Sup y’all? =) President Hoodie here with a quick announcement of awesome!
Hello and welcome to a very unusual and exciting installment of Office Hours on The ChipWIN Blog! As a classically-trained composer who also teaches college music courses, works from the Renaissance and Baroque eras are heard regularly in my classroom. So you can imagine my absolute delight when a new album combines these periods with another of my passions – chip music. Dear diary: jackpot!
Old Style is a collaboration between cellist Emily Davidson and her brother Chris, who is well known to us on the ChipWIN squad under the moniker Dj CUTMAN. Their project “Baroque Remixes” takes 17th and 18th century composers from a variety of nationalities and arranges their works in a mixture of chiptune and EDM-style beats. Now… if this were a commercial, here is the spot where the narrator is suddenly cut off by a record scratch.
The chiptune community is ripe (some might say “plagued”) with covers of songs in all styles, done with varying degrees of detail and care. Perhaps 20% of these “chip covers” are tolerable, 10% are phenomenal1, and the rest of them are unholy abominations2 that should be killed with fire. Friends, please continue reading because you are about to experience the upper crust of that fabled 10% category.
A Bit of Context
For this review I will be discussing each track separately to focus on the combination of styles, as well as including a small bit of historical context behind the original pieces. Click the link on the “Original” line under each track to hear the source material.
I am also doing away with my usual grading system for the review, as I am definitely NOT an impartial voice in any sense for this release (spoiler alert: it would receive 100% because I am infatuated with this album). Emily and Chris are awesome, and I just would not feel right fabricating a reason not to give the album a perfect score. Being a professional classical musician can be a brutal grind, and I wish only the best for Emily. I also greatly respect and enjoy the large amount of work that CUTMAN does in the chip community, including ‘This Week in Chiptune’ and his mastering work on the ChipWIN releases, which include two of my own tracks. Let’s just talk about the tunes and not worry about assigning points, shall we?
Sonata Pop (Vivaldi)
Original: ‘Allegro’ from the Cello Sonata in E minor
Even if you don’t know Antonio Vivaldi (1678-1741)3 from a vivisection, you have likely heard his music. Today he is largely known to the public by his violin concerti ‘The Four Seasons,’ but the “Red Priest” was widely influential in his lifetime for his instrumental compositions. This track is a wonderful opening to the album, both as a standalone track and a preview of what to expect from the rest of the arrangements. The opening is slightly modified from the original, adding a few pauses and building to the main theme. Steady drums accompany the simple melodic lines, and the ‘chorus’ as it were contains some beautiful side-chained synth chords. The orchestration at 1:45 is a nice change rather than directly repeating material we’ve already heard, and the closing octaves are a lovely standard effect in chip music.
François Couperin (1668-1733) came from a large musical family, and this French composer wrote keyboard music that was highly influential to Baroque and later composers. His collections of harpsichord works contain extensive discussion on ornamentation as well as having very evocative titles – here, ‘The Mysterious Barricade’ whose meaning is hotly debated. Couperin’s original gradually builds in energy and intensity, and this trait is left intact on the Old Style arrangement. Starting simply with a few bass notes, the main melodic texture soon enters and remains fairly constant throughout. The most interesting aspect of this track for me is the juxtaposition of trap rhythms in the drums combined with the stately, flowing harmony and melody. The little dissonant sounds that occur at the ends of phrases after the first minute are really nice touches that keep the musical texture fresh. Overall I really like the blend of styles on this track, and I could see this new genre of “Baroque chip-hop” becoming the next big thing!
Jean-Philippe Rameau (1683-1764) is rather infamous in the art music circle, both for his work in music theory and his radical new approach to French opera. If you think classical musicians are a bunch of stuffy, boring snobs, just take a few minutes to read up on the ‘Querelle des Bouffons’ that used Rameau’s music as a scapegoat – sometimes we really know how to sling an insult! This is the track that drew me to this album, as I am obsessively in love with Rameau’s music, particularly his keyboard works. The original depicts a Native American dances that Rameau apparently witnessed, and the aggressive nature of the music is immediately apparent in Old Style’s arrangement. A driving beat and harsh synth tones reminiscent of distorted guitars alternate with quirky synth patches that offer a nice contrast to the aggressive nature of the main section. The descending bass line that starts at 1:20 is KILLER, and the track ends with the same amount of intensity and high energy heard throughout.
