INTRODUCTION
You are Greg Ellis, a new employee of the Department of Extrasensory Perception. The DoEP are a mysterious and relatively new UK Government Department, who focus on locating and harnessing individuals with ESP.

For the rest of the story, click the link of each track.

Enjoy.

INFO
This year’s been one full of creativity for me. At the start of the year, I released a comprehensive mod for Fable, my favourite game of all time. I also migrated to FL Studio and tried to hone my craft. I think if you look at my music portfolio from this year (Electronic Death Machine, all my covers/remixes and now this), you can clearly see an evolution in my style. One day I’d love to have a job where I can use my creative spark, but for now, everything I do is solely as a hobby.

With that said, I’m charging for this album, not because I believe it’s the dog’s bollocks or because I want to rip you off, but because of the effort I’ve put into this. This album is more than just some tracks whipped up in a few weeks; this album tells a story of a video game or visual novel that doesn’t, and may never, exist. Although I do have some ideas about how I could create a franchise around the idea of the Department of Extrasensory Perception. Maybe if this album does well, I’ll create the CYOA game I had in mind.

Anyway, here's the bit where I go into some more detail about each track!

Welcome Aboard!
There’s not much to say about this one. It’s not a song, but it does serve as a good introduction into the album and its story. I think it helps build intrigue, and the speech itself would be a good fit for a game or visual novel.

Melissa’s Song
This track is a remix of the track: “Got The Girl!”, despite appearing earlier on in the tracklist. I wanted to make a pop-punk style instrumental, reminiscent of the early-2000’s pop-punk scene but blended with my own style. This track doesn’t have any direct influences, but I was playing a lot of Burnout 3 while making it.

Suspicions
This track was composed as if for a TV show. I took some influence from Cristobal Tapia De Veer and his work on Utopia and the first season of Dirk Gently. My favourite part of this track is the middle part (around 1:20) where the climax of a large build-up results in just creating more suspense.

G Club Dancefloor
This track is the closest thing to a generic dance track that I’ll ever make. Throughout this album, I experimented with making longer songs. This song is probably the second longest one I’ve ever made, with only Non Compos Mentis (from Electronic Death Machine) being longer.

Accessing The Mainframe
I don’t have much to say about this track, inspiration-wise, but I think this track could be used in some sort of hacking sequence in a game. Maybe one where you have to hack terminals by playing platformer minigames.

Chaos In The Sub-Basement
This track embodies a sense of frenetic chaos and disarray, yet happens to be one of the slowest tracks of the album. I still think it’s suitable for the mood I want to convey, though.

Rzeznik’s Logic Duel
Here’s the oxymoronically predictable “out-of-place” track that every album of mine has to have. I’ve experimented with orchestral sounds before in Alphonse (from CEIHGLFTB), which didn’t sound very good. I think this attempt is better.

Emergency Self-Destruct Sequence
I just like the bit in the middle. Talking of the middle bit, the inspiration for it came from Sea Shanty 2 (a classic gaming tune which I’ve previously remixed). The “Go” sound effect came from the Rave Generator FL Studio plugin and reminds me strongly of one of the vocal sound effects from Renegade Master ‘98 (The Fatboy Slim remix).

BAD END #1 - Death
The inspiration for this track came from visual novels like the Zero Escape Trilogy, where ominous music would play if you died or went down a bad path. I think this track would work in a visual novel of that style.

The Second Attempt
When I make music, I mainly think about the mood I want to create. You know - what sort of scene could the track be in the background of? For me, The Second Attempt is an angry piece, with a sprinkling of grim determination. Maybe some sort of combat music. You may disagree.

FENRIR Task Force
Now this track definitely screams “anger” to me. High-tempo, violent music is my comfort zone, and this is just one example of that. The part that starts at around 1:16 is my favourite bit. I think repetitive mini-loops in the middle of my songs is a staple of mine.

The AX-W Project
My second favourite track of the album , and in my opinion, one of my all-time top three. This was actually the first track I made for the album, and I think it lays out the change in my sound from my last album. The name AX-W Project comes from one of my old musician names being AX-W. The name came from my name being Alex and my surname starting with W, so not an overly elaborate backstory! Also the last 30 seconds of this song SLAP (I think).

Got The Girl!
I think this track is the most upbeat piece I’ve ever made. Some inspirations for this song include Scooter and DJ Tom X. I was also listening to some of the Spaced Soundtrack (mainly the tracks used in the club scenes).

The Final Battle
This is it. As of now, I think this is the best track I’ve ever made. I’d like to think I’ve taken everything I’ve learned and tried out throughout this album and applied it all into one big finale. There’s heavy 4-to-the-floor beats, hardstyle synths layered over the rest at the end of the songs, little breaks and a random piano solo in the middle. Maybe I’ll change my mind when I next make something I find funky. Who knows?

End
A soft, mellow track to end the album and its story with. I just hope this track doesn’t mark the end of my story. Anyway, I wanted to combine standard lofi hip-hop pieces with my own style. I took some inspiration from Toby Fox and his song “Finale”.