The Precinct is a celebration of ‘80s cop films, placing you in the shoes of a rookie in the police force as opposed to the titular fugitive protagonist of the first game, and as you’d expect from such a setting, the music is a huge part of the experience, setting the scene for the player as it does as you make your way around the rain-slicked streets of Averno City.
This eleven-track soundtrack release comes from Lost In Cult, a company that know their onions, we here at GF have been fans of them since their inception, with their various books and board games all being of incredible quality thus far, and I believe this is the first record from them that we’ve had the pleasure to cover.
That said – let’s dive into the soundtrack that echoes off the graffiti-covered walls of Averno City!
That said – let’s dive into the soundtrack that echoes off the graffiti-covered walls of Averno City!
The LP comes in a single sleeve with some tasty cover art courtesy of Samorejo Studio and is rich with purples, pinks, and blues, riffing off the scuzzy - yet cool - crime-filled evenings of the city. The cover features a close-up of a police badge with smoking bullet casings dropping down around it. The reverse of the cover sports a stylised sunset in the centre as, below this image, a police car rams into a perp’s vehicle surrounded by buildings rising deep into the night, whilst the silhouette of an aviator-wearing cop stares off into the distance, brandishing a six-shooter. The text for the track listing and credits are subtle and in the corners of the artwork so as to give the visuals centre stage.
The record itself is on ‘siren’ vinyl, a swirl of reds and blues that looks great when spinning on the turntable, with the cop vibe being driven home as the centrepieces of each side feature either a coffee cup or doughnut. Good. And luckily for all involved, the record is ensconced inside an anti-static sleeve, as all should be.
This is a high quality pressing, make no doubt about it. And the rich audio of the synthwave soundtrack kicks off with:
Side A
1. Thin Blue Line (Neon Love) - Which features vocals from Matt Wells, which are clear and emotive over a driving, yet soft 4/4 beat teased onwards towards the end by a milky electric guitar solo from Lorenzo De Feo.
2. The Chase – is a track that - for a second – hinted (to me at least) at the Pocket Tanks Main Theme during it’s more ambient section, which is one of my favourite pieces of gaming music, but is generally a more powerful, up-tempo song that captures the sense of the titular chase, and also somehow shimmers towards a Terminator vibe, not in the music, but in the mood and sense of underlying threat of it. All of this is balanced with tasty hi-hat work and melody.
3. Badge of the Brave – this is a Miami Vice-esque mood piece that had me misty-eyed and reaching for my 7-inch of Jan Hammer’s ‘Crockett’s Theme’, one of the most evocative pieces of music ever recorded as far as I’m concerned, and this honours it wonderfully. Good.
4. Night Shift – Starting off with a more downbeat, muted sense of threat, the synth air waves again call to mind more of a Terminator vibe as per The Chase, although it soon opens up into a more airy cypherpunk / Blade Runner sense of style, with swooning synth and reverb galore. I’ve listened to this record many times over the last few weeks and it’s always at this point that it dawns on me that I’m in safe hands – get a few cocktails in you and imagine a rookie driving the blocks of ‘80s New York as the street lights are reflected in his shades. Yes.
5. Ode to Averno – beginning with the same sense of tension that kicked off the previous track, this soon bursts into more snappy 4/4 kick/snare with chiming melodies It’s a more hopeful and positive track that features strong, simple melodies that build to an epic crescendo in which plucked, chorus-laden guitar takes over.
6. Echoes of the Beat – I love the pun title of this one, but make no mistake! This isn’t a novelty song, continuing as it does the pacey, beat-driven antics of the album thus far. It’s not a standout track, but instead a vibey continuation of what has been laid down, although the bass is strong here and boosts the undercurrent of the main groove. What I enjoy about this record is that a lot of these songs are deep into the 4 minute-mark, which really allows the songs to sit and breathe. I genuinely believe that even if I hadn’t played and enjoyed the game, this is an album that would stand tall on its own, glorious stuff – and the end to side A.
Side B
7. Moments Lost In Time – Glassy chimes kick this one off, it’s a thoughtful and atmospheric track that doesn’t take long to kick into another ‘80s pop track featuring the vocals of Matt Wells. In the respect of being a retro album with sparse tracks of vocals, this is bumping against Narita Boy is some ways. Simple, strong melodies and a sax solo courtesy of Nathan Madsen.
8. Harm’s Way – A more thudding track that harks back to the early chase style of side A, this is all high-paced action and drive. A bit of a secret highlight of the album, the growling synth, rising breaths and eventual subtle release feel a bit ‘boss-theme’-ey, but not in a ‘thrown-in’ way, more of a natural peak to the album that still fits thematically as a whole.
9. Fixation – It’s time for the sax-laden, wavey, synth sex scene...good. This is all slow, plucked guitar and half-speed drums. I can almost smell the hair product and sweat getting rubbed into the silk pillows. A great way to slow things down after the previous intensity. Very cinematic and thoughtful, now join me in lighting a post-coital Silk Cut.
10. Precinct Pursuit – A ramping up again in the intensity, which is to be expected as this is the album’s penultimate track. Nice to hear some busier kick drum work, and wailing guitar. Good!