Ortiz Reprise, ft. Absrdst (Ortiz)
Original: ‘Recercarta Octava Sobre La Folia’ from the ‘Trattado de Glosas’
Perhaps the least well-known composer represented on the album, Diego Otiz (c.1510-1570) was a Spanish composer who was also very highly important in the shift from the Renaissance to the Baroque era. His two treatises on keyboard and vocal performance were valuable resources for his contemporaries in their instruction on performance practice, and they serve scholars today as an excellent source on early Baroque ornamentation. This piece is a ricercar, an instrumental composition typical of Ortiz’s era where it explores different permutations of motives within a given melody. The sense of constant development is evident in the arrangement here, as the synth patches frequently shift and the the textures also constantly evolve. The ethereal organ patches are an interesting addition to the texture, and I also enjoy the addition of a somewhat sparse beat throughout the track. I did not know any of Ortiz’s music prior to hearing this album, but I enjoy this arrangement enough to seek out some of his original works.
Solfeggietto, ft. James Landino (CPE Bach)
Original: ‘Solfeggietto in C minor’
This year is the 300th anniversary of the birth of Carl Phillipp Emanuel Bach (1714-1788), so there has been a surge of interest in his life and works among music scholars and performers. His music provided the transition between the late Baroque and early Classical eras; Mozart even acknowledged his influence, saying, “He [CPE Bach] is the father, we are the children.” This piece is very frequently heard in its original form, and is quite popular with piano students today. Compare the arrangement to the original, and you will hear a refreshing amount of space given to the notes in Old Style’s interpretation. The music is allowed to breathe a little more than most live performances, and the driving four-on-the-floor beat really pushes the music forward. I love the build in the introduction, and the ‘honky-tonk piano’ sound is just wonderful. This track also features several textures and styles, which is unique on the album since most tracks remain essentially in the same sound realm throughout. The pulsing bass break in the middle of the track is a staple of house music, and works well as an interlude before hearing the main melody one final time.
Suite Jam (JS Bach)
Original: ‘Badinerie’ from the ‘Suite #2 in B minor’ for orchestra
No Baroque remix album worth its salt would fail to include the music of Johann Sebastian Bach (1685-1750). Composing at the height of the Baroque era, JS Bach’s music is filled with counterpoint (the simultaneous combination of independent musical lines), and is the ultimate example of Baroque musical thought. Musicologists consistently date the Baroque as ending at Bach’s death year, and if you can get more than three musicologists to agree on something, you have just witnessed a very special event… Much like the arrangement of his son’s work on this album, I really enjoy the amount of aural space between the notes here. Different registers and instrumental patches allow each line to be clear in the texture, and the addition of a steady percussive beat does not blur an already complex aural landscape. Part of this is Bach’s original writing, but I think there is also a good amount of credit that needs to be given to CUTMAN’s production skills on this track. This is one of the only times you will hear the iconic ‘Nintendo bass’ sound on the album, and I really enjoy the fact that it has unique lines to play rather than plunking out chord roots.
Old Style’s “Baroque Remixes” manages to effectively and seamlessly combine disparate musical styles that span centuries of musical thought and innovation. The original compositions were all written without percussion, and in true EDM style the drums add a driving, energetic element to each track without overcrowding the texture. The simple subtlety of the arrangements both do justice to the original material while providing a unique take on cornerstones of the late Renaissance and Baroque styles. Production value is exactly what you would expect from Dj CUTMAN; extremtly high quality work with aural clarity in all frequencies. This album sounds great in the car, through laptop speakers, and played through the system in my classroom. Fans of the composers included on the album will be rewarded with new takes on familiar material, while chip music fans may find some new (old) music to explore.
I hope you enjoyed a grade-free Office Hours this month. Don’t worry, the blue pen will be out and ready to tear into someone with a vengeance again next month!
1 – see: Beethoven/Danimal Cannon “Moonlight Sonata”
2 – see: any MIDI rendered with GXCC and uploaded to YouTube
3 – I’m performing the cardinal academic sin of citing Wikipedia only because I assume most of you do not have free access to the New Grove Dictionary of Music and Musicians.
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.
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!
Hey, ChipWINners! Welcome back to Raw Cuts! This time around, I not only took the time to sit down with someone whose interview was long overdue! Hailing from Philadelphia, this man has become a figurehead in the scene, paving the way for others to perform and become noticed in the vast wave of artists in the community while simultaneously earning the respect and recognition of those he encounters. This man is truly a senpai–nay, a sensei (snesei?)– among us in the scene, and he’s taken the time to sit down with me to talk about DJing, music production, collaboration, his involvement with us here at ChipWIN and some amazing projects that are sure to electrify! Ladies and Gentlemen, without further ado, I present to you my interview with Chris Davidson aka DJ CUTMAN!!!!
