Pitchfork writes: Laurel Halo’s swirling music sounds like an evocation of virtual landscapes—a response to the disorienting effect of continual contact in the Information Age. Halo references the “glow” of social networking and its cult of positivity. But the sonic glow on her debut album Quarantine derives from a heat of authenticity: an aggressive search for a direct connection with people, not the cold corporate achievement of a Like. Putting new focus on her voice, it’s a sometimes discomforting listen that’s a tight fit for the Hyperdub label, with its mix of nostalgia (Burial, King Midas Sound) and futurism (Ikonika, DVA); and for a wired state of mind. We talked to Halo about dream worlds, superheroes, and the fantasy of gaming.
How do composers make the iconic music tracks from games that we love? And just what makes them so memorable?
A former 343 developer has revealed that mountains of Halo pitches failed to be approved, including a return to ODSTs and a push for more intimate, dark themes.
Halo-Pop like Gears Pop. Halo bowling. Halo Cooking Mama. There’s a reason why you won’t hear about them
With its smooth jazz and iconic New Mombasa streets, we need Xbox's next Halo game to return to the remarkable world of Halo 3: ODST.
I used to play a lot of Halo too. Do they want to interview me?
I used to play a lot of Halo 2.