Video games and music have a short but sweet history together. Some of the most iconic songs and sound bites from our generation came from or were inspired by video games. I mean, if you don't know the Super Mario Bros. Theme, then you may have some major pop-culture catching up to do. The legacies of such prolific video game composers as Yuzo Koshiro, who produced the outstanding sound track to the Streets of Rage series, or the creator of the Super Mario Bros. music, Koji Kando, live on even to this day. In fact, the trends they created and barriers they broke paved the way for the ensuing post-'80s and '90s electronic music.

Many musicians within the last ten years have begun to take cues from these celebrated works. Their influence isn't literal; instead, it serves as a jumping off point to create a whole new entity all together. The Canadian duo Crystal Castles (not to be mistaken with the 1983 Arcade Game) utilizes Atari synth sounds to fill in the skeleton of their shocking pop explosions. Their sound can fluctuate from bubbly sweetness to blood-curdling harshness with the bat of an 8-bit eye.

Guido is another great example of a musician using video game music solely as inspiration to compose atmospheric sounds. Instead of the glitchy 8-bit form of his contenders, Guido gains inspiration from the orchestrated instruments of the great Nobuo Uematsu, who created the scores for the Final Fantasy series. With occasional dub-step tendencies, Guido crafts some moody string-led electronic jams.

Dean Bentley of Hourglass Sea has a few things in common with these two, but he takes a slightly different approach. Like Crystal Castles and Guido, Hourglass Sea doesn't just use video game sounds and samples as a gimmick to create an instantly recognizable and relatable song. Instead, he encapsulates the late '80's and early '90's pop culture, while remaining very relevant in the current UK music scene. He employs smooth synth lines, vocal samples and noise blips effectively layered about bombastic drum beats and some legit '80s metal guitar solos. "I just want my music to be very loud, melodic and busy."

Hourglass Sea's inspirations are as varied as his sound, which is difficult to pin point. The influences for this distinguishable sound stem from Streets of Rage, Paradise Lost, Little River Band, Robocop and S.O.S Band, which seems apparent when compared to his synth style and beat progressions. These diverse influences combine with his background as an MC under the L.G.P. moniker, to create some heavy yet incredibly melodic and smooth bangers. He's currently working on releasing a collaborative effort under his L.G.P. title.

The singles leading up to the release of Hourglass Sea's Live from the Crematorum EP leaned towards the brighter side of the sound. Unlike the polished crispness of his new material, his former songs possess a rougher yet breezy quality. “Teenager” has a glitchy hip-hop feel that occasionally seems ready to burst at the seams with sound. “L.A. Lights” contains a tropicalia spin centered around sunny key strokes and the chime of the coin in Super Mario Bros. An all too familiar “yeah” sample fills the space, reminding us that Dean Bentley hasn't forgotten his roots.

The singles that dropped between "L.A. Lights/Teenager" and the release of LFTC were truly transitional pieces. They contain a polished sound indicative of LFTC. "Time Killer" is a crisply delivered and steady paced jam that sounds as if it could be the sound track to a Ken & Ryu duel. "I wanted to make quite an aggressive beat...The title is kind of a statement to ignore what kinds of sounds [and] styles belong in each decade. I think these days anything goes." And in Dean Bentleys hands anything certainly does go. "Crystal Kross" opens with a jackhammer beat and a warm and raspy guitar riff. Static drums carry the song at leisurely pace. The structured sequences of sustain soaked guitar into dreamy synth pangs continues back and forth until it culminates into a glistening wind-down.

The release of LFTC marked a slight change for Hourglass Sea. There is a definite glittering shadow cast over these tracks. The inspiration behind the songs can be summed up with Dean's experience growing up next to a cemetery as a child in Lidget Green. “All the titles from LFTC are references to death... The place where I grew up - we lived over the road from Scholemoor Cemetery. Living next to a place like that seems to bother some people, but it never bothered me. Sometimes you have to use your imagination and make the best of where you reside... On the one side it has a very English working class look about it, with its mills and terraced streets... but on the other side it had green fields that went on for miles. I suppose I liked the variation... It's more of a tribute to the people I knew and where we grew up.”

