Good afternoon ChipWIN nation! I’ve dared to show my face amongst you more than once this month to indulge in another one of our plethora of shared interests…alcohol! Now, our fearless leader already has the beer market expertly covered here, so I’d like to take a look at sources of inebriation that are equally delicious, but not quite often as covered.
To start us out, I opted to mesh an experiment I’ve been wanting to try for some time, a fine liqueur made from Eugene’s many sources of locally roasted coffee. Something dark, with just a hint of sweetness, that pairs well with a bit of Chipthrash. To prepare you, I’ll borrow the classification system of ChipWIN’s own resident Master Chef, Chip Mom.
Alright, I’ll admit, this might be flogging a dead horse. An extremely glittery, sparkley, hella-sugoi horse. What am I talking about? I’m talking about ‘you are not alone’ by Jackson Scovel, better known around our neck of the woods as astroskeleton. Now, I know – you saw Jackson pimp the album on our Facebook page. You heard DJ Cutman spin those tunes in his This Week In Chiptune. But you know what? Here at Chiptunes = WIN, I enjoy using the unlimited slightly limited power I’ve been bestowed by Hoodie to make sure that I do everything I can to make sure that artists that deserve to be talked about are being talked about – so here we are.
Art by FEEB♥LEE at feeeb.tumblr.com!
I’ll go ahead and start this off by saying for a freshman album, this thing is the bee’s knees. Hell, I know some folks whose second and third albums weren’t even this good! Mark my words, this newer crop of youngblood chiptuners is gonna change the scene here pretty soon, once they all graduate highschool and can actually travel to shows. I took a few minutes to press Jackson for the names of the gods that he offered sacrifices to to achieve this, and the following was the result. This interview ended up being quite long (as my interviews tend to be), so I’m going to split this article into two parts – the #Interview and the #Review. Use your Search functions to jump between the two! You might want to revisit various parts of the interview once you’re listening to the album.
Adam: So, how long have you been doing chiptunes? And how long did it take you to crank this album out? It sounds like you spent some time on it.
Jackson: I’ve been making chiptunes since I was 14 [about four years ago], but I’ve only been making legit chiptunes for about a year. I used various embarrassing plug-ins in Reaper and Logic 9 for many years, but I switched over to Famitracker. I’m in the process of learning LSDJ too. I’ve been working on these songs since around July. Throughout the process, I released two test EPs, but I wasn’t proud of them so I decided to take everything I had and fix it up and make it into a complete aesthetically constant full length. Though I don’t love most of the songs anymore, due to having gotten better at composition and tracking since I wrote them, I still wanted them to be finished and released so I could get them off my hands.
A: Oh, so you didn’t start on a tracker? How’s tracker life treating you? Do you like using trackers better than other composition tools?
J: I’m loving the tracker life. It’s making me compose differently: It’s making me see my music in a very different light, and it’s making tracks very interesting. I feel cool about it. You can definitely hear a composition difference between the songs I wrote with midi plug-ins and the songs composed straight from my brain to Famiracker (‘kaiju dreams,’ ‘space cadet,’ and ‘tokyo sunset’ versus everything else). This album was basically a giant project to be done tinkering with old songs – to make an album that I was proud of, that I could play live, and let my mind stop wandering around so I could focus on writing new material that I like more and represents the shift of direction that has happened since I started. Now, I’m taking less influence from punk and hardcore, and taking more influence from idol, maltine(ish) beat culture, and Shibuya-kei, but keeping the energy and power of punk rock.
A: You know, it’s funny, hearing you talk about this, I swear I’m getting flashbacks to Space Boyfriend. I know you’re a big fan of theirs, right?
J: Dude, it’s spooky. Like, I dunno – Space Boyfriend is really important to me. I always loved Anamanguchi, but they were so disconnected. Space Boyfriend was the first chip I heard that really convinced me that i could do it too (along with Slime Girls) and that I could take ownership and make music I love with 8-bit sounds. I know Jami and I have a lot of the same influences, so I worry sometimes that I’m ripping them off.
A: No way dude, I can definitely feel the influence, but your music definitely has a different underlying feel from Space Boyfriend music. Though, I will say, something I think I remember Jami getting super hype about, and something I wanted to bug you about too as the ChipWIN blog’s resident weaboo – so it seems like you like Gitaroo Man? What prompted the Gitaroo Man cover?
