Sup y’all? =) President Hoodie here again to intro another lovely multi-writer full review of our latest compilation, ‘Celt-tunes = WIN‘! Got four different writers on the glorious task this time, bouncing around from track to track to share their thoughts on this delightful collection of tunes. What are you waiting for? Get to readin’! #Cheers
Sup y’all? =) President Hoodie here, ready to happily introduce this multi-writer full review of our newly released chipWINter Wonderland compilation! Kicking off this collaborative writing project is none other than Mr. Viridian Forge! Do it to it, Wayne!
‘Snowball Fight Tonight’ by Aethernaut
Infused with the magic of fresh snowfall, Aethernaut’s ‘Snowball Fight Tonight’ is undeniably the correct choice to have opening this year’s ChipWINter compilation. Warm toned arps, rising riffs, and a steady beat merge together to give the piece a backdrop that belongs on a Christmas card. The authenticity comes from the vocal samples that appear throughout the track, which truly convey the feeling that you’re in the midst of an old fashioned impromptu neighborhood snowball melee.
Building on the childhood reveries Aethernaut may have left the listener with, ‘Tinsel Time’s twinkling opening hearkens, perhaps, to warm evenings decorating the old tannenbaum with loved ones. About thirty seconds in, powerful chip-based shredding slaps the sense back into them, tearing apart any preconceptions about what’s going on here. tiasu moves between these two themes skillfully, illustrating both the reverence and exuberance that imbue the spirit of the season.
Switching up the tempo and tone of the compilation, Polar Sunrise has the feel of a more ‘traditional’ holiday piece. Appropriately, the richness of the music, authenticity of the bells and reflective pacing encourage taking the time to appreciate the chance to reflect on the events of the year. Moreover, the warmth of the composition really brings home the spirit of spending time with loved ones during this time of the year.
With Cool Winds, the fluctuations in how the spirit of winter is evoked continue. Subdued compared to the previous tracks, Joshua Morse’s submission to the compilation is meditative, and space-y. With a sound palette consisting of fat sweeps, twinkling plucks, liquid droplets, and remote sleigh bells, Mr. Morse has put together an honestly evocative track. To my ear, this is the perfect soundtrack to gazing quietly out onto a frozen lake from snow covered hills, as a gentle breeze pulls snowflakes across the starry twilight.
Four tracks in, and this review is just getting started. Hold onto your hot cocoas, because Glenntai is taking the reins for the next section of the release!
‘Borealis Palace’ by Toni Leys
“Borealis Place” starts off as a smooth jazz piece accompanied by round bells and pulse leads before nearly manically-transitioning into a very bright and driven trance vibe. While the latter is the concept the song eventually focuses on, Toni Leys demonstrates a clear and exemplary knowledge and execution of not only both concepts but maintaining a tasteful amount of drama both between transitions and on the beginning and end of the song.
To break a personal rule of mine, I would genuinely compare this track to what sounds like: an experiment between fusing together the soulful and jazzy vibes of the Breath of Fire III soundtrack and (apparently a “controversial” opinion time) what the “NiGHTS Into Dreams…” OST should have sounded like.
As much as “Borealis Palace” rhymes brings on a strong smooth vibe, anyone familiar with Yoann Turpin’s music knows to prepare themselves for a soul-villed journey through a grove-filled jazz track that’s bound to make you feel good from the inside-out. “Bit’s Carol Groove” is no exception! Every chorus is impressively written, the melody from the top of the head onward is not only memorable but varies enough to where every embellishment of a note and their following solos stand out and give life to every note it plays. From legends such as Dubmood, demoscene veteran and amazingly-cool-person Ultrasyd, all the way to newcomers Please Lose Battle, France has had a variety of incredibly talented artists in the chip scene (and let’s face it, a ton of other music scenes.) That said, I’m incredibly delighted to see Metz’s Yoann Turpin finally contribute a solo track to a ChipWIN project.
Coming in from a completely different, yet equally masterfully crafted perspective, Kartmaze is a stellar example of 80’s synth aesthetic and chipmusic blending together to create an incredibly grand soundscape full of pads, reverb and melodic harmony. “Cyberia” is very much a track that has a heavier march pattern to its rhythm to give a sense of urgency to its accompanying chord progression, tasteful use of arpeggio accompaniment and a haunting but clear melody that sticks with you. Half-way through the song we get to some pizzicato solo elements with the rest of the track resting for the better part of a measure and a half. It was a very clever way to disguise the fact that Kartmaze included a change in both the rhythm and time signature, making what seemed to be a great conceptual reference to “Carol of the Bells.”
