#WIPEOUT XL

[fromsomeware]

[retrocgads]

UK 1998

[passingmeby]

[fancypantsrecords]

Cold Storage - wipEout: The Zero Gravity Soundtrack | Lapsus Records | 2023 | Silver

Includes the original scores to wipEout and wipEout 2097 (aka. XL) + new remixes

[y2klostandfound]

Wipeout 2097 (aka Wipeout XL) on Game Power magazine No.54 (Italy)(10-1996)

[psxui]

WipEout XL (1996) - Team Menu

[thisisrealy2kok]

WipEout XL (1996) - scanned by MobyGames

one two three four

[l3rking]

WipEout (1995) Source Code Leaked

This is old news to some new news to me. The OG WipEout's source code was leaked a while back and new projects hav been popping up around the place that I want to bring to your attention.

WipEout is playable, in its entirety, in Browser using WebGL and WASM. This is thanks to the marvelous work by Dominic Szablewski, @phoboslab. He also goes into detail in a blog post about dissecting the code, where it came from, complexities and oddities, and just generally cool nerdy retro game dev stuff. It's absolutely worth a read if you're into that or just love WipEout.

WipEout: Phantom Edition is the PC port we always wanted. Several QoL improvements including wallscrape mechanics from the later games, configurable aspect ratios, various lighting and rendering improvements, uncapped framerate, etc. You can find all the info on the GitHub.

WipEout as a franchise is very important to me and seeing projects like these come to life is something I never thought I'd get to see. Absolutely worth your time to delve into.

[everydaym0nstrosity]

Wipeout 2097 AKA Wipeout XL - Great game, amazing soundtrack.

The Designers Republic

[ourladyofomega]

I was getting deeper and deeper into everything electronic and industrial, all during my one-year break in-between the Brentwood era and community college. The UK electronics invasion, MTV's Amp, and Wipeout XL were the major influences that led me to that point. I was starting to have an endless appetite for music, and one thing I learned about myself that I could be interested in anything and everything. I already had an affinity to golden-era hip-hop / rap and alternative. The seeds of hardcore started to grow, so there would be no stopping me at this point. There were so many genres, artists, and sounds I was getting into, and I wanted to keep up. I had a position at a department store in the shopping mall, then later at a movie rental store, so I could afford to buy titles for whatever cash I had in hand.

I didn't have a desktop with internet to find independent stores. I had yellow pages instead: thick phone-books listing hundreds upon hundreds of pages of local businesses, their addresses, and their phone numbers all in minuscule print. That's how I discovered them back then. It was a year after visiting my first-ever independent record store, Commack's Mr. Cheapo's. Then came West Babylon's Looney Tunes before the holidays. Still enthusiastic in discovering the vast unknown, I wanted to find more. Port Jefferson's Music Den would be the next destination.

I already felt like an outsider when I arrived on campus. It was a different type of demographic I was used to. I looked around and I'd still see cliques, circles, and other "exclusive" groups of students that I felt I wouldn't be included in. I'd meet newfound friends who'd introduce me to their friends, but it felt forced, and they didn't seem to care. I was crazy for Atari Teenage Riot because they showed me exactly what techno always should've been: deafening loud, criminally high-speed, and maniacally all over the place. I tried looking for people who were in them, and observed what types of music the majority were into. Simplistic, manufactured, predictable dance hits. Boring weekend club-mashers. Formulaic radio chart-toppers. I wasn't impressed. The people who were into that were shallow, superficial, judgmental, needlessly competitive, and at times just unnecessarily mean. Drama artists and attitude jockeys all over the place. That's why they called community college "13th Grade". Now you'd see the disgusting distaste of the late-Nineties music scene I had. But, I did have a couple of good cards given to me. I joined the campus newspaper which I'd write music reviews for. An attractive brunette, Sandra, randomly stopped me to strike up a conversation, and wanted to get to know me better. She was also a Jesus freak. I also made another friend I met on campus who decided to set me up with an Irish blonde acquaintance of his, and we hit it off right away. Even then, I'd deal with constant games, rudeness, and random acts of ego during my time there.

The newspaper meeting ended one late October Thursday night. I finally had the opportunity to drive out eight miles from campus to the Port Jefferson Music Den for some shopping. I walked right in, and started digging. I'm not even there for two minutes and I already find gold: the import version of Alec Empire’s The Destroyer for only $9.00 used ($22.00 brand new otherwise). That was a huge deal for me because (once again) I was an Atari Teenage Riot / DHR fanatic. Right after that? Another label release, this time from EC8OR. I'd finally discover all those artists I heard about on the internet; thirty-minute download times of grainy 480P-resolution video and all. I was really starting to like this place. I start scouring the used CD bins, and I’d stumble upon KMFDM’s banned version of Naive for $8.00 - back when used copies on eBay were selling for…$80.00 each! Then came Pigface’s Washingmachinemouth and Ministry’s The Land Of Rape And Honey for a few dollars used. I copped Fluke’s Risotto because of Wipeout XL, and I’d snatch Skinny Puppy’s Back & Forth Volume 2 and Cleopatra’s Industrial Revolution: Third Edition, all for regular price. Finally, Coldcut’s "Atomic Moog 2000" / "Reboot The System": the first-ever multimedia CD I'd ever own.