J: It was honestly Slime Girls’ ‘Ayanami Reggae’ that reminded me that “Hey, covers are cool,” and if I’d never caught the Evangelion reference I might not have even listened to Slime Girls in the first place. I wanted a track like that to pull in little videogame babies like me back then. I thought a lot about what my favorite song from anything in that area was, and every time it went back to Gitaroo Man. I don’t even “love” that game so much – it’s really hard and I suck at it, but no videogame/anime song has effected me emotionally more then the Legendary Theme. It does things with progression and melody that I can only dream to achieve with that level of simplicity. I know it’s a song that’s not overdone or generic, so I took a shot at it. I was really worried about butchering it, but people have been receptive thats cool. It’s also some of my friends first exposure to Gitaroo Man, so that’s also exciting.
A: I don’t think that song sounds butchered at all! It’s pretty rad! But, speaking of overwhelming support, how do you feel about having been on This Week in Chiptune?
J: I honestly wasn’t aware of TWIC before I got the email asking if I could be on it, so I’m not exactly sure how big of a deal it is. But, I do know that it’s cool people away from my circle of friends getting hyped about my jams and sharing it around and that is really cool. I feel weird to be up there with a lot of big names, because I personally don’t think my production level is solid enough to deserve that spot yet, but it’s pretty rad. I’m #13 in all of chiptune music on Bandcamp right now [at the time of this interview] and that is just unbelievable. I just need to learn how to master better and life would be perfect.
A: Hey, they don’t call it “mastering” for nothing. That stuff takes work. And holy crap, you’re 13th on Bandcamp? Right the hell on!
J: Yeah. #1 in my hometown, #5 in Oregon, and #36 in all of punk music! [Extra exclamation points redacted.]
A: Jesus man! Good job! But you deserve it, really. This album is really solid. There’s literally only one other person I know who released something of this level as their first release, and that’s an0va.
J: Aaah thanks man! I’m working on re-working and some issues, and getting all the frequencies up where I want it, so I can send it to a net label and get a re-release going that I’m more proud of. (Also, hell yes, an0va’s first release was amazing.) I’ve released music before, but never this kind of jams – a few EPs with punk bands, and I had a solo ambient/post-rock project for a while, along with a bunch of shitty breakcore and chillwave I made a few years back.
A: Ah, yes, shitty breakcore, the hallmark of everyone’s teenage years! Hahaha.
J: HEY BUT WHAT IF I TOOK THE AMEN BREAK AND JUST THREW IT AROUND THE ROOM
A: Okay, I think we’ve gotten to be just about silly enough to wrap this up. Final note – are you playing anywhere any time soon?
J: No, unfortunately. I just did a show, though, so hopefully I can book something else soon.
Knowing where Jackson’s influences lay, getting an album like this was almost inevitable. This album is equal parts Anamanaguchi, Space Boyfriend and punk. It’s got its peppy upbeat parts, its chillmode slow parts, and a good integration of “real” instruments and chipsounds.
Now let’s take a step back from that statement for a moment. “Oh dang,” you might think, “Seats just compared this kid to a few other people, this music is probably unoriginal and bland.” If you did think that thought, please, smack yourself, and then go back and look at who I just compared this to.
The album starts out carefully and picks up speed, both in terms of literal tempo as well as compositional status. You start off with ‘waverave 64,’ which is this sort of dreamy, lazy track, and then the eponymous track starts playing, and you think it’s going to be more of the same, but it kicks you in the pants and busts out the punk rock and lets you know that no, you are in fact going to have to get off your butt for this one, and don’t even think you can just sit and wallflower it up, nursing a beer, because this is not that kind of party. The album does a decent job of balancing itself tempo-wise, never staying too upbeat or too downtempo for too long, letting you regroup and headbob as needed in order to prepare yourself for another pumped-up bit. Personally, I’d say this is a clear indicator of Jackson having been to a fair amount of shows and knowing how to pace it out so that people can stay interested while not killing themselves going into extreme thrash status. I know I can’t be the only one who hates it when an amazing set is going on, only to get pooped three songs in and suddenly find myself trapped in a sea of sweaty bodies – or maybe that’s your thing, who knows.
