I have had my hands full with Chip Bit Day, so instead of reviewing something new I decided to look back to an album that was released last year on ‘Datafruits’. ‘Vanilla Dome’ by ‘Glooms’ was a truly fantastic album. Created using a copy of Nanoloop 2 synced up to a Korg Electribe Drum Machine, Vanilla featured a vast amount skill with sound engineering and programming.
Ozymandias by ‘Starving GOGO’ (and distributed by Cheapbeats) has been under the radar for a while, being released back in October 2018. However, it is definitely one that people should pick up and get into. Last year I had the absolute privilege of meeting ‘Starving GOGO’ and having him play at Chip Bit Day 2018. Needless to say Starving GOGO’s entire set blew everyone away with his blend of chiptune, electrocore, and attention to detail in LSDJ. As well as playing live, GOGO also faced off against ‘Tekmann’ in a ‘ChipBattle’, playing some fantastic quick tunes that are actually featured on this album.
Hello everyone. If you haven’t heard I’m yet again organising Chip Bit Day and it’s in its 4th year. I never thought I’d do another one after 2016, but here we are. As with all my Chip Bit Day articles, I will be showcasing each artist who is playing whilst picking a track that I think properly defines them. If you are interested in donating to Chip Bit Day you can do so by following the link here.
After a month off to focus on other matters, it feels good to be back reviewing music at ChipWIN. ‘Lost’ by Shortee was an album that slipped under my radar last year, but as soon as I started listening to it, ‘Guten Morgen’ immediately became one of my top 10 tracks of 2018. That said, the album has plenty more songs worth delving into, so I wanted to do a showcase on The ChipWIN Blog and dive into Shortee’s debut album.
It’s last review of the year for me and I thought I’d continue the trend by reviewing absolutely no chiptune. Last year was no contest for me and I reviewed one of my favourite ‘Futurefunk’ albums of the year, ‘Watashi No Yume Diary’ by ‘Bigwave Mikazuki’. It was a wonderful release that I continue to listen to this day. This year however has been harder to choose. Originally I was going to review ‘Moe Moe’ by ‘Moeshop’, an awesome release with a variety of singers. Featuring a worldwide collection of artists from Manchester’s own ‘MYLK’ to Kyoto’s ‘Toriena’, ‘Moe Moe’ was full to brim with character.
However, as the year started to draw to a close, I came across another album; ‘Static Electricity’ by ‘Utsuro Spark’ (released by New Japanese Net Label, ‘Local Visions’). Whilst ‘Moe Moe’ was bubbly and colourful, ‘Static Electricity’ managed to instantly hook me, both through its mystical music and passionate vocals. Ultimately it was the heart of ‘Static Electricity’ that won me over, even when I compared both albums vigorously against one another.
[Editor’s note: this album was moved elsewhere on Bandcamp well after the article published, so none of the embeds work. ƪ(‾ε‾“)ʃ ]
Happy November, folks!
This month, Spaceman Fantastiques is back with yet another gorgeously articulated record, scoring his life from the previous month, entitled ‘October (2018)’. Combining a mixture of well mixed sound textures with smartly composed arrangements, this record took me on an adventure that was left waiting to be continued from his last release.
One thing I deeply admire about Spaceman Fantastiques, and a couple reasons I review his work so much, is because I not only love it, but there is also a never ending stream of real creativity that spews out of every variety of instruments used for each album. A multi-instrumentalist, Spaceman Fantastiques uses each acoustic texture or synthesizer to new brinks of limitations, combining that art with both storytelling and beautiful, listenable music. This record, and his previous, have been so easy for me to write about because they’ve been so relatable.