‘Pieces of Eight + Azuria Sky’ by Ave Maria (Bach, Gounod)
Of course, with me making reference to Pieces of Eight’s fantastic drum solo on Volume 3, it only fits perfectly that the last track I get to review is one made by the artist from North Carolina that I’ve had the honor of collaborating with on the “Merry Chipmas” compilation curated by MicroCollective (‘lo Sam!)
What we have here, of course, is a cover of “Ave Maria.” While normally I’m the type to shrug most covers, Pieces of Eight has solidly demonstrated in previous covers that he can take a song and accentuate it to bring a larger, more dramatic tone, resulting in some sincerely show-stopping pieces. This is no exception to that rule. Along with covering the track’s melody, bassline, and key, Adam mixed in Enya-esque backing vocals from Azuria Sky, which mix well with the barrage of what sounds like double-single-channel echo and reverb on arpeggios going over the entire scale of each section’s key.
I think, somewhere buried deep down inside all of us, is a tune or a sound font that we associate with a place or a person. The same thing goes with winter, and that’s exactly what Jredd’s ‘Snow Day’ gives us. This track sounds near identical to what I would have expected to hear in a 90’s anime for a snow day episode – if I didn’t know better, I’d have thought this track was lifted right out of Sailor Moon. It’s upbeat, it’s happy, it’s bouncy, but it’s not too saccharine as to make you roll your eyes. It is, the musical quantification of how you might feel on a snow day, walking around town, bubbling inside because you know you get to skip that test you had today. Leave the responsibilities to the adults – jam out to ‘Snow Day’ on your snow day!
‘Fun with Fractional Freezing’ by Spaceman Fantastiques
When I saw the name of this track, ‘Fun With Fractional Freezing,’ I had to look up what that meant. I knew I had heard it before. Turns out, that’s the process you use to make one of my favorite liquors, applejack – it’s used to separate out water in liquor like distillation but so, so much simpler. And it struck me, that name is actually quite appropriate. Fractional freezing, like this song, is a very relaxed process: it’s slow, it’s calm, it’s simple. Also like its namesake, you know you’re getting something done while you’re doing it and this song continuously builds: it slowly getting louder and more complex. And, like any liquory treat, you end up with an end result you really like. This song is exactly that: smooth and chill with new elements appearing until the end result is something you know you’ll enjoy going back to.
I have a firm belief that any track willing to open up with a “WOO” is either going to be amazing or horrible. The good news is, ‘I’m Better Than You’ turns out to be in that first category by a wide margin. You’ve got the super tight percussion Reckahdam is known for thrown in with beats that would seem at home in a Bare Knuckle Streets of Rage game. At the risk of sounding entirely too cheesy, this track puts the “win” in winter – while you have the high, sustained notes and the twinkly sounds from time to time, this track is all about getting down and rocking out. If ‘Snow Day’ was a group of kids walking down the road on a day off, ‘I’m Better Than You’ is the soundtrack to the inevitable snowball fight. The track wraps up with the familiar “gleamy” noise from the Sega – and I can just imagine Roger finishing banging out the final drum solo and then flashing a thumbs up and a smile while it happens.
After such an intense track, you probably need something calm to…cool down with, right? Riiiiight? Good, because ‘Cold’ is exactly what you need. This track is 89% ambiance and mood building – it’s a tune out and chill kind of track (no pun intended…this time). This song is the auditory equivalent of soaking in a Jacuzzi with the jets on low – soothing, with just a little bit going on to keep you from completely detaching from reality. Although I wouldn’t call this song trance, it will definitely put you in a trance. Just don’t listen to this song in an actual snowstorm, because none of us here at ChipWIN want you to space out while listening to the album and get hypothermia and become popsicles. Chiptune responsibly, people.
Reviewing the final 4 tracks of the compilation is R. Morgan Slade aka PixelRecall!
‘Guard Duty on Station Arctemp 323e’ by Russellian
‘Guard Duty on Station Arctemp 323e’ is an assault on your senses. Harnessing a winter storm as a foundation, ‘Guard Duty on Station Arctemp 323e’ by Russellian shifts and changes in and out of melodies and speeds, delivering a sense of loss and bewilderment, much like one could feel on patrol in an isolated arctic complex. Russellian succeeds in creating a fluid, disconcerting attack on your perceptions and expectations, delivering an intense stream-of-consciousness with ‘Guard Duty on Station Arctemp 323e’.
