In a far off place, untouched by worldly woes, there is a place where friends can get together and make sentimental chiptune jams for all to hear and enjoy. The people who hear these songs know that their lives will never be as perfect as the emotions they experience from these magical tunes, but they listen all the same, hoping to experience that moment – no matter how briefly – that they’ll never truly feel in real life. A moment of nostalgia for something that never happened to them, but they wish it had. (more…)
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!
Howdy-ho, chipperinos! While I’m sure you spent much of your April 1st slathering our new compilation all over your earholes (and if you didn’t, go read this to understand why you done goofed), elsewhere in the far reaches of the series of tubes we call our home, other musicians dropped new tunes – no doubt sharing our zeal for shenanigans and tomfoolery undertaken on the most foolish of days. So, in the interest of maximum possible face-melting, I’ve rounded up all the other releases I could find that dropped on April Fools. Hold onto your butts, we’ve got a lot of music to cover!
If you look closely, you can see the exact moment where the kids over at ZOOM LENS actually unplugged their brains and snorted a bunch of Pixy Stix, which is the only reason I can come up with as to why POOM GEMS happened. Preceded by and pimped with an aggressive Twitter and Tumblr campaign, POOM GEMS is a bunch of really ridiculous covers, presented for free on the ZOOM LENS Soundcloud. I also recommend taking a look at the release page, which was their prank page, and is a thing of beauty. This album will take you on an emotional ride, leaving you unsure if you need to laugh, cry, or find one of these folks and punch them in the face. I’ll leave that to you to decide. I love these kids. Never change, you guys.
wiki random article
Now this one came from a pretty cool concept – all the artists were told to hit the “Random Article” button on Wikipedia and come up with a track based on what they got. This collaboration features friend of ChipWIN – Solarbear! (Who as we all know, sucks. Just like Primus, get it?) There’s a pretty good mix of styles here, so just like the artists, you’re not entirely sure what you’re going to get, but they’re all pretty great! Plus, a cool bonus is that it doesn’t feature most of the usual suspects we encounter ’round these parts, and finding new artists to listen to is always a good thing! And at the low low price of free, I’m all about getting down on some randomness.
Diode Milliampere released the above track in January on the album he was hinting about in our last interview with him, and while that track is great, that’s not why we’re here right now. No, no no, what brings us here right now is the fantastic team up of Diode and Remute to bring us a single of a brand new fancied-up Aquarius and a remix of that remix. They’re both lovely, and I would LOVE to have an embed here for you to listen to them, but they’re on Beatport, which means you’ve got to go to their site to listen. You absolutely should, because chiptunes and disco don’t often intersect, but yet they have here and now and it is fantastic. If I were Hoodie, I’d probably say something like “LOLOL THIS SONG IS AMAZABALLS ZOMBOCON ROFL,” but thankfully I’m not, and I’m sure we’re all grateful for that.
We conclude on a slightly spooky and somber note – Phantominom VGS comes to us from Alex Cuervo of the Hex Dispensers, which is a horror punk band, and is also one of my new favorite things ever. These tracks are all super spooky sounding, but also contain almost criminal levels of radical. If you like the album, consider buying it – you can read the full breakdown on the Bandcamp page, but all proceeds from the album go to helping one of their bandmembers pay for a very expensive and very necessary surgery they had. Rad tunes and helping people in their times of need = WIN!
That’s all for this time, folks. But there’s a lot of good music popping up this month, so stay tuned! I’ve gone and hunted out primary links for everyone I mentioned here so far, and have linked them below. Check them out when you can!
[Warning: This article contains block quotes and fancy words. If you are unsure how to process these, please find your nearest English major friend and sob at them until they help you.]
YO WHAT UP.