True to proper punk form, all of these songs are fairly short and to the point, delivering their melody and getting out so that there’s time for something new – not too long as to make you lose interest, but not so short as to make you think that the song is unfinished. As silly as this sounds saying, every song has the right amount of song in it. A song may slow down in the middle, but by no means do any of the tracks drag on. And just like it starts, the end of ‘oyasumi’ sends the listener off with a dreamy, slow little coda, which given the title makes perfect sens – this album has partied with you, taken you on this wild ride up and down the city streets, and has sent you off with a goodnight kiss (and a very classic chord resolve at the end, which as a classically trained music kid, I appreciate).
And if you’ve listened to this album and love it, why not give this other track a gander, since it dropped right before releasing this article?
Seriously though, all these young punks coming up with their beeps and their boops and their Japanese anime animations, it makes me excited for how the chiptune world is going to be in five years. There are so many older folks who are getting back into the world – demoscene folks, like Mark Knight. Then you’ve got the late-twentysomethings/early thirtysomethings who have been doing this for a long time like Danimal and Auxcide, but I feel like much more as of late we are seeing folks like Jackson and Vince Kaichan who aren’t even out of highschool and are already producing godlike music on par with or surpassing people already established out there. If these kids are the ones who are going to be shaping the scene with their music, I can only expect things to keep amping up!
Check the links below for all sorts of astroskeleton goodness! And if you like this music, be sure to throw money at Jackson so that there can be more astroskeleton live shows!
Big things come in small packages, and that’s exactly what you get with ‘Jelly’ by Roboctopus.
Lighthearted, explorative and accessible, ‘Jelly’ by Roboctopus does more with four tracks than others often can with eleven. Roboctopus redefines the meaning of “full album” with ‘Jelly’, a 4 track EP that will leave you full, and craving seconds.
Thoughtful harmonies employed by Roboctopus throughout the album keep transitions fresh, with title track “Midnight at the Ice Palace” showcasing Roboctopus’ ability to flow into new and unique transitions, ensuring intrigue with each purposeful deviation.
‘Jelly’ does a lot with a little. Roboctopus infuses excitement into this latest EP, employing clever tweaks and variations on its own established melodies with an efficiency that inspires. “Evening for the Rest of Your Life (Remix)” even goes so far as to pull the rug out from its own melody during a midway transition to spotlight its bassline undercurrent with refreshing abandon.
While strong ties imbue ‘Jelly’ with a certain uniformity throughout its four ambitious tracks, “Memory Erasers Local” is the strongest departure from the rest of the album with deep explorations into echo, pans and distance, creating hypnotic hooks alongside an upbeat anthem.
‘Jelly’ has a trademark effervescence that culminates with “Can’t Have the Fish if you Ain’t Got the Jelly” which, simply put, is a quirky experiment that WORKS. It’s lighthearted and fun, infusing an unexpected drop into explorative basslines underneath an unapologetic grab-bag of chip pop-blips and synth that dares to redefine the term “melody”.
‘Jelly’ by Roboctopus is available on Bandcamp right now for “pay-what-you-want” at a minimum of $2(USD). For the LSDJ curious, the .wav files of all 4 tracks are included with your purchase of the album.
“Jelly” is a must listen that plays out as its own mini-odessey, weaving through each of its four distinct tracks with a finesse that evades expectation.
Pixel Recall (R. Morgan Slade) ~ Support the artists you love
Greetings, readers! It’s about that time, eh chaps? While it has certainly felt like an eternity since I wrote my last album review (which you can read HERE), it’s good to be back! As I’m here to administer another dose of Chip Treatment the Professor Oakes way, it is with great pleasure to do so by reviewing ‘papillons’ by xyce—so sit tight and read up!
Released by CheapBeats, the label for the Tokyo-based chiptune and lo-fi event of the same name, ‘papillons’ continues to take the chiptune world by storm with Tom Offringa and Roel Heerspink’s release that hit Bandcamp on June 8, 2013. While the two musicians contribute to chip music as their solo acts xylo and cerror respectively, xyce is incredibly prolific as a duo. Hailing from Holland, the two met on a Dutch online forum (which you can read about all about in the interview with Kuma HERE) and joined forces around 2005/2006. Mustering inspiration that varies from France Gall, The Weepies, Children of Bodom, to other chiptune musicians and the demoscene itself (which Heerspink has been a member of since 2001), this bitpop duo’s album boasts 16 remarkable tracks using various hardware including the Amiga 500 and Atari 1040 STe. Coupled with album artwork by m7kenji—a Japanese game app developer who designed ‘Bugtronica’ and the Blip Festival Tokyo 2011 mobile schedule—xyce takes their listeners on a journey as they push the boundaries of the intersection between old school cracktro melodies and a bouncy Europop flare.