Delightful, minimalistic, hopeful. ‘Snowflakes Are Falling Stars’ by Matthew Squibb does a lot with very little. ‘Snowflakes Are Falling Stars’ employs what sounds like fewer than 6 channels, capitalizing on the freedom that comes with such a limitation and disregarding the urge to shoehorn unnecessary bells and whistles, resulting in a thoughtful and purposeful little chiptune-track-that-could.
Over a continuous chorus hum, Square Therapy delivers a beautiful rendition of Silent Night with ‘A Very Squarey Xmas’ that takes its time, and builds with true feeling, ultimately abandoning the serene choral sounds for a rockin’ rendition of Gloria in Excelsis Deo to bring the house down. High octane; ‘A Very Squarey Xmas’ by Square Therapy is the holiday jam you didn’t know you needed, and will no longer live without.
‘Fireplace’ by subPixel takes swing-chip to funky places to close out the album, leaning into slides and transitions with such organic timing that you could confuse it for a live set. subPixel takes an entertaining tangent away from the established melody to experiment with unexpected swinging synth alternatives and the welcome jingle jangle of bells that synch the holiday cheer together with ‘Fireplace’s funky swing in a nice chiptune bow.
Some funky chip swing winter fun going on right up in here.
Howdy howdy! For some of our long-time readers, you might remember that the FIRST installment of this column, just over one year ago (back when it was an artist overview column, and not just an album review column) was about this young Californian guy named Vince. A lot has changed in a year’s time, both for us and for him. Here we are, seven compilations under our belt (of which Vince has been ontwo, and had one of his songs remixed for a third), and the fun police haven’t yet tried to stop by and shut us down, so we must be doing something right! Meanwhile, Vince has had two albums out in that last year, in addition to his thriving Soundcloud. How fitting, then, that I should be doing this review, here and now, about Vince’s newest album ‘Ilio,’ since it serves as a fantastic benchmark for just how far this blog and Vince have come in the same amount of time. And little do you all know, but my previous review actually secretly connects with ‘Ilio’ more than you could imagine! (No, I promise that wasn’t a Buzzfeed article name.)
So back on my previous review of Vince’s work, you may notice that there’s a Soundcloud link at the bottom which no longer works. But lo and behold, that track has snuck onto ‘Ilio’ as the second track! Funny how things like that work out. There’s one other track from Soundcloud that made its way into this album, which is ‘Sailboat.’ This is one of the reasons I think it’s a great idea for all artists to have a Soundcloud, or at least some sort of organized place for non-album-affiliated songs – you never know when you might need to use one! What is interesting, though, is that this means that ‘Ilio’ isn’t so much a cohesive album in the sense that it was a planned album with a theme behind it. Given that the lasttwo albums I’ve reviewed here have been straight-up concept albums, it’s refreshing to have an album of mostly unrelated but still fantastic tracks up on the slate.
Now, as I say that this album isn’t a concept album, you may want to take a look at the notes about it from Vince himself on the Bandcamp page. For your convenience, I’ll copypasta that here for you:
“What started as a concept album exploring the softer side of Gameboy music quickly lost focus and became a collection of mid-tempo tunes ranging from straightforward pop to more experimental songs inspired by jazz.”
Which it absolutely is. None of these songs are for raving to, or getting crazy to. These are chilltunes. Some of them lean a little towards slower dubstyle things (like the aptly named ‘Dubpark’), some of them are a little more goovy/funky, like ‘Saraday,’ but they’re all great tunes to calm you down while still serving up enough energy to keep you bopping around. I think probably one of the most satisfying things about the album, though, is the fake ending you get from ‘Shiosai’ – because it’s the final track on the Bandcamp, it’s got the traditional, almost Broadway-style ending to the track, only to have ‘Galaxies,’ the bonus track start playing (which is probably my second favorite track on the whole album) which then ALSO ends with a big finish. (Guess you’ve gotta go get the thing on Bandcamp to listen to it, huh!)
Personally, I love this album for the simple fact that this isn’t what you come to expect when you hear “Gameboy music.” I think this and a few other albums that have come out recently are pushing back on the idea that chiptunes has to be punk rock, or it has to be techno dance music, or it has to be a game soundtrack. Music is music, whatever the instrument is, and it’s good to hear more of these albums coming out showcasing just what you can do when you think outside the box.