11. Breathe Again – Possibly my favourite thematically in terms of the use of lyrics and vocals here, a tasteful way using soaring melodies to close out the album. It does feel like closure, and the sneaky drum fills keep the attention as the album rolls to the end. I’m especially a fan of the staccato delivery in the vocals during the bridge, as it gives such a sense of release as it approaches the chorus.
The Precinct is a great game with a soundtrack that stands alone on its own merit. The cover design reflects the vibe of the game, it’s a great pressing, and the pacing and sequencing of the album fits the filmic feel of the whole package. A huge recommendation for synthwave fans, and a perfect way to celebrate the soundtrack.
The record itself is on ‘siren’ vinyl, a swirl of reds and blues that looks great when spinning on the turntable, with the cop vibe being driven home as the centrepieces of each side feature either a coffee cup or doughnut. Good. And luckily for all involved, the record is ensconced inside an anti-static sleeve, as all should be.
This is a high quality pressing, make no doubt about it. And the rich audio of the synthwave soundtrack kicks off with:
Side A
1. Thin Blue Line (Neon Love) - Which features vocals from Matt Wells, which are clear and emotive over a driving, yet soft 4/4 beat teased onwards towards the end by a milky electric guitar solo from Lorenzo De Feo.
2. The Chase – is a track that - for a second – hinted (to me at least) at the Pocket Tanks Main Theme during it’s more ambient section, which is one of my favourite pieces of gaming music, but is generally a more powerful, up-tempo song that captures the sense of the titular chase, and also somehow shimmers towards a Terminator vibe, not in the music, but in the mood and sense of underlying threat of it. All of this is balanced with tasty hi-hat work and melody.
3. Badge of the Brave – this is a Miami Vice-esque mood piece that had me misty-eyed and reaching for my 7-inch of Jan Hammer’s ‘Crockett’s Theme’, one of the most evocative pieces of music ever recorded as far as I’m concerned, and this honours it wonderfully. Good.
4. Night Shift – Starting off with a more downbeat, muted sense of threat, the synth air waves again call to mind more of a Terminator vibe as per The Chase, although it soon opens up into a more airy cypherpunk / Blade Runner sense of style, with swooning synth and reverb galore. I’ve listened to this record many times over the last few weeks and it’s always at this point that it dawns on me that I’m in safe hands – get a few cocktails in you and imagine a rookie driving the blocks of ‘80s New York as the street lights are reflected in his shades. Yes.
5. Ode to Averno – beginning with the same sense of tension that kicked off the previous track, this soon bursts into more snappy 4/4 kick/snare with chiming melodies It’s a more hopeful and positive track that features strong, simple melodies that build to an epic crescendo in which plucked, chorus-laden guitar takes over.
6. Echoes of the Beat – I love the pun title of this one, but make no mistake! This isn’t a novelty song, continuing as it does the pacey, beat-driven antics of the album thus far. It’s not a standout track, but instead a vibey continuation of what has been laid down, although the bass is strong here and boosts the undercurrent of the main groove. What I enjoy about this record is that a lot of these songs are deep into the 4 minute-mark, which really allows the songs to sit and breathe. I genuinely believe that even if I hadn’t played and enjoyed the game, this is an album that would stand tall on its own, glorious stuff – and the end to side A.
Side B
7. Moments Lost In Time – Glassy chimes kick this one off, it’s a thoughtful and atmospheric track that doesn’t take long to kick into another ‘80s pop track featuring the vocals of Matt Wells. In the respect of being a retro album with sparse tracks of vocals, this is bumping against Narita Boy is some ways. Simple, strong melodies and a sax solo courtesy of Nathan Madsen.
8. Harm’s Way – A more thudding track that harks back to the early chase style of side A, this is all high-paced action and drive. A bit of a secret highlight of the album, the growling synth, rising breaths and eventual subtle release feel a bit ‘boss-theme’-ey, but not in a ‘thrown-in’ way, more of a natural peak to the album that still fits thematically as a whole.
9. Fixation – It’s time for the sax-laden, wavey, synth sex scene...good. This is all slow, plucked guitar and half-speed drums. I can almost smell the hair product and sweat getting rubbed into the silk pillows. A great way to slow things down after the previous intensity. Very cinematic and thoughtful, now join me in lighting a post-coital Silk Cut.
10. Precinct Pursuit – A ramping up again in the intensity, which is to be expected as this is the album’s penultimate track. Nice to hear some busier kick drum work, and wailing guitar. Good!
11. Breathe Again – Possibly my favourite thematically in terms of the use of lyrics and vocals here, a tasteful way using soaring melodies to close out the album. It does feel like closure, and the sneaky drum fills keep the attention as the album rolls to the end. I’m especially a fan of the staccato delivery in the vocals during the bridge, as it gives such a sense of release as it approaches the chorus.
The Precinct is a great game with a soundtrack that stands alone on its own merit. The cover design reflects the vibe of the game, it’s a great pressing, and the pacing and sequencing of the album fits the filmic feel of the whole package. A huge recommendation for synthwave fans, and a perfect way to celebrate the soundtrack.
Lost In Cult - Purchase Link
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