The title track from Live from the Crematorium possesses a very laid back jazz timing. A stammering drum beat forms the background while a bluesy guitar solo washes over a piping synth. “Divine Sealing” displays an effervescent intro. Synth choir notes build up with a whirl into HS's signature change-up thumping drum beat. Machine gun synths fire into a deep bass-cut breakdown with heavy-handed Balearic piano.

The second half of the four track EP begins to throw back to the previously released singles by displaying Dean's knack for cleverly placed vocal samples. The search for the samples contained in each song almost becomes a pop-culture hide-and-seek. The bass drenched outro of “Divine Sealing” leads into the boiling beat of “Memory Eternal.” “Memory Eternal” contains samples of Street Fighter character Guile's iconic “Sonic Boom” declaration following the video game announcer exclaiming “Perfect!” The EP's closer "Another World" begins with a glittery sped-up rendition of the down-tempo prog-rock of Little River Band's "Reappear" that slams into a brassy synth wall. A wavering siren pulses in the background as the grinding bass line runs its course. This track incorporates the "C'mon" sample contained in any MC's repertoire along with the pitchy LRB sample "When will you reappear?"

There's something special about Dean Bentley. His songs truly contain so much, it's hard to believe how smooth they roll. At one moment you feel as if Guile from Street Fighter is piloting one of the Blue Angels jets in Van Halen's music video for "Dreams," and the next moment Blaze from Streets of Rage is in line at a Little River Band concert in Super Mario World. In the hands of someone scared to use a little excess Hourglass Sea would be boring. Conversely; someone without a sense of true restraint would end up sounding like the purported "nintendocore" of Horse the Band. Dean Bentley's balance of these two is impeccable and we should anticipate a career as bright as his sound, and those who inspired it.

Make sure to visit Hourglass Sea's soundcloud.

Check out the interview I had with Dean Bentley earlier this week here.

Here's a couple tracks from the Live from the Crematorium EP:

Live From The Crematorium by Hourglass Sea

Divine Sealing by Hourglass Sea

Here's a new cut "Tubbs & Crockett" that was just released.

Tubbs & Crockett by Hourglass Sea

I had the opportunity of talking with Dean Bentley, the UK's video-game-gangsta beat maker known as Hourglass Sea. He crafts some epically heavy retro jams with plenty of nostalgic samples and chiptune effects to keep any music loving, video game playing nerd smirking. He just released the Live From the Crematorium EP at the beginning of the month.

Here's a few tracks to recruit you:

Memory Eternal by Hourglass Sea

Another World by Hourglass Sea

Time Killer by Hourglass Sea

I've linked to some of the songs from video games that we mention so you can hear/see for yourself.

Check out the link to the Robocop Game Boy Theme that's posted. It's insane.

?: When did you first begin recording as Hourglass Sea?

Dean: "Teenager" was the first Hourglass Sea recording. It was made about 8 or maybe 9 months ago.

?: The new EP's name is Live From the Crematorium, what is that a reference to?

Dean: The place where I grew up. We lived over the road from Scholemoor Cemetery. The crematorium is reasonably sized and sits right in the middle, so it can't be missed.

Living next to a place like that seemed to bother some people, but it never bothered me. Sometimes you have to use your imagination and make the best of where you reside. For all its problems Lidget Green was okay. On the one side it has a very English working class look about it, with its mills and terraced streets, almost like an L.S. Lowry painting, but on the other side it had green fields that went on for miles. I suppose I liked the variation haha. It's more of a tribute to the people I knew and where we grew up.

?: What was the inspiration behind Hourglass Sea?

Dean: Originally I wanted Hourglass Sea to be more versatile. I had ideas of recording metal, synthetic R&B, stoner rock, hip hop and a few other things - all under Hourglass Sea. I briefly tried it out but decided against the idea. I'm inspired by all kinds of music really. Zapp & Roger, Paradise Lost, Cameo, Little River Band, SOS Band, Biz Markie, Massive Attack, Bad Religion, Kyuss...it's a fairly big list. I try to take snips of ideas and sounds from different styles of music and incorporate them into one place.

I just want my music to be very loud, melodic and busy.

?: There's a strong sense of nostalgia in your songs, would you consider yourself a very nostalgic person?