Receiving wide support from Bryan C (bryface), Mark Knight (TDK), and David Thorn (Dasid) on Bandcamp, as well as a listening party via 8 Bit Power Hour on 8bitx.com, ‘papillons’ opens up with ‘cloture de jardin’, which translates to ‘garden fence’. While it’s interesting to take note that the track titles, including the album name itself, are in French, such decision instills an incrediblely airy and flowy vibe that seems to take flight as the album progresses. ‘cloture de jardin’, a wonderful precursor to the latter tracks of the album, was composed using an Open ModPlug Tracker ran on Windows 7 (20 channel.xm at 148kb.) However, while I’m sure knowing each and every channel specifics mean a great deal to many musicians I know, xyce has put forth that by making music on different machines, their focus is always the same—melody—and melody is always key regardless of the channels used. Logistics aside, ‘cloture de jardin’ is a wonderful spring-like tune (which reminds me a lot of TQ-Jam) that is sure to have your body groovin’ in place and foot tapping within the first 30 seconds.
‘rainbow dash!’, xyce’s first collaboration on the album (the other being the ending title track with malmen), features RADix, Jakob Svanholm’s project that has earned him a respectable reputation through composing Amiga tunes in the 1990’s. With a hypnotizing key pattern, ‘rainbow dash!’ has an incredibly distinctive melody that changes form throughout the song. Most accurately compared to a melodic rollercoaster, ‘rainbow dash!’ throws its listeners into a whirlwind of adrenaline-pumping reactions that’s very reminiscent of accompanying a video game player in a side-scrolling running sequence. Notably, ‘rainbow dash!’ builds in tempo very early, levels off midway, and then spirals down the latter half of the track.
‘subsonique deux’, very appropriately mastered near the conclusion of ‘papillons’, is the longest track of the bunch and happens to be my personal favorite. Oozing at the seams with an unforgettable cyberpunk rhythm on the Amiga 500, ‘subsonique deux’ is a wonderful example of xyce’s ability to create melodies and key patterns that are undoubtedly polar opposites of the spring-like tracks such as ‘cloture de jardin’. Within the first 30 seconds, listeners are forced to strap in as they are catapulted into what feels like a high-speed jet race. The track, which formally translates to ‘subsonic two’ in English, breaks out in a fusion of Breakbeat and Drum and Bass kicks and breakdowns similar to that of artists such as Pendulum and The Prodigy around the 1 minute and 45 second mark.
While I have reviewed only three tracks that depict the eclectic style and tone of the album, keep in mind that there are 13 other wonderful ones! That being said, ‘papillons’ can be purchased through Bandcamp digitally for $5, or the hard copy for $10, which ships out to your door within three days. Either which way, this is an album I definitely recommend buying (if you haven’t already!) as I assure you it’ll make its way to your list of top favorites.
That’s all ChipWiners! Until next time on Chip Treatment—Professor Oakes signing off!
In the past, I have helped write a couple FAQs when dealing with different levels and bosses, but once you have become a seasoned player, you might be looking for a more tailored experience. There are many methods for achieving this, from button combinations to sound test codes, but my personal recommendation is finding the closest warp zone to you and navigating through the mayhem! My recent adventure led me to the realm of PAX EAST, located in world Boston-MA. Although I kept a detailed log of all my encounters in this mysterious yet familiar land, sadly I only collected 3 OUT OF 20 pages, which detail some of my exploits.
JOURNAL ENTRY #1
Boston 8 Bit has collected some of the finest artists for both the Jamspace and Chip Stage as they have done in the past, and the talent here is insurmountable! Sam Mulligan started off the day playing some of his famous hits and then OMG! SHARK PARTY! I didn’t think I would make it through until The World Is Square told me to “let go” and a fight broke out between myself and the flying shark boss. I managed to defeat it with my remaining flame rounds and a quick visit to what I like to call Knife City a.k.a. circling around it and swiping my combat blade. Note to self: Save more ammo.
