THIS IS IT. We’ve come up to the last ten tracks of Volume 7, and I can’t begin to express the rollercoaster of emotion that was experiencing this album without being able to share the hype with everyone in our Discord channel during the release party.
Fortunately, I have a platform where I can have opinions regardless of how right or wrong I can be (thanks, Internet! <3), so without further ado, it’s time to jump into the first track on my list to cover!
Pixel Syndrome’s ultra fun entry to the V.7 art contest.
Hello beautiful people and thank you for reading Paul’s Tech Talk on The ChipWIN Blog! It’s been a while since I’d last whipped out a good ol’ techy article so I decided to make this one extra special. Today we’re going to delve into one of my all-time favourite aspects of chiptune production: Arpeggios!
Most of you probably know quite well what an arpeggio is, and why it’s widely used in Chiptune music. So in this article, I will try to dig a little deeper, examine closely how they work and what they can do, and experiment with some more advanced techniques to unleash their amazing potential.
Let’s face some hard truths, no matter how popular chiptune gets (as a niche medium), there have always been a lot of people thinking it’s starting to fade away. The reality, though, is that isn’t even close to true. There will always be jaded people; this is inevitable. However chiptune, much like synthesizers in the 80’s, has helped many people evolve their tastes in music beyond just what they expected. A lot of expectations were the concept of the nostalgia and limitations of the sound of a single console or a few combined. It has brought people into a whole new perspective of appreciating composition, sound design, and genres they never expected to find growing on them. People who haven’t explored their music tastes before chip music are exploring the wide variety of music that’s out there. We have people continuing to put chiptune elements and chip music influences in their music, whether it’s strictly hardware, strictly software, or somewhere in between. This is exactly where mal4m’s EP, “Don’t Wait,” comes into play.
Keyboardist, composer, and chipmusician Yoann Turpin has seen a number of his works featured in the ChipWIN community, be it his submission to the ChipWINter compilation, 2014’s ‘FriendChip’, or 2015’s ‘Chip Songbook Vol. 6’. His music is known throughout our niche for its funky vibes, his phenomenal work on the keys, and jazzy, improvisational solos that’re all ingredients for truly gorgeous music. His latest release, ‘Random Smash Hits’, is a collection of three short weeks’ worth of Turpin’s aural artwork. As if the sheer quantity of music he’s released in the last two years wasn’t enough to turn heads, the speed with which this album was composed and mastered is astounding.
So let’s see what chiptune chart-topping pieces lie in wait!
Hey there, ChipWINners! Welcome back to Quick Shots: the album review column in which I break down the finer points of some of the latest releases in the scene, then give you a numerical TL;DR to help you determine if a record is right for you. This month, I have two albums up for review that explore spaces I’ve yet to discuss on the blog. One is a metal album that incorporates vocals via the Hatsune Miku Vocaloid software, and has incredibly powerful lyrics. The other is an album from an accomplished pianist who has composed a very stirring concept album using the tracker software in the Pico-8 virtual console. Both albums albums caught me off guard and have a lot to offer their respective audiences. That said, let’s not waste anymore time! Sit back, relax, and plug in those headphones as I take the time to review the latest from 8-Bit Hero and Gruber.