Dean: Yes. A little too much, I think. Especially in music. From a music point of view it's kind of hard not to be. I grew up in the days of albums, album booklets, 3-4 single releases off each new album, videos, artwork etc. I kinda miss all that. I think overall things are changing for the better, but the original reasons as to why I fell in love with music will always play some kinda part.

?: There is a lot of guitar in your music, most notably in "Crystal Kross", is that all you? What other instruments do you play?

Dean: Yes that's me. I use a cheap Aria Pro 2 semi acoustic and a Big Muff. My amp set up is an early '70s Marshall Cab and a Matamp head. I try to include my guitar as much as possible, even if it's just a lick here and there. I play drums and bass, though at the moment I'm currently without a bass. I can handle keys sufficiently enough for recording.

?: When did you first begin playing music?

Dean: I began playing drums when I was 10 and guitar at 13. I was in one band in school. We didn't do very well, though we had the best intentions. Growing up all I ever wanted to do was be in a band. These days I love making music on my own. I could do with a vocal collaborator, but I wouldn't change the music making process at all.

?: It sounds like so much goes into each individual song, what is your music making process?

Dean: These days I always start with drums. I try to fill the drum tracks with percussion, effects, change ups etc. Once I'm 100% happy with the drums - I start playing with melodies and chords. Eventually I'll record something I like. It all builds from there really.

I have a fairly rudimentary style of recording. It's a manner of recording that works perfectly for me. I try not to care too much about the quality of the recording, whether it's a sample recorded into my MPC, or a guitar miked with my amp.

The two things I focus on with each song are melody and feel. I don't mind even if I make a slight mistake in a recording. Sometimes it's good to add a real human feeling to a largely synthetic backdrop. It sounds corny but I like the idea of a song sounding a little rough whilst containing a strong, bright melody.

?: Obviously video games, among other things, have a strong influence on your sound. What are your all time favorite video games?

Dean: That's pretty easy - but my choices are fairly predictable: Monkey Island 1 and 2 I would say are my all time favorites. Sonic The Hedgehog 2, Super Mario 3, Streets Of Rage 2, Robocop Arcade was crazy too, as well as the Godly Shinobi 3.

?: Sonic 2 is amazing! I LOVE the music in the special stages in both Sonic 1 and Sonic 2. They both probably have my all time favorite video game music along with Zelda Ocarina of Time and Lunar 2: Eternal Blue. Robocop also had some awesome music.

What's your favorite video game music or song?

Dean: Do you remember the music for Robocop for the Game Boy? It had this strange mood to it, quite solitary and relaxed. It was very good. I don't have a favorite. I love certain mini-sounds, intros etc. I remember one of the early John Madden games had quite a cool intro, and the music played after Shinobi dies in the 3rd game, that was really nice! Sonic 2 is hard to beat though. That shit was inspired.

?: What are the samples used in "Another World" and "Memory Eternal"? Is that shit Guile from Street Fighter 2?!

Dean: Yes, that's Guile! I preferred Vega, but Guile has some nice lines. Like most people my age I have fond memories of Street Fighter 2. The characters, music and various effects used in SF2 will always be memorable.

"Another World" utilizes a prog rock vocal - as well as a subtle vocal sample from Streets Of Rage 2. See if you can find it!

?: The sample is Blaze, right?! Brilliant!

Dean: Correct! But there's another Streets of Rage sample in there....

?: Also, is that a sample of Mantazz in "Time Killer" or am I crazy?

Dean: No, you're crazy! Haha. Time Killer contains a sample, but I'm not giving this one away. You'll have to go digging for it!

?: The song sampled in “Another World” is “Reappear” by the Little River band, right?

Dean: That's the one! Playing To Win is a very cool album. The '80s was amazing for rock and funk/R&B. It was a pretty open field in terms of what kinds of sounds people used for each song. Old formulas were being ignored for new ideas & sounds.

Can you imagine being a teen, putting on the radio first thing in the morning and hearing “The Message” or “This Is Radio Clash”? Wow, it was like a new enlightenment.

?: That's one of the many things I love about your music, it's almost like a hunt to find the pop-culture references in your samples. Do you intend it to be this way, almost like a musical hide and seek?

