What if you took the vibes and aesthetics from the innovative and strange PS1/Dreamcast era and created a game using modern tech.  I’ve generally tired of the modern western game design tactic of dropping you into a big open map  with a bunch of tasks to complete, and am far more interested in innovative, well-tuned design. This is  a frenetic game that pushed me into a trance as I raced through levels to try and hit a perfect time,  aided by an equivalently frenetic banger of a soundtrack by the drum and bass artist, “Machinegirl.” The extent to which this soundtrack transported me can’t be overstated enough, and I wish that more game developers tapped top tier electronic music developers like this for their games. It’s a match made in heaven and solidifies the artistic vision of the entire project.

You will surprise yourself at  the speed with which you start processing inputs and executing actions in this game. The few times I  played it in front of people it looked like I had spent years mastering a highly technical performance,  and not many games can ramp you into that zone in such a relatively short period. The story is  childish and far too verbose for what’s on offer, but some of the visual novel interactions remain  charming until the end of the game. I’m not going to knock the game for being so  obscenely sexual, but your mileage may vary. Neon White provides a perfect synthesis between  aesthetic, design, and music that wasn’t matched by anything else I played this year.

Micah Thomas has quickly entered my pantheon of favorite contemporary pianists since first seeing him live, where I was struck by his serious,  professorial energy despite being only 25. His playing conveys a matching sense of solemn gravity  and maturity, while still remaining playful when the moment calls for it.  

The trio album displays Thomas’s astonishing virtuosity across numerous gorgeous and  unconventional melodies. On multiple tracks, the band vamps on these melodies for extended lengths of time, expertly playing off of one another, generating new energetic peaks and valleys within. My favorite track, “Lightening,” concludes with multiple runs through on the head with layers of depth added on each repetition. The space and attention  given to the melodies left me humming them throughout the day, despite being entirely original  compositions with no standards to speak of on the track list.  

Thomas’s impeccable touch on the piano is showcased on “Look at the Birds.” The tune is peppered with borderline staccato interjections from the left hand that manage to still remain dampened and soft. The trio’s perfectly synced interactions during these harmonic hits displays a deep connection between the three musicians, who express an incredible dynamic range on the soft, flowing tune. Melodic and energetic contrasts are enhanced and enabled by Thomas’s thoughtful precision, adding a depth that makes the melody more engaging with every play through.

Listening to Micah’s improvisations creates a sonic sensation of waves, crashing with dense  harmonies, rapid but controlled time feel shifts, and melodic ideas that are totally his own. He rips out  original lines while grooving in the pocket as tight as anyone, but also unleashes upon a couple of  looser tunes that lean in a much freer direction. In either context, his deeply original  voice carries through.

“His playing has restlessly inventive and futuristic tilt while simultaneously remaining deeply rooted in the history of the music” - Aaron Parks

The album is available on Spotify here: https://open.spotify.com/album/4qHth7RtxTPuE406MGm7gJ?si=9KW5iE1ySsaz2UqdK9gGYg