Kuma: First of all, I’d like to not only express my gratitude for agreeing to be interviewed, but also my excitement, as well! I’ve been looking forward to this all week! So thank you very much for agreeing to have a sit down with me!
Cutman: For sure! I love sitting.
Kuma: Hahahah! I expected nothing less from you, Chris. So lets jump right in, shall we? You’ve been in the music game a long time. Between your work as a DJ, a producer, founder of the GameChops record label, mainstay performer at various festivals including MAGFest and PAX East, you still manage to be an all around swell guy. Very down to earth. Tell me, how’d you get started in all this? When and how did this journey into video game related music begin for you?
Cutman: Back in 2010 I was working as an recording and mix engineer in a hip-hop studio in upstate New York. I used to stay after my clients left and work on making my own music, mostly chopped up beats sampling video game music. That same year I attended my first convention, MAGFest 8, with my buddy MC Death Bear. MAGFest was a blast, I had never been surrounded with so many like-minded people before!
A couple months after MAGFest, Death Bear asked me to put together some music for his 8-bit art show. I had only briefly been exposed to DJing by looking over the shoulder of another performer at MAG, so I studied up for two weeks straight and built my first DJ set.
After that show, which was both exciting and super stressful, I caught the bug for sharing music. I would DJ out on the street, in coffee shops, and in convention hallways, anywhere that wouldn’t kick me out (and maybe some places that tried to).
I produced a few mixtapes, a bunch of random remixes, and posted them regularly on Soundcloud and other places. I’m still doing that, making music and posting it! Running a label is fun, now I’m collaborating with friends and other producers and DJs I admire. The workload is more intense from when I started, but it’s the same basic mission: make good music, and get it to peoples ears.
Kuma: That’s awesome, and I think a lot of us can relate to the magic that festivals like MAGFest can fill a person’s heart with. That you’re a friend and collaborator of Death Bear is something I think is common knowledge in the scene, but I never knew you were so behind-the-scenes prior to being the persona you are in the community now. Did you ever think at the time, before you decided to start DJing, that you would ever be someone who would apply his skills outside of an studio? Or was that something that never occurred to you to do til after MAG?
Cutman: Haha, in all honesty, before i started DJing, I didn’t realize what it was all about. Now that I have four years live experience under my belt, I’m starting to really understand and appreciate the artistry involved. Just about everyone has had their iTunes on shuffle and an embarrassing song has come on at the wrong moment. A DJ creates the opposite effect, choosing the perfect song. That’s what drew me in to really enjoying performing as a DJ: the ability to take people on a journey and tell a story with music, or to simply provide a brilliant moment for someone passing through.
Kuma: Hahahahaha! I really appreciate not only your response but that you’re doing part of my job for me by choosing quality memes to post in the article! That aside, I not only really like your analogy but never thought of DJing in that kind of light before. You’re absolutely right, though. Whether one carries the philosophy that DJs can also be performers or are just mood setters not meant to be seen, its that creation and enhancement of mood that matters most in the craft.
Lets go back a little bit to something you mentioned earlier, which is getting to work with a lot of people you really like over the past few years. In particular, lets talk about the GameChops crew, cause not only do you have a strong roster working with you, but a lot of these guys are mutual friends you’ve scooped up only fairly recently, I’d say only in the course of a year or so. Tell me, what prompted you to move on to founding your own label, and what do you look for when scouting for talent in the scene?
Cutman: Well, GameChops seemed like a natural progression and a way for me to grow the VGM scene. When I changed GameChops from a mixtape series into a label, there were no other labels providing high quality, licensed video game remixes. No one! I want video game music to be more accessible, so it seamed that something I could do that would bring value to the scene.
Kuma: Wait, what? No… slow up for second…what?
Cutman: Did I miss something?
Kuma: Nobody put out licensed game remixes before you? That…I’m sorry, that just hurts my head! I mean it’s awesome you were the first to do it but still, it’s 2014, you’d have thought someone would have done it sooner.
Cutman: There were a few licensed remix albums floating around, but no labels, no dedicated groups to doing that. Nothing like GameChops: a group of people dedicated to producing high quality video game music, and paying licenses to give back to the game industry.
Kuma: That’s crazy. You know with communities like chiptune, Newgrounds, OCR, you would have thought someone would have done it years ago, but that you saw it hadn’t happened yet and were able to do so first as a label is pretty awesome! That’s definitely something to be proud of!
