Hello beautiful people and thank you for reading Paul’s Tech Talk on The ChipWIN Blog!
Today we’re going to tackle one, if not THE most groundbreaking update that happened to LSDJ in the midst of all its crazy transformations. With 5.1.0, Johan Kotlinski decided to rewrite the entire pitch behaviour in LSDJ from scratch. For the sake of this article I’m going to try and keep an unbiased point of view. Even though I am pretty partial to the newer versions, I still use the older ones as well. But it’s safe to say that this update was probably the most controversial of all, and it ruffled a few feathers in the community.
In music in general, but more particularly from a software perspective in LSDJ, Pitch is a solid foundation on which a lot of elements are built. And even though LSDJ is a shining example of software ergonomics and accessible design, its complexity still gives it a bit of a learning curve. The 5.1.0 update shook things up so much that artists would either have to relearn a lot of tried-and-true techniques that would now work just as well but very differently, or refrain from upgrading altogether, deliberately missing out on later updates and bug fixes.
Long story short, for a lot of people, upgrading to 5.1.0 and above would break songs from older versions and render quite a few staple sound design techniques obsolete. Let’s take a quick look at what has changed and get a better grasp of the situation.
Greetings, readers! Boy oh boy has my life been a whirlwind of craziness lately! If it’s not helping organize the Los Angeles SHADOWTRAVEL tour stop with Nullsleep, Stagediver, Starpause, and Trash80, a free E3 party with Japan’s legendary Chibi-Tech at a local barcade in Downtown Los Angeles with Meishi Smile, Space Boyfriend, Space Town Savior, Timon Marmex, and Trash80, or attending not ONE but TWO Anamanaguchi concerts within the same weekend (at the El Rey Theatre in Los Angeles and the DNA Lounge in San Francisco) respectively, it’s planning additional 8bitLA events, dreaming about attending out-of-state concerts like BRKFEST, and moving into a new apartment — I swear! I DO work full-time on top of all of this!
Despite all this crazy shenanigans, it’s good to be back writing this album review for this wonderful blog. I’m here to administer another dose of Chip Treatment the Professor Oakes way, and it is with great pleasure that I bring you a review of ‘SPACE FUGITIVES’ by TORIENA — so sit tight and read up!
Released by MADMILKY RECORDS, a Kyoto Japan-based label founded by TORIENA and NNNNNNNNNN (pronounced as no-no-no-no-no-no-no-no-no-no) in 2013, ‘Space Fugitives’ is a REMARKABLE album released through Bandcamp on January 28, 2014. Beginning her career as a composer and a performing chip musician in 2012 (she’s also an illustrator and web designer!), Sae Shimizu (TORIENA) released her first EP entitled “ORBIT” through Vol.4 Records, and later ‘Black Dance Hole’, her first 10-track album, later that year. Exclusively using her front-lit DMGs and LSDJ to create the music and running it through Cubase 6 (she also uses a Behringer Pro Mixer VMX100USB), Shimizu has dug herself a spot in the chip scene as one of the best international acts, as she performed during Blip Festival Tokyo 2012 at Koenji High in Tokyo (alongside Abortifacient, Aliceffekt, Batsly Adams, Bit Shifter, Chibi-Tech, Covox, and Nullsleep to name a few) and was awarded ‘Best New Artist’ in the World Wide Chiptune Awards, according to her website.
With energizing stage presence (as this video of TORIENA performing at Blip Tokyo 2012 can attest), Shimizu’s passion for music began with her parents (her father is a DJ) and her enrollment in junior high band (Shimizu played tuba, double bass, and bass guitar). Shimizu began her journey in electronic music in junior high after discovering Kraftwerk and Daft Punk, and later Gold Panda and Squarepusher in high school, but remarks her interest in music is “quite fickle because the mood at the time can change.” (ICON.jp, January 17, 2014)
Receiving wide support from Pedro Silva of Slime Girls and Shane Banegas (watashimo), and featured on DJ Cutman‘s ‘This Week in Chiptune‘ on February 19, 2014, ‘SPACE FUGITIVES’ opens with ‘Fetal movement’, as TORIENA creates an memorable, rhythmic introduction to the album at large. The calmer precursor to the latter half of the album, ‘Fetal movement’ is surely the calm before the storm. With BPMs ranging from the upper 110’s to lower 130’s as it starts to take speed, ‘Fetal movement’ is a brilliant example of dreamy, low-fi tracks that produce a sense of nostalgia, as Shimizu includes the Gameboy start-up sound as an element to the track, and a drone element which she pitch bends (which reminds me a lot of the sound the cars make upon accelerating in RoadBlasters and an element that The Depreciation Guild used quite often.) Another stylistic choice (whether intentional or not), is the slight humming her DMGs make throughout the course of the track—if you listen carefully, you can hear panning clicks laid on top of the melody she creates using her pulse channels, and the hi hats in her noise channel. There’s nothing more appealing than the true, natural sound a DMG can make, and I could never understand why artists would ever want to hide that!
‘Call me again!’, very appropriately mastered near the conclusion of ‘SPACE FUGITIVES’, is one of my absolute favorite tracks on this album. Sitting at just about 3 minutes long, the track throws you through a tornado of emotions as soon as it commences. Oozing at the seams with an unforgettable j-pop vibe, Shimizu mimics Mario’s jump and fire flower sound elements, which she very strategically places throughout the track. Leading up to about the 55 second mark, ‘Call me again!’ is a wonderful example of Shimizu’s ability to masterfully build up the emotion of the track using a rather static BPM and glitch-like elements, to then launch the listeners into a whirlwind of adrenaline-pumping elements and a much quicker tempo. Uplifting, hyper, and incredibly fun, ‘Call me again!’ sends me on a wild cat and mouse chase as I truly feel like I’m not able to rest until the conclusion of the track. Unlike its precursor ‘Fetal movement’, ‘Call me again!’ is far from anything calm, soothing, and dreamy (but rather insane and wild!)
‘SPACE FUGITIVES’ can be purchased through Bandcamp digitally for $8. This is an album I definitely recommend buying (if you haven’t already!) as I assure you it’ll make your way to your list of top favorites. While TORIENA has not yet performed in the western hemisphere, she tells ICON.jp that she would very much like to perform outside of Japan in the future—so keep your eyes out and catch her performing when this happens!
That’s all ChipWIN readers! Until next time on Chip Treatment—Professor Oakes signing off!