That’s all for now, friends! Stay frosty. (Hah, see, that’s a joke, because I live in Richmond, VA, and we literally just declared a state of emergency because it’s about to snow. I hate the South.)
I really want to know what they put in the water up in Philly. Or…actually, on second thought, I probably don’t. But whatever magical ingredient is in the water up in Philly, it seems to be infecting the creative and philosophical types to very interesting effect. Last time around, I was talking about an0va’s ‘Ego Depletion,’ which if you read through the end of the interview, you know that that album was supposed to be an exploration of consciousness. In a strange turn of events, there is another Philly-based chipartist who has both a lower-case “a” and the number “0” in their name, who works in the Psychology department of a university and who has released an album meant to break us down and really get us thinking about what constitutes “us,” – that is to say, Steve Lakawicz, better known as ap0c, and his new album ‘The Last Dream.’
Album cover by Joey Mariano, better known as Animal Style. You know, that guy who does the stuff.
Now, as much as I’m joking around about the similarities between an0va and ap0c’s names and album concepts, both of these guys are worlds apart (metaphorically, of course – in reality they’re probably about two bus stops from each other). Those of you who have been around for a while probably remember ap0c’s contribution to our humble collection back on Volume 2, and you can already tell just from those four minutes the extremely diverse ground that ap0c can cover – and ‘The Last Dream’ is basically that on an album-wide scale. That’s honestly what I love the most about this album on the whole, is the fact that you never really know where it’s going. But there’s another hidden part to this album, which even ap0c himself may not know consciously, which I will reveal to all of you now:
It sucks playing a low brass instrument. “Wait, what?” I hear you cry, “I thought this was about chiptunes!” Alright chucklehead, give me a second. See, Steve and I got to talking during MAGFest, and we learned something very important about each other – we both play low brass instruments: he, the tuba; me, the euphonium (yes, it’s real, no, you haven’t heard of it). And when you’re a creative person trapped in the low brass section, it does something to you. Something weird. I’m sure you all know the joke about the bassist in a rock band, about how no one really loves them and they’re basically unimportant to the melody, while some people recognize them as barely better than a metronome to keep time while the band plays. The simple fact of the matter is, when you play a bass instrument, be it bass guitar or tuba or basically anything that never gets a melody, you start secretly hoping that some day, when you’re a big kid and you get to write the music, that you’ll write music that features the bassline playing the melody! Something that sounds cool, because screw all those high pitches, it’s the BASSLINE’s turn to steal the glory of the song!
As any of you who know how to compose, be it chiptunes or otherwise, probably know – having the bass in the lead for a whole song isn’t a healthy idea. It doesn’t sound like a song – people aren’t used to it. However, the more mature manifestation of this is to have some really prominent basslines featured in the composition to have them be in the audience’s face when they can be, and move out of the way when they need to be. And THIS is what Steve has done all throughout this album – his healthy understanding of the bassline colors the sound of the album in ways that are quite unique and unexpected to most people who go into this expecting another Anamanaguchi or Danimal Cannon.
Stylistically, the album is all over the place in the best way. Steve’s classical training bleeds through in parts, sounding at home among Bach’s fugues, but within the same song it might flip around to be something more lighthearted and goofy like one might expect out of a Sonic game, only to have it flip around and break down in a way that can only lead to mosh pits. Despite the fact that the styles bounce around, all of the transitions are seamless and it never feels like a song has been just Frankensteined together from a bunch of ideas just to fill time. It’s got enough in it from every style it represents to make it palatable from listeners of the more traditional music training to those who just love music they can jam around to. Personally, though, I’d say this album is best enjoyed with a good pair of headphones, or at the very least with some speakers with decent bass response – again, because ap0c has some really subtle and fancy basswork, a lot of the album is missed if you’re listening to it on dinky speakers with no bass.
That’s all this time around. Next time, I promise I’ll find someone to talk about who isn’t from Philly, I promise. For now though, go grab some fancy headphones, pop a brewski and go find yourself.
The ChipWIN-tern Spotlight returns – and what a day to make a comeback, a day to wake up to some brand-spankity new chipzel! Her new albumSpectrahas just dropped, and if you haven’t been sitting in your chair frothing at the mouth about it, then you’re doing it wrong. But fear not! We can fix that. We will fix that, presently.
You’re all pretty hip to the cool stuff going on in the chiptunes world these days – ‘course you are, or you wouldn’t be here, reading this, would you? So of course you know that Anamanaguchi has been on tour promoting their swagtacular new album Endless Fantasy, and you probably know that they’ve had a bunch of fantastic folks on tour with them. For the Richmond stop, they featured none other than the rap stylings of Kitty Pryde and fellow chiptune/rock dude Paul “Chipocrite” Weinstein (now featuring Roger “Rekcahdam” Hicks on drums!).
