laurel Halo takes vocal duties and it’s an addition that ultimately helps to perfect the song to throwback sweetness. It’s on the EP’s shortest track though, the aforementioned “Summer Bloom,” that Games’ nostalgia is fragrantly palpable. The two-and-a-half-minute cut marries Duran Duran vocalisms over layered club-ready pace and a melodic pluck that’s strikingly similar to the guitar on “Every Breath You Take,” (or Puffy, Faith Evans and 112’s Biggie ode, “I’ll Be Missing You” if you rather) to come out as a clear winner for the EP standout title.

Moving through the others, there’s the smoother, square-wave-synth heavy “Midi Drift” that plays to the shape of driving-into-the-sunset movie montage music. For other highpoint  “Planet Party,” you’ll hear Phil Collins, Mantronix and some scene that may or may not have come from Top Gun glistening atop gooey, synth-bent shine. That We Can Play’s remaining material is a pair of remixes, one of Games by (gloomier) NY pair Gatekeeper and the other by Games for Montreal-based CFCF’s breezy  “It Was Never Meant to Be This Way” - a remix that’s easily proved it’s got (sturdy and beat-y) legs of it’s own to stand on.

With That You Can Play, Games don’t seem concerned with reinventing, err, the game. They keep in the mind that we’ve (and they) all heard or grown up on blissful pop tunes like this already. Molds seemingly intact, these longtime friends have instead created a surprising collection that’s left both myself—and the Bloglin staff—on the edge of our seats waiting for what follows. Games have produced not only an easy contender for a near-the-top EP listing credential because of it’s nostalgia-sourced effort—staring in the face of 2010’s chillwave explosion I might add— but one that comes out sporting excitingly heavy staying power.

I imagine 2011 should be bigger for Games, hopefully supported by tours and more remix work. Facing legal issues, they might return under a new guise though as the pair are currently “taking suggestions” over Twitter for a new name. The LP—also apparently recorded in Jan Hammer’s upstate New York studio this December— should be released sometime next year.

ORIGINALLY WRITTEN FOR THE MISHKA BLOGLIN

GAMES- Shadows In Bloom (mp3)

CFCF- It Was Never Meant To Be This Way (Games Remix) (mp3)

GAMES.