Dean: Not really, but I used to do exactly the same thing with anything produced by The Alchemist and Just Blaze. If the beat contained a sample I wanted to know what it was and where it came from. For that reason hip hop opened me up to a lot of music.

?: Who designed your bad ass logos and EP covers?

Dean: My Hourglass Sea artwork is designed by Kevin Summers at Normal Bias.

He's very cool!

?: I like that you used the cover of The SOS Band's album Sands of Time, which was also the inspiration for your name, as the backdrop to your earlier track's logo. Is the backdrop on the new logo from something as well?

Dean: Good observation. Sands of Time is a cool album. That's like the epitome of mid tempo, synthetic 80s R&B. I think I want to listen to it again now you've mentioned it. The backdrop wasn't really inspired by anything, other than offering a darker tone than the bright, desert backdrop of “L.A Lights” and “Teenager.”

?: Have you gone by any other names, or do you have any side projects?

Dean: I used to collaborate with emcees under the name L.G.P. I'm on the verge of releasing an album of sorts featuring the various collaborations over the past few years.

?: What does L.G.P stand for?

Dean: Lidget Green Position. I know, terrible name.

?: Does L.G.P share the same sound as Hourglass Sea?

Dean: No, not really. Hourglass Sea is very different. These days I enjoy HS more than standard hip hop. The sampling techniques I've learned over the years will always be used in Hourglass Sea. I'll never stop sampling. Not fully. Maybe in the past I consciously created beats to fit an emcees mood. I suppose I got bored of that.

?: When can we expect the collaborative album to drop?

Dean: I'll release the compilation in the next month or 2. It contains about 18 songs feat Guilty Simpson, Craig G., Nature and a bunch of other emcees. It's totally different to Hourglass Sea and I'd never merge the two in anyway. The album is largely beats and rhymes.

?: It seems that you would bring a lot of brightness to your hometown with your music, have you ever put on a live show? (as Hourglass Sea)

Dean: Not yet, but from May onwards I'll start playing live. I'm not so sure I'll be playing regularly within my city. Bradford is a strange place. But I'm looking forward to playing live. I have a guitar/ableton set up. I'm not quite there yet. Setting the live thing up takes its own time, but it should be fun.

?: Given all the ridiculous titles for music genres -- what would you want to call your brand of sound if given the choice?

Dean: Universal Space Funk. That sounds lame doesn't it?!

I'm really not too sure. I remember witnessing the arrival of 'nu-metal' in the late 90s. It was pretty depressing to see a golden age in metal thrown away for this new buzz word, “nu-metal”. The music was mostly crap and so was the name. I've heard a few names being banded around. It's strange really because It's something I've never given much thought to.

?: Universal Space Funk does not sound lame! In fact, I think compared to Nu-Metal, Universal Space Funk rocks.

On a side note, Korn, a fairly popular American Nu-Metal band, is from my hometown in the Central Valley of California. This is not a fact I am very fond of. This is less of a question and more of a statement.

Dean: Really! That's kinda cool, really. Though I never got into them. I liked Deftones. They're from California, right? Ever heard Paradise Lost? They come from Halifax, just up the road from me. They had two cool mid-'90s albums.

I personally think they're the best (metal) band to come out of West Yorkshire.

?: When can we anticipate a full length? Do you have a record label or are you even looking for one?

Dean: I'd like some kind of guidance eventually, whether that results in a label or management. I'm not that sure on how such things work, but there are parts of the music game I'm pretty lame with, and could probably do with some guidance in. For the time being I'll keep releasing singles/EPs and a few remixes too!

?: When can we expect some more new tracks?

Dean: I'm currently working on a new EP. Live From The Crematorium was generally well received, so I think the idea is to take some time with the new recordings and hopefully try to gain a little more interest with a new EP. I'm pushing for late March/early April.

?: Finally, NES or SEGA?

Dean: That's difficult! I loved both consoles. If pushed - I'd go with Sega: Golden Axe, Streets of Rage, Sonic, Shinobi 3...They're fairly good reasons, right?!

Make sure to check out his new EP Live From the Crematorium which you can listen to at his soundcloud.

Also, keep a look out for my upcoming review of the Live From the Crematorium EP.