A collection of shots from Strange Matter’s website.
The last time these guys were in Richmond, they rocked the house at Strange Matter, so it was no surprise they’d return. Strange Matter’s a pretty rad place, and lends itself to being a haven for most of us nerdy-types and/or hipsters: there’s an arcade in the back stocked with classics (I will personally wreck your face on the MvC2 cab, that is an open invitation to everyone unless you’re actually tournament level in which case you’ll make me cry and run home), there’s all sorts of custom videogame art on the walls, they’ve got a decent selection of beer, and they make a DAMN good hamburger. Point being, this place is literally equipped to be the perfect place for this kind of show. The only “downside” to the venue is the fact that the standing/thrashing/moshing audience space is mildly limited – but I mean, if you’re doing any of those, you probably don’t care that you’re all up on people.
Chipocrite and Rekcahdam, photo credit Kira Wilhelm.
The pre-show energy was really high, which given the small space inside the bar, seemed magnified. There couldn’t have been more than fifty or sixty people, but it felt like two hundred. Most of the performers were out mingling with the crowd – Chipocrite was grabbing a beer, Rekcahdam was posing up on the wall and relaxing, Kitty was outside doing a photoshoot, but the ‘Guchi boys must have been hiding (or maybe they just blended in really well). The bar was swamped with people prepping for the show, and the arcade was hopping with people grinding other peoples’ faces to dirt in Mortal Kombat and Marvel vs Capcom 2.
The show got started when Chipocrite and Rekcahdam took the stage. Now, I’ve seen Paul perform on his own before (anyone remember 8-Bit Invasion 1?), and Rekcahdam was at PAX backing up Disasterpeace, but this performance was well beyond anything that I’ve seen them do before. As such, I think it was a great introduction to Chipocrite for newcomers – and I’m hoping that Rekcahdam becomes a permanent part of the act, because a live drumset adds so much to the music. Also, he played one of the tracks from his Big Lebowski cover album, which was an instant S+ Gold Rank performance, so I’m fairly sure if anyone in the audience was not yet won over, they had no choice but to abide and jam along with everyone else.
Kitty Pryde: Still unsure if she can phase through walls, but she can definitely rap and fight off the haters.
Then we have Kitty Pryde. Kitty wasn’t what most people were expecting as part of this gig, but that being said, I know a good handful of the audience were there specifically to see her. I’d certainly never heard of her – not that I’m the end-all be-all reference for modern music or anything, but her turnout left me rather surprised. Musically, I feel Kitty is the rap version of Lily Allen – her raps are mildly humorous, even when they’re about being spurned, and it was a good chillmode intercession between two high-energy acts. If you’re not familiar with her, here’s the one song that all my friends who knew her were waiting for.
And then the main event. Their set design was fantastic – if you saw the Jimmy Fallon performance, you should be familiar with the basic layout: Two projector-cubes, a bunch of lights, and a screen in the back. The visual effect was quite striking, having things being projected in so many places at once – if you had even a touch of ADD, it was almost a nightmare, but in such a good way, with so many different stimuli going all at once. I also feel that unlike some of their previous albums, their live performances sound a lot more like what you get on Endless Fantasy, which is awesome – I really enjoy when the live performance enhances that what you’ve heard on the album, instead of being entirely different. The only song that deviated wildly from the album was Meow, which they didn’t seem to have the cat keyboard for – but that didn’t matter after the entire audience sang along the missing meows in sync (it was simultaneously hilarious and scary, but more the former than the latter).
Anamanaguchi, photo credit Stephen Roberts
To explain the title of this article, though: at one point, right around when they were passing around their glowtube into the audience, I felt some water trickling down on me. I looked up, and it seemed as though water was materializing and dropping from right above the ceiling. And that’s when I realized – people were rocking out so hard that the humidity in the room had raised to such a level that there were literally rainclouds forming from sweat evaporating off of everyone. It was a surreal (and honestly, mildly gross) experience, but I guess the boys can say they rocked so hard they quite literally made it rain on the crowd.
It looks like there’s still one more stop on their tour, so if you haven’t seen them, and you’re going to be in New York now’s your chance!
And remember kids: Haters gonna hate, playas gonna play, and rhombus gonna rhomb.