Guérin’s Dissections: ‘discredit denial destroy’ by Starving GOGO

- Posted June 7th, 2017 by

Italian musician Starving GOGO has been producing experimental chip for the past few years, and hell is it good. He’s not very well known over here in the States, and that’s a shame. Though a bit rough around the edges, he uses his clear mastery of Famitracker and LSDJ in incredibly unique compositions. Complexity and chaos abound in his latest release, ‘discredit denial destroy’.

/̸͍̏’̴̰̚*̵̝̓’̷̼̾\̷̜̕,̸̰͝.̵͚̊,̴͉̈́/̷͐ͅ’̶̻̍*̶͎̿’̷͓̅\̷̘̿,̵̗͋.̵̪͝,̶͗ͅ/̶̞͝’̵̳͌*̴͓̄’̵̫̔\̵̠̀,̸͉̑.̸̩̿,̴̲͊/̸̬̉’̴̹̔*̶̀͜’̶̡̈\̷̙̒,̶̭́.̴͙͊,̶̼̓/̶̹͛’̴̭̓*̷̲̌’̵̜̂\̶̻̓,̶̯͂.̵͈͝,̶̩͗/̵̟͆’̷͚́*̶͍͒’̴̥̕\̸͖̀,̵̠͝.̷̘́,̵͖̓/̷̯͐’̴͍͐*̵͔̃’̵̗̊\̷̜̈́,̴̤͘.̸̹̒,̸̟̇/̷̡͘’̵̪̔*̵̼̀’̴̹̊\̴̫͝,̷̝̎.̸͙́,̸͉̔/̷̯̑’̵̼̇*̴͖̈’̸̗̓\̵̼̀,̵̛̻.̶̫̔,̶̞͝/̶͖̀’̴͙̾*̴̮̊’̷̢́\̷͇̂,̶͚͝.̸͎͌,̸͎̏/̴̳̈́’̷̱̀*̷̦̑’̸̖̿\̵̙̈́,̴̙̄.̸̣̑,̵̠̐/̷̻̉’̸͓̌*̷͎́’̸̯̒\̷̠͂,̸͓̃.̴͖͗,̶̲̿/̸̘̍’̸̲̋*̵̜̈’̷̧̓\̷̻̑,̷̼̑.̷̤̃,̴̘͒/̸̪̅’̶̎ͅ*̵̛͔’̵̙̄\̶͔̌,̸͓͌.̴̟̎,̶͕̈/̵̹͆’̸̮́*̴̭̌’̸̫̓\̵̲͒,̵͚̿.̸̖̾,̶͓́/̷̝̒’̶̨͊*̴̙̕’̷̠̋\̴̤͌,̵͍͑.̴̯͐,̴̫̀/̵̞̕’̶̖̌*̶̳̆’̶̥̈\̵͈̒/̸͍̏’̴̰̚*̵̝̓’̷̼̾\̷̜̕,̸̰͝.̵͚̊,̴͉̈́/̷͐ͅ’̶̻̍*̶͎̿’̷͓̅\̷̘̿,̵̗͋.̵̪͝,̶͗ͅ/̶̞͝’̵̳͌*̴͓̄’̵̫̔\̵̠̀,̸͉̑.̸̩̿,̴̲͊/̸̬̉’̴̹̔*̶̀͜’̶̡̈\̷̙̒,̶̭́.̴͙͊,̶̼̓/̶̹͛’̴̭̓*̷̲̌’̵̜̂\̶̻̓

I like to think of Starving GOGO as a spiritual successor to Andarugo’s style of LSDJ dance music: dark, thick, and lawless. Retriggers and screeching pulse channels fill this album to the brim. GOGO clearly outlines the dark, oppressive atmosphere of the album in ‘Absolute Terror Field’. Eschewing any kind of structure and aiming for a journey through the capabilities of LSDJ, he tears apart rhythms and melodies with ferocious tenacity. When the infamous ‘TITTIES’ sample is dropped, the song goes crazy. Wrap-arounds and panning glitches stutter around the song, and a ominous bassline looms over a pulsing beat. Nothing is static, and everything is subject to change. Melodies come and go in seconds.

