That muted tone is par for the course in Zelda & Chill, and it’s so consistent across the album that the one moment where it breaks – with some bright organ and chimes in “Legend of Zelda” – feels stranger than the direction of the album itself by far. As for what’s on the menu Zelda-wise: “Fairy Fountain” has never sounded dreamier (or drowsier), and “Dark World” couldn’t sound any lazier or further removed from its epic overworld counterpart. That just about takes care of the & Chill side of things. Neither will listeners, because the sound is so mesmerizing that it vanquishes logical thought. Electric keyboard and bass reign supreme, but they don’t seem to notice. Just about everything on offer here buzzes, bends, clicks, quivers, or sounds like it’s coming from the neighbor’s sound system through the wall. Zelda & Chill has trip-hop written all over it. The question is: how Zelda, and how chill, can Mikel and GameChops go? Body In an age where future-fantasy and high-fantasy go together like chocolate and peanut butter, only the wildest hybrids can stand out from the crowd. Take a look at the past few entries in the series, leading up to and including Breath of the Wild, and you might notice that the franchise has been getting progressively more eclectic over time. If a “lo-fi hip-hop” tribute to The Legend of Zelda’s greatest musical hits sounds like an odd fit for the series, it might not be.
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