I mean, uh, hello, dear readers, and welcome to another word action-packed edition of the ChipWIN-tern Spotlight, this time about the release of Space Boyfriend‘s ‘bug spray (never give up)!’ For those of you who’ve been keeping up at home, you may recall my review/interview/other-prefix-added-onto-view last year, and in said article, Jami mentioned that they were redoing ‘Bug Spray’, one of the first Space Boyfriend albums. But first, before everything could be finished for the rerelease, there was one other important thing to take care of…
FREQUENCY! I know all of you either went to Frequency 3.0, or at the very least read Leah’s breakdown shakedown on the event. The above video is Space Boyfriend’s set therein, and though I know it won’t compare to having been there in person, you can at least pretend you were there, like I am. Many thanks to ZOOM LENS for capturing that video, and for the folks at 8BitLA and The Smell for letting people record things. I remembered that Frequency 2.0 had been a really big thing for Space Boyfriend, both as a person and as an artist, so I decided to ask about the experience. Said Jami:
[Frequency 2.0] was in fact the most important event of last year, that really set the stage for the year that followed, in that I met all of my now-best friends there and ever since. It filled us with this energy to make something out of our inspirations together and work harder than we ever have. So playing Frequency 3.0 was really monumental to me, in that I was then able to do my best to share the energy that I got from 2.0 to everyone else, to hopefully inspire some other group of friends in a similar way, and to sort of ~return that inspiration to the world~ in some way. It felt a lot like I was taking the next step, with all of my friends who played beside me.
On the official Space Boyfriend website, Jami goes into the reasons for redoing Bug Spray. In that breakdown, though, Jami mentioned that they felt as though the emotions evoked by the album had changed. And it IS quite an emotional album – you get everything from disgustingly saccharine happiness with ‘Cutie Cake’ to some extreme screams sprinkled throughout. But when I asked Jami why they felt the emotions had changed, they said:
I didn’t actively decide to change the feeling in (never give up), it’s just something that came about as I decided to do it. When I originally set out to rerelease the record last year, I was very concerned about it keeping the same message, having the same feelings. But as I rerecorded and began mastering everything, what came together was a very different piece than before, and something about that made me very proud. I mention that the original Bug Spray wasn’t exactly for me but for someone else, but that I was able to sort of reappropriate those messages for myself and hope for them to apply for everyone and inspire them, to make the record about recovery and hope instead of desperation as it originally was, felt very poignant. It’s a more strong message, I feel, and one that I think is very personal to me and my own growth from the person that released the original Bug Spray as well.
bug spray (never give up) artwork by Jami Carignan, with touchups by Meishi Smile
For those of you who have been following Space Boyfriend for a while, you’ll know that ‘(never give up)’ is an enhanced remake of the original album, clocking in at 19 tracks instead of the original’s 13. I recognized ‘Cutie Cake’ from an earlier release, and asked Jami what the reasoning was for blending in tracks not originally found on ‘Bug Spray.’ The response was:
There are actually plenty of tracks from previous releases, but in more complete form. Up until (never give up), there was a certain rushed sense of incompletion to everything I did. A lot of my releases were out of being a bit too antsy, and weren’t really done. But as time went on, I realized that all of those songs I wrote around that time sort of fit into the original Bug Spray “narrative” in a way that made that story way more complete too. It was about fleshing (never give up) out, not only as a collection of basically my entire body of work up until now, but also as a collection of all the feelings and experiences I’ve had who made me who I am now.
I also inquired as to why Jami went with ZOOM LENS as their outlet of choice for the album. I, being an East Coast peasant, had never heard of the ZOOM LENS crew. Thankfully, Jami was more than willing to elucidate.
“bug spray (never give up)”’s release on ZOOM LENS sort of coincides with Frequency 2.0 and meeting all of those friends for the first time. ZOOM LENS is a label that centers around the aesthetic of “looking deeper into something”, past what something might seem to be on the surface and more on what those things make you feel and why they make you feel that way. I’ve always been the kind of person to be introspective and even the original ‘Bug Spray’, I always felt, had more of a meaning to it than what it seemed on the surface. I think with that being ZOOM LENS’ specialty, it made sense when talking to MEISHI SMILE last year that ‘(never give up)’ would complement ZOOM LENS’ message wonderfully, and vice versa. It was a good fit.
