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''That We Can Play'' is the debut extended play of American electronic music project Games, consisting of producers Daniel Lopatin and Joel Ford. The two, who had made electronic music together since their school days, produced ''That We Can Play'' in an apartment studio using vintage synthesizers and sequencers mainly to achieve the sound and style of 1980s power pop. ''That We Can Play'' is a six-track set containing four original tracks from Games, one of them being the opener "Strawberry Skies" which features vocals from recording artist Laurel Halo. There are also two remixes on the release, one being a remix of "Strawberry Skies" by Chicago duo Gatekeeper and another one being the duo's of a song by Canadian musician CFCF. The EP was released on the Hippos in Tanks label in November 2010, being promoted with numerous music videos and singles. it was very well received by critics, who most enjoyed the duo's use of their 1980s power pop influences, and landed in the top ten of MP3 blog Gorilla vs. Bear's year-end list. ==Background== Joel Ford and Daniel Lopatin, who met in a science class, began playing music together when they were still in secondary school. During their practice sessions, the two experimented with electronic music using a Roland Juno-60 which belonged to Lopatin's father, and their high school's Ensoniq SQ-2, which Ford used as a drum machine. During these sessions, the two became serious about composing electronic music together.〔 For a while, the two musicians had separate careers. While Ford moved to New York City to play in a soft-rock group called Tigercity, Lopatin remained in Boston producing and composing music under the pseudonym Oneohtrix Point Never.〔 In the summer of 2009, they developed an idea for a group they called "Games" after what Lopatin described as "an intense 72-hour internet writing frenzy."〔 They spent a week recording demos at Ford's home in Massachusetts, developing their sound using "a ridiculously sick collection of vintage synths" the two had collected during their years as musicians.〔 Other musical commitments slowed the work, but by 2010, the two had moved into an apartment that lacked heat and hot water so they could focus on the project.〔〔 ==Production and composition== ''That We Can Play'' was recorded with a single stereo Pro Tools track, and "outboard, secondhand vintage synths and sequencers." (see personnel) Ford explained the process of making each song in an interview with ''XLR8R'': "It's almost like we just sit down with gear and are like, 'Whoa, this sounds sweet,' and then we'll make a beat, and be like, 'What if we do this?' and something comes out and we move from there. Where it gets really complex—and you can't be a slacker—is you have to inventorize all these tiny sounds and constantly be trying to fit all of these moving parts together and see what sticks—and it's a lot of repetitive, careful-listening kind of work." The writing, recording and mixing of ''That We Can Play'' is rooted in 1980s "power pop". On a technical level, according to Steve Shaw of ''Fact'' magazine, Games's instrumentation includes everything expected in 1980's music and is executed correctly, including bass lines, strings, keytar and arpeggiators. But, rather than just reference the sound from that era, the band pushes the music into unfamiliar musical territory.〔 The EP, according to ''Pitchfork Media''s Joe Colly, has a nostalgic sound, partly due to the analog synths — the "not just vintage but almost aged" instrumentation — and their "glitchy electro jams."〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「That We Can Play」の詳細全文を読む スポンサード リンク
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