That said, let’s talk about some of those properties your label has covered, because you guys have done a lot! Zelda, Megaman, Megaman, Donkey Kong, Bastion, Final Fantasy 7, Pokemon, Animal Crossing, and the list goes on! Yet you’ve still only barely scratched the surface of the games you can tap into and remix! Tell me, how do you go about selecting titles to remix and which projects have been your fave to work on so far?
Chris: The source is up to the producer(s) who are working on the project. So if someone has a good idea of a game we haven’t covered yet, we work together to make it happen!
One of my favorites would have to be Grimecraft’s POKÉP. The whole mixtape came together in about three very intense weeks! Also, my album, MeowMeow & BowWow with Spamtron, that features music from Zelda: Link’s Awakening, was a blast to produce. That album was the opposite of POKÉP, it took a full calendar year before it was done!
Kuma: Wow that’s insane! I had no idea you guys spent that much time making that MeowMeow and BowWow. It was definitely worth it, though. I think that album is the closest to my heart due to the sentimental value Link’s Awakening has for me, as it was the first Game Boy game I ever owned.
Also, I’m not surprised at Grime’s speed making that album. At all. Clarke is a damn beast. But for all the bangers and grooves you guys at GameChops put together, I’m always caught off guard by just how diverse the team and the sounds you create are. Tell me, how did you go about recruiting the labelmates you have now? Do you actively seek out talent, have people submit to you, do a bit of both via networking? How do you go about keeping the roster fresh and exciting?
Cutman: It’s a bit of both. I always am keeping my ear to new producers with my show This Week In Chiptune, and also going out to shows and just listening to what other people are making. When I hear someone play something that really resonates with me, or something I would play during a DJ set, I take that as a cue to see if they’d like to collaborate on an album.
Collaboration is hard sometimes. It’s not as easy as producing some tracks on your own. The label has deadlines, budgets for artwork, and plans for promotion. Some people respond well to that little extra pressure, others don’t. So even if someone’s music is great, if they’d rather keep their producing a casual activity, then they may not be the best suited to collab. So it’s a combination of taste, skills, and if we’re creatively compatible. Haha, sound weird?
Kuma: No it sounds about right. For as cool as someone may be, it they don’t work on the same wavelength as you, it probably just won’t happen. Especially someone of your energy levels, which brings me my next question: how do you have time to work with us here on Chiptunes=WIN with all the stuff you do? And how’d you get wrassled up with that dickbutt loving noob Hoodie, anyway?
Cutman: Haha! Hoodie and I crashed in the same hotel room at Blip Festival years ago. We’ve been buds ever since. I’m lucky to have music be my full time gig now, so it’s my responsibility to make time for the projects that are important for me.
ChipWIN is a blast to work on, and although it may sound weird I really do love mastering. When an album comes together it can be profoundly satisfying.
Kuma: I’m glad you’ve managed to find something you’re passionate about that you’ve made it into something you can make money off of. That said, you tend to work at a very consistent clip, whether it’s This Week in Chiptune, working with us at ChipWIN, running your own blog VideoGame DJ, and tons of other projects I’m sure are escaping me at this time. Tell me: what can we expect from you in the near future?
Cutman: The shortlist: Sonic album “Spindash” with GameChops, video streams on YouTube, and lots more This Week In Chiptune!
Kuma: That’s it? What about the long list? The black list? The secret menu list? C’mon, you can tell me, Chris. I can keep a secret. After all: this is an interview, and I’m a blogger.
Cutman: Haha alright, I got you, Kuma. GameChops is releasing an album based on the Sega game Out Run called OutRax. I’m working on an album called OldStyle with my sister. It combines early Baroque music with chiptune and EDM. I’m also working on two albums that take inspiration from the 3DS game Bravely Default. [One is] a licensed remix album REMIX DEFAULT and [the other is] a free mixtape called MIXTAPE DEFAULT.
Kuma: Oldstyle sounds awesome! Yay Out Run remix! And I know my girl is gonna eat up those BD remixes! I can’t wait for all this awesomeness! Chris, it’s been a pleasure interviewing you. Is there anything you’d like to say in closing to our readers before we go?
Cutman: Subscribe to TWiC on Youtube! I had to recreate the channel and lost all the subs. Thanks Kuma this was a lot of fun!
Kuma: This was a lot of fun, Chris! Thank you very much for joining me!
That’s it for this edition of RCwK! Don’t forget to follow GameChops for the latest news about what remixes DJ Cutman and all the other GC artists have to offer! Also, check below for links to several other cool sites, including links for DJ Cutman on social media, the awesome music blog VideogameDJ, This Week in Chiptune, and GameChop’s Youtube channel! And of course, check back with us periodically for more interviews, album reviews, and music! Peace!
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