It goes deeper than that as well; ZOOM LENS is a netlabel that takes inspiration from Japanese netlabel as well as idol culture. A lot of us grew up inspired by Japanese music and anime and the like, and not feeling as if we really belonged to anything because of it. ZOOM LENS explores the ideas of loneliness and disconnect in a similar way that I feel Space Boyfriend does, but in different ways that compliment each other. I feel as if Space Boyfriend contributes an optimism to those feelings, and a reassurance that even if you feel disconnected, you’re never really alone and you always belong. Growing up a fan of idols and idol music really affects Space Boyfriend; my performance but also the feelings and motivations behind my work as well, and that is something that ZOOM LENS was very receptive to. Everyone on the label has their own deeper views of these themes and I feel very proud to contribute to that in such a way.
So now, after all of that, we are FINALLY ready to get to the album! You guys ready for this? Click play above and let your brains melt.
‘(never give up)’ is more than just an enhanced remake, though it certainly is that – all of the tracks have been touched up, and I entirely believe Jami when they say that these are the true and complete versions of the songs. There is a polish here which wasn’t quite there with ‘Bug Spray’ – it could just be better audio mastering, or mastering the craft, but I tend to believe, referring to earlier, that Jami did this in their own time, instead of rushing it to get it out. It feels full, and I don’t just mean that in terms of the album’s length.
It’s more than just a goofball with a Game Boy and a kazoo making music (though, of course, that is exactly who Jami is, and don’t let anyone tell you otherwise). With the added tracks, the album is much more balanced between vocal tracks and instrumental ones. The vocal tracks progress the story – the story of two lovers traipsing around the cosmos, only to have their love fall apart – but the instrumental tracks provide atmosphere, and such GOOD atmosphere. They make me feel like I really am in space – parts of a track will be so empty, just low noise with some wooshing, and then all of a sudden there’s movement, like you’re in a space ship and out of the void you blaze past a galaxy.
I compared ‘Bug Spray’ to Russian literature once – in that it’s depressing, but in a hopeful way. I think what might be a better analogy for ‘(never give up)’ is, of all things, ‘Fiddler on the Roof.’ Bear with me for a moment – both works start out high energy and hopeful, full of young love. As time progresses, the story of both shift to a darker place – somewhere where, no matter what Huey Lewis might say about it, the power of love isn’t enough to overcome the obstacles presented to the protagonists. And so the story goes, progressing deeper and deeper – things become more and more hopeless. Characters leave. And so here you are, left at the end with the final song: the final song is one of sadness, of longing, but most of all, a hope that hasn’t died despite all the horrible things that the characters have been through. After all of that – they still hold on to hope, as they move on with their lives to try to put themselves back together.
And on THAT cheery note, I conclude this edition of the Spotlight! Now go have a watermelon party or something, you dopes.
Hey ChipWINners! Welcome back to Raw Cuts! This time around, I took the time to chat with an artist I wasn’t really familiar with until rather recently, but in preparing for this sit down, I realized what a n00b I was for being ignorant of him til now! Combining 15+ years of experience, enthusiasm and dedication to his craft, this eclectic composer has not only blown my mind, but has recently released a new album which can easily be considered one of the best chip albums of the year! But don’t take my word for it! Sit down and join me as I take the time to get to know Paul Parr, the man also known as Petriform!
Kuma: First and foremost I’d like to thank you for taking the time to sit down with me and do this interview! I know it’s early in the day for you, but it means a lot having you here with me.
Petriform: Thank you! It’s a pleasure speaking with you.
Kuma: So to start things off, I’d like to know how things started with you. When did your musical journey begin and what prompted you to take to composing and producing?