Minute-by-minute, I'd slowly discover all sorts of wild and unusual sounds and artists they had on the racks. The Port Jeff- Music Den carried all the rare, unusual, and obscure stuff no other store on the island did. Sure, there were plenty of used CDs and vinyl bins in pop, metal, alternative, shoegaze, indie, hip-hop, and jazz. It was their industrial, noise, electronic, and experimental selections, however, that would be the all-important tie-breaker. They had all what I was looking for. I remembered seeing titles like Gescom’s Minidisc on the racks, Coil’s “Autumn Equinox: Amethyst Deceivers” 7", tons of Clock DVA, Controlled Bleeding, plus some Oval and Microstoria albums. It was wild. I felt stimulated because I found plenty of abnormalities that I never knew existed, instead of the expected, typical, calculated fare that did absolutely nothing for me.

90 minutes later, I took my short stack of CDs, placed them on the counter to be rung up, cashed out, and wrapped up what would be my first visit to The -Den. $82.00 later, I leave fucking satisfied.

With each visit after, I’d continue to score big victories where I’d find them. They were Phil Western’s debut album The Escapist, Muslimgauze’s Hamas Arc, Mike & Rich’s Expert Knob Twiddlers, Aphex Twin’s Analogue Bubblebath 3, Merzbow’s Pulse Demon, and Sam & Valley. I’d nab more DHR albums from 16-17, Shizuo on vinyl, Fuck Step '98, Give Up on 12", and Alec Empire’s Squeeze The Trigger. The best? Autechre / Gescom’s “Keynell” 12" that I found under the vinyl bins and hidden inside the cabinet underneath. It was stickered for $17.00 - another record where second-hand copies sold on eBay for $125.00. I also managed to pick up a few of their 12" EPs, mainly Chiclisuite and Envane.

All these finds made The -Music Den the most unforgettable store I had the privilege to visit. They were like nothing else on the island. Sadly, they closed down after the turn of the millennium, and no store that came after was half-as-good enough to fill the hole they left behind. Believe me, if any of you reading this would’ve shopped there, you’d feel amazed and blown away like I was. I’d still have a tough time dealing with all the constant, petty drama on campus over the next couple of years. At the Port Jefferson Music Den, however, I knew that was a place where I felt like I’d belong.

[omegaremix]

Autumn 1996 Mixtape.

Alice In Chains ”Over Now”

Tool “Stinkfist”

Stabbing Westward “Shame”

Marilyn Manson “All Dried Up And Dead To The World”

Bush “Swallowed”

Ministry Filthpig

Soundgarden “Blow Up The Outside World”

Metallica “Hero Of The Day”

Smashing Pumpkins “French Movie Theme” / “Star-Spangled Banner”

Garbage “Super Vixen”

Ministry “Just One Fix”

Gravity Kills “Enough”

Suicidal Tendencies “Institution”

Nirvana “The Man Who Sold The World”

Bush “Personal Holloway”

311 “All Mixed Up”

Geggy Tah “Whoever You Are”

Tool Opiate

Planet Soul “Set U Free”

Debbie Dee “When I Hear Music”

Robert Miles “The Children”

Future Sound Of London “We Have Explosive”

Ghost Town DJ’s “My Boo”

Underworld “Tin There”

Wipeout XL video game soundtrack

Chemical Brothers “Loops Of Fury”

[retrocgads]

USA 1997

[omegaplus]

# 4,368

The Prodigy: Charly Polish gold cassette (1997)

I remember when I spun The Prodigy’s” Charly” / “Everybody In The Place” six-track disc so much on night walks through the neighborhood and car rides to Staten Island to visit family. That Winter after the Brentwood era I purchased all of Wipeout XL’s featured artists when I could. 21 out of the e.p.’s 37 pressings have the Charly-cat artwork all in silver, with the Netherlands pressing having inverted colors. Poland, however, lays claim to having the only gold version of this on cassette which stands out above the rest. I’d love to get my hands on it. Too bad I never saw it in the wild, and no one has ever put a copy up for sale on Discogs.

[kneehoming-knee]

NFS "AUDIO NRS CRR GT SPEC XL WO" WIPEOUT WARSAW WARPATH_"SENTRY" 19:37_"OKEFEN'_JOJEKEY'_HOT_KETS( JOSTEN'_HOSTEL™

[y2klostandfound]

Work in Progress - Wipeout 2097 (aka Wipeout XL) on Console Plus magazine Issue 55 (France)(06-1996)

[psxui]

WipEout XL (1996) - Loading