I have finally arrived outside the city, at a location only known as Comicazi. Here I met the honorable Bifflecup, composer extraordinaire. My companions Astro Logic and Best Defense arrive with me, each of us carrying the sacred songs of our ancestors. We know we must all perform, each at a different time, in order to complete the quest and send the dragons/demons/evil things back from whence they came. Surrounded by ancient books and artifacts of days of old, I hope to find the courage to display my strength as I begin to slowly make my way towards fulfilling my destiny. I am nervous as I stand among everyone and I hope that…oh I’m sorry… They want me to stop writing now and play the songs. Nope…Nope…Seems a bit too late now…Demons everywhere…Stupid journal.
Hmmm…well then… I should probably get more than three journal entries next time. It’s those collectible achievements…I swear you can NEVER get them all in one go. You have to play the same game like 20 times in some cases.
Wellllpppp… GUESS I SHOULD HIT PAX EAST AGAIN NEXT YEAR!!!
Hey, ChipWINners! I’m sure that you’ve heard of James Landino by now if you’ve listened to ChipWIN: Volume 2 or if you’ve just finished rocking out to #SrsBsns. What you might not know about him, however, is that in addition to his contributions to the chipscene in particular, he’s done musical work on a number of projects, including Aces Wild, the super-popular RWBY animated series, and Final Fantasy XIII-3, among many others. Landino has also produced songs under his previous alias, KgZ, many of which have been songs used for files in the FlashFlashRevolution game online. His incredible works have previously been featured on Kotaku, Destructoid, and ScrewAttack. In late March he released his ‘Transition EP’, and it’s definitely worth a listen or ten. So let’s check it out!
Four out of the six tracks on Landino’s ‘Transition EP’ are collaborations with other musicians. The first track, ‘Synced – Snesei (James Landino Remix)’, is a house/dance track that proves right off the bat that Landino is far ahead of a majority of modern EDM artists. A catchy melody, hard-hitting bass, and all of the other smaller, more intricate touches Landino brings to the track make this more than just a club-worthy jam. The third track, ‘Dot Hacker – James Landino VS Kommisar’, features Kommisar’s signature sounds – a very aggressive kick, a unique voice for the main melody, and “insaneous chiptune solos”. Combined with Landino’s rhythmic chops, this definitely stands out from the crowd. Landino combines Kommisar’s incredible sound with his own and produces an off-the-chart awesome track.
‘Hold My Hand feat. Andy Tunstall’, the fourth track, takes things a bit more slowly than the aforementioned songs. ‘Hold My Hand’ has a funky, almost R&B feel to it, and the vibe is expressed between Landino’s melodies and Tunstall’s guitar playing. I feel that the song ended a little bit abruptly, and personally wanted to hear a little more from it, but it’s a phenomenal track nonetheless. The last collaboration on the album, ‘Another Sunday feat. The One Electronic’, doesn’t try to hide its influence from the bossa nova and lounge music of yesteryear. The One Electronic is credited as having written the solo for this song, and the marvelously composed solo hits around the 1:30 mark. The calm, rhythmic nature of this song makes this one of my personal favorites.
Landino’s two solo tracks on the EP are as phenomenally produced as the other tracks on it. ‘Gray’ in particular makes great use of panning from right to left, and the use of octaves in the chip-based rhythm are one of my favorite small details of the EP as a whole. The voice for the bass is a little bit rough when heard at full volume, but the only time this happens is during the song’s build-ups, and as a result it fits in perfectly. At lower volumes – post build-up – it helps to bring out the beat. ‘Drag Me Down’ is the only non-chip track on the album, and as a result it might seem out of place to some listeners. The production level of this track is exactly what one would expect of Landino, however, and it can be said that his skill at creating house music is on the same level as that of musicians such as deadmau5 and Madeon.
Each song on this EP brings something different to the table; the variety in Landino’s ‘Transition EP’ is a remarkable thing. It’s available as a name-your-price download on his Bandcamp, so even if you don’t have the money to donate to this on-the-rise artist, be sure to pick it up; this isn’t a release to be missed.