Petriform: Well, for as long as I can remember, my father was a solo performing musician; a guitarist. He played lots of covers, and must have decided at some point that he couldn’t cover everything he wanted with just a guitar, so he was an early adopter of MIDI synthesizers and sequencers – particularly ones that could accurately emulate real instruments. He would edit MIDI files to create backing tracks for himself, which he would then play back through a particularly good-sounding synthesizer for his live sets. That’s how I first got into composing – with a MIDI keyboard, a synthesizer, and some early version of the Cakewalk DAW. Just messing around with that stuff. I never took it seriously until the mid-2000s, when a friend got me way, way into Dance Dance Revolution, and, having heard about StepMania, the open-source counterpart in which one can add their own songs, I was driven pretty heavily forward to make my own songs for that purpose. That’s when I really started to step up and produce.
Kuma: Oh wow! So you’ve been at this for a while! But I notice you mentioned that you really didn’t take it seriously for a while. Does that mean you’re not a formally trained musician? Was music just something you picked up from watching your dad perform and produce over the years or did you actually take the time to take formal lessons with him or another teacher?
Petriform: I’m not formally trained. I picked up my very first composition and production habits from my dad’s setup, but I’m self-taught in most regards, having picked up things by listening closely to the music I like, and kind of attempting to emulate the theory that makes those songs so good in production after production. I don’t know much about formal music theory, and I can’t read music. I’ve always picked up instruments by ear, though I’m not particularly good at any of them. I think what it comes down to is a whole lot of listening and experimenting over the years. It builds up.
Kuma: I would definitely say it has! Having listened to the back catalog of your music available on Bandcamp, I can honestly say you’re one of the most diverse musicians I’ve interviewed on Raw Cuts! It’s that diversity I want focus on now in particular as I’ve noticed that between your solo work and your work with dtrx, your style changes a lot. Tell me what first brought dtrx together and how much of dtrx’s music is your input? Whats your creative process like with them vs when you’re working solo?
Petriform: All of dtrx is myself, actually. That’s a holdover from the years when I would use different aliases to release different genres and styles of music, kind of as a way to avoid people getting hyped for a release from me and having the result be completely different music than they’d expected. “dtrx” was always just kind of a placeholder signature, or label, to signify that whatever was released therein, I was ultimately behind. The multiple aliases deal is a very DDR thing, so I definitely picked it up from there. I think it was a good thing at the time, to diversify the styles of my projects so that I could explore them fully without having to meet anyone’s expectations. But recently I’ve felt it more appropriate to consolidate down to simply Petriform; the “dtrx” is pretty much only still there as a legacy sort of thing. It was great for me when I was experimenting with a ton of diverse projects, but I’ve been slowly phasing it out. I hope all of that makes sense!
Kuma: You dirty SOB, you pulled a fucking Peczynski on me!
Petriform: This is the part where I reveal myself to be Vince McMahon. “IT WAS ME, AUSTIN! IT WAS ME ALL ALONG!”
Petriform: But yeah, that whole gimmick was generally a tool to give me more space to experiment musically.
Kuma: Well, while I’m still hurt by this betrayal, I’ll attempt to gather my composure and continue this interview.
Kuma: That being said, I find it funny that you felt the need to live up to your following so much that you felt the need to create aliases just for freedom of expression. I wasn’t nearly as hardcore into the ddr scene as some of my friends were, but was that really a necessity now that you look back on it? Did you really feel you’d let people if you went from like…drum and bass to footwork?
Petriform: A necessity? Maybe not. From drum and bass to footwork, definitely not. But I’ve done some pretty off-the-wall stuff like harsh noise, drone, and speedcore before, stuff that isn’t actively featured on the front page of my website and whatnot, where there’s a real night and day difference that I feel a lot of people wouldn’t really be down with. I think it gave me more peace of mind than anything, but another component to it, and perhaps this one is more reasonable, was that I was still making songs for StepMania, where the whole DDR alias diversification really starts to become immediately relevant. Many of my friends who I met through DDR or StepMania who have started composing music have done or still do the alias thing, too. I still think it’s helpful for composers and producers who don’t really have a grip on their style yet, and want to try new things.
Kuma: That’s a fair enough answer. My sadness is less profound now. That being said, your work has become much more streamlined over the past 2 or 3 years, and in particular I noticed this with the release of ‘Brown Plaid‘.
