Posts Tagged ‘chip artist’

Aydan Appreciates: ‘Closed System Blues’ by Bit Shifter

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The last thirty or so days have been enormous for fans of chipmusic. Between a new boaconstructor EP, ChipWIN: Volume 7, a new Chunderfins LP, and various other new albums, we’ve been gifted with a simply staggering amount of high-quality material to soothe our ears. On September 10th, the legendary Bit Shifter has graced our community with a brand new release titled ‘Closed System Blues’. At times blissfully peaceful and pensive, and at others pugnacious and adrenalized, ‘Closed System Blues’ showcases a difficult to match diversity in composition. I’m honored to have been presented with the opportunity to review an album by this master of his craft, so without further ado, let’s dig in!

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Progression: Music Theory 115 – An Example of Process [Part 2]

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Hey dudes and dudettes,

Last month we covered an example of a process that we could use for writing musical material, working from a set of chords and branching outwards. We can start to look at the alternative now, where we’ll start with the melody and then entrench it in harmony. We’re at a point now where these concepts are quite difficult, so I highly recommend that you go back and read through my previous articles which will help contextualise what we know by this point. I seriously recommend it.  This is my last article that I’m writing on this topic before taking a bit of a hiatus from the Chipwin Blog. It’s with a heavy heart that I admit my time is much less abundant as a teacher than it was as a student.

For the final time for the foreseeable future, let’s jam.

pictured: brisbane man becomes sheet music during the long winded process of registering as a music teacher

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Chiptunes = WIN: Volume 7 [Tracks 31-40]

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Hey there, familia. How’ve you been? Myself, I’ve been digging these here tracks on this compilation.

I, too, am going to go ahead and skip what could be a wordy introduction, and delve into tracks 31 through 40 of this simply amazing volume.

A more minimalistic, yet super cool approach to V.7 album artwork from Karl Ericksen.

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Chiptunes = WIN: Volume 7 [Tracks 11-20]

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Hey dudes and dudettes~!

Tuberz here. Rather than rant about theory and rhythms and other malarkey, Brandon thought it would be nice to get me to review some of the stellar new tracks from ‘Chiptunes = WIN: Volume 7’.

I took up the challenge with eager willingness to enjoy some tunage and I must say that I have really been taken by surprise with the sheer quality of some of this music. That’s saying something because I already thought the music would be insanely good. Without further adieu, let’s hear my ranting about other peoples’ application of music theory.

Careful or V.7 art contest winner, TinyNeenja’s, Glitch Dragon will melt more than just your face!

ARE YOU READY FOR MY SCATHING CRITIQUE OF GAMEBOY JAMS AND OTHER SUCH PARAPHERNALIA??? 

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Clover Chain Reacts To: Tuxic – ‘Oblivion’

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Tuxic’s riveting concept album ‘Oblivion’ was released through Russian netlabel BleepLove in June 2018. Featuring some fantastic LSDj chops, low-fi drum’n’bass grooves, and hostile progressive metal, this music stood out to me from the moment I first heard it for its strong drive and dynamic execution. Making use of some really interesting pacing decisions alongside active melodies and uneven rhythms, the tight composition creates an intriguingly mechanical feel with incisive focus. This is balanced out nicely by the more free-spirited sound, full of surprises, where even the vocals display quite the stylistic range – composite instrumentation with a penchant for harsh qualities and sudden appearances. The most natural aspects of this album are presented through an artificial texture. The result is engaging, self-contained, expressive, abrasive, and GREAT.

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Progression: Music Theory 114 – An Example of Process

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Hey dudes and dudettes,

Last month we covered the idea of keeping things simple for a myriad of reasons. These reasons include us restricting potential musical possibilities and enhancing sections with diversity of material, among many others. We’re at a point now where these concepts are quite difficult, so I highly recommend that you go back and read through my previous articles which will help contextualise what we know by this point. Seriously. We’re building on all of our current understanding of music theory to construct an example of how you might use these tools to write a section of music.

Let’s jam.

I don’t know… something about instructions? Cooking? Metaphors are weird.

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