The rapid ebb and flow of melodic ideas is a key part of Starving GOGO’s music: there is little to no repetition within tracks. Because certain sections begin monotonous and repetitive, they can be torn apart and put back together with a rapidity other artists are usually unwilling to experiment with. Artists like Nanode and shitbird use this technique to jump into vastly differing sections, but Starving GOGO uses it on this album to create a general sense of disarray while maintaining the integrity of a song’s sound across a given track. In ‘Aerosol’, he uses it to create a sort of corrupted VGM track. While flowing catchy, simple melodies slide through the track, he breaks these up with harsh noise fills and more WAV channel fuckery. The trap section that closes out the song is utterly devastating. It continues to break down further and further until its last few breakcore beats sputter to a stop.

He follows a similar vein in ‘Miss Vivoli VS Mr. Carosi (Speed Run)’. I imagine this is the background track to some hellish MLG parody video game in the style of Super Meat Boy or Binding of Isaac. There’s a reason this song was chosen to be put on Chiptunes=WIN Volume 5. He somehow manages to stuff LSDJ’s harsher sounds into Famitracker and backs them with the smooth, full tones that medium is known for. This isn’t to say no one’s made harsh NES music before (see: chibi-tech), but his style takes unique control of a program that artists usually use to make less noisy music.

I’d be remiss not to talk about the three remixes on this album. The album’s opener is an arrangement of ‘Music for the Funeral of Queen Mary’ by Henry Purcell with influences from Wendy Carlos’ interpretation for ‘A Clockwork Orange’. This track is a magnificent intro into the wild, untamed landscape of the rest of the album. It begins glitchy and harsh, but ends in a wistful, ornate waltz to welcome you to the debauchery to come.

The ‘Invaders Must Die’/’Smack My Bitch Up’ mashup on this album is without a doubt one of the best Prodigy remixes I’ve heard come out of the scene. The sounds this man cranks out of the WAV channel are mind-bending. And the fact that the majority of his tracks feature the WAV so prominently speaks to Starving GOGO’s compositional ability. ‘Invaders Must Die’ is, though a cliche at this point, my favorite Prodigy song, and the man does the track justice to say the least. I will say that quality of samples in the beginning of the track is far better than in the “Invaders” section where they become nearly inaudible, smothered by the rest of the instruments. That doesn’t detract from the overall quality of the track, though. I’ve listened to that song at least a dozen times while writing this, and I’m not gonna stop anytime soon.

Finally, all I’ll say about HAQ.jpg is that I hate Starving GOGO for making me listen to ‘It’s Peanut Butter Jelly Time’ and the ‘Numa Numa Song’ again. Even if the remixes are well done, fuck you good sir. (The Tetris part was cool, tho.)

