Early PS2 billiards sounds like the most boring setup possible, but Tomoyuki Hikasa and Jun Washida lean into genre-hopping background vibes that make Q-Ball surprisingly listenable. The hip-hop tracks bring mellow boom-bap loops that feel very late-90s cool, while the spy-themed cuts channel this lounge-jazz swagger with walking basslines and smooth keys.
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"America" and "British" play like regional stereotypes turned into background grooves. It's all clearly designed to keep you relaxed between shots, not demand your attention. The track names are hilariously functional, stuff like "Menu V2" and "Wbgm3" suggesting nobody expected anyone to listen outside the game.
But that laid-back PS2 launch-era atmosphere has its own charm now.