<̷̟͇͒̄̌,̶̖̔͜͜.̷̡̠̳̥̿̽̈́̅-̶͍͈͚̮̈́́[̸̣̺͉̔͋̎̒{̷̳͆͊̍͑|̴̪̰͆̽̚}̶̖͙̱͉̄̇̆͘]̵̰̒̾-̴̢̢͛.̸͖̀̇̍͝,̷͚̼̪̀>̶̫̜͔̜͘-̵̡̫̕≮̨͉̮͚̾,̷̼̈́͆.̶̭̫̞̇͛͠-̸̹͎̖͖̓̏[̸͇̓̎{̸̼͛͑͛͜͠|̴̤͎̯͌̐̎͝}̸̦̫̆̒͠]̸̗̂-̸̝͊̓.̶̣̆̂̊̈́,̴̨̯͇̱́̕>̷̼̬̼̮̒̀-̷̠̞͆<̷̧̝͕̑͒,̶̭̙̜͌.̶̙̦̒̆͆͊-̷̤̘̱̇͐̈́̕[̵̘̘̻͇̋̿̔̍{̶̢͔̂|̸̻̞̭͋͠͝}̵̮̔̈]̷̨̹̊̒͊̓-̵̬͈͓̓͘͝.̷̦̥̫̭́͗͠,̵̜̕>̵̱͖͂́̇-̶̜͈̊͌͘<̴͇̻͐,̸̻̺̱̔̉͌͒.̶̠̳̭̺̔̏͆̕-̵̝͔̆[̶̢̖̲̖̓{̵̛̛̝̀ͅ|̴̨̯̣̲̌}̵̗͂̆]̴̳̚-̸͙͌.̴̦͍̣̎͌,̷̧̘̪͂̈͆̚>̵̛̮̞̯̆̚-̵̟̥̞̱̏≮̰̟̹̏͜,̶̰̈̿̑́.̴̛̦͖̼̤̃̈́-̴̟̟̤̩̀[̴̣̄̈́̌{̷̭̩̝͂͌̅́|̴̝̇}̴̙̿̾̌̚]̸̜̼̥͔͌̽-̷̳̐̅.̷̟̠̰͕͑̒,̷̢̰̀̊́≯̮͓͕̘̔͝-̴̠̗̉̀̏͝<̵̨̂̍̄̇,̵͕̏̓͛͝.̸̻̭̹̽͂͑-̷̞̏[̸̺̳̤̓̄{̸͈̭̦̓̽̅̈|̴̢̨̚}̴̢͈͈̜̈́]̵̡͉̔́̎͆-̶̛̛̖̌.̵̛̰͔̣͎̉̔,̵̫͙̼͊̆́͝>̷̢̲̑̃-̸̯̇͒͝<̴̱̼̾̾͗,̵͎̬̞̍̂̚̚.̴̧̡̪̆-̵̟̒̂̈́[̶̮̥̎͝{̵̭͙̂̈́̓̈|̸̯̰͊̕͝}̶̞̠́̿]̵͕͔͉̽̅-̵̖̫̉̓͠.̸͚̞̮̻̍̌͝,̶̩̒͆̍ͅ>̴̦͎̄-̸̫̦̠̊̏<̶̢̛̀̑͝,̶͇̥̩̘̿̑͊.̵͉͖̍͜-̸̗̀͆[̵̹̂͊̈́̚{̷̧̝͑̍̉|̷̳̫͑̚͜ͅ}̷̭̦̐́͜]̷̙͔͌̔̽͒-̵̭̭̗̰͐͂̑.̵̢͈̰͉͛̓,̴̫͓̉̏͛>̶̰̘̖̮͆́̿̅-̸̧̳̖͊<̴̨̘̄,̶̩̞̟͎́̊̈́͂.̷̢̳̦͂̈́͆̎-̷̯̮̲̙͆̌[̶̭̱͇̍̇̄{̵̥̪̔͜|̸̮̋̍}̸̗̞̣͂͐͑̕]̵̭͙̻̉ͅ-̴̤͂̍.̶͕͚̥̜͛̌,̵̥̫̞͊͋̉>̴̧̅̏̂͝-̷̠͙̅<̵͍͔̉̂͛͠,̷̧͕͉̇̇.̴̫͎̙̝̇-̶̡̺͙̳̂͑[̷̛̗̠́{̸̨̽̕|̴̗͓͚̈͝}̶̜͔̂͑]̴͚̹̱͋͂-̶̳̻̎͋̾.̴̦͎̲̟̾́̅̂,̵̼͑̒̈̓>̶̡̹͋̅̅̌-̶̝͉͈̿̂<̶͇̝͖̲̌̽̔,̴̺̗̌̕.̷͍̀̎͝-̸̨̆̾͠[̸͚̥̋̆͌ͅͅ{̶̳̉̅|̸͓͐̇̽}̷̼̙̳͛̓͝]̶͖̖͉̇̌-̶̬̯͑͐.̶̖̹͚̞͋,̵̡͕̦̈́>̷̞͔̔̆̏

And that wraps it up folks! Give this album a listen, because it is some seriously interesting stuff! I didn’t even touch on all of the crazy aspects of this album, but there’s so much to dig through on this release. From Starving GOGO’s amazing ability to manipulate samples to create unique sounds on a very limited sound chip to his slower, more pensive songs (‘Elevator Music’ and ‘Hometown Underwater’), the range of genre and emotion on this album is astounding. I think you’ll be enjoying it for a long time to come.

ઈ(@̴̨̊̋̐̃̀̽̽ͅ❦@̴̨̊̋̐̃̀̽̽ͅ)ૐ \Keep Chip City w e i r d/ (๑ ऀืົཽ₍₍ළ₎₎ ऀืົཽ)✧
-Guérin

Starving GOGO
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