That’s not to say you don’t still diversify even within that album, but it flows much more cohesively than some of your previous work. What was your creative process like on that album and how did it differ from work you had previously done?
Petriform: ‘Brown Plaid’ is an odd one for me because I had been working on it on and off for the better part of three years, which is far longer than the work period of any other album I’ve released. In years past, I would cap off my albums with the more moody stuff that you hear reflected in ‘Brown Plaid’, but after my album ‘Exposition‘ in 2010, I stopped, because I wanted to have an album full of that kind of stuff, and I wanted it to be special. So I would write songs for it on the side in tandem with the other projects I was working on – The Cross Section’ EPs, ‘Relentless Eventful‘, and even most of my newest, ‘Veneer‘. I counted – by the time it was finally plausible for me to form ‘Brown Plaid’ cohesively, I had over 40 works-in-progress that I was considering for it. I whittled that down to the fifteen tracks I though were best suited to each other and made the most cohesive album, and that’s what got released. I haven’t had the luxury of doing that with my other albums, so its cohesion probably is far smoother. With regard to my older work, pre-2010, I was still making StepMania songs and throwing them together into albums. Cohesion in my work didn’t really exist until I was making it for myself and not as what essentially amounted to game design.
Kuma: The amount of time and focus you put into BP really shows and I’m glad you took the time to make it. For as much as any of us like a scene or feel the need to give back to it, being able to create for ourselves is just as important and I’m glad you found the time to do so. I have to say though, whittling down from 40 tracks down to 15 is quite impressive. I haven’t heard anything like that since I last interviewed SSD engage and S.P.R.Y. said that he had some 50-odd mostly complete songs laying around he still had yet to finish and release.
That being said, since you brought up the topic of your newest album, lets discuss that, shall we? By the time this interview is published, the album will have been made public, but I’ve had the pleasure of listening to it early, and I have to say, and I mean this without intent of kissing ass or buttering you up, but ‘Veneer’, along with ‘Brown Plaid’, has cemented you as one of my fave musicians in the scene. Tell me, what into making ‘Veneer’ and what did you want to get out of the experience of bringing it to fruition?
Petriform: Thank you! I created ‘Veneer’ because, since very early 2010, I hadn’t put out a full-length chiptune album – only EPs, most notably ‘Cross Section‘ and its follow-up, ‘Cross Section Part II‘. With those I was testing the waters of combining the backbone of drum and bass music with predominant chiptune leads and accompaniment – something that had certainly been done before, but I hadn’t seen a lot of personally. That, I think, might be my favorite music to make, and it turns out a lot of people liked hearing it! I knew immediately that I wanted to bring that concept to a full-length release, and the ‘Cross Section’ EPs laid down the framework for it. That desire strengthened considerably when I became close to the chiptune scene in and around the San Francisco Bay Area and started playing shows, something I hadn’t done for a few years, and under different names.
The combination of releases I’d put out recently and the experiences I’ve had thus far in that scene made ‘Veneer’ logically the next thing that I needed to make happen, and it’s happening. In creating it, I hope to have strengthened my skills in chiptune tracking, which I’m always working on improving, and concept album authorship, which I kind of halfheartedly shot for. But most importantly, I want to have created something that others can enjoy and share. I hope ‘Veneer’ fulfills that for some people.
Kuma: I definitely feel you have, and I know this will be one of those albums I share with people when I intro them to the chiptune. That being said, you mentioned performances, and you have a very big one coming up very soon, don’t you? Why don’t you tell us about Rockage 3.0 and how you got involved in this amazing follow up to Frequency 3.0!
Petriform: Yes! I’m extremely excited to participate in Rockage 3.0, and to experience it in general. Rockage 2.0 last year was probably the most fun weekend I had for all of that year, and it was also my first real exposure to the chiptune scene in my area. Previously I had simply thought that nothing was going on in local chiptune outside of San Francisco, but I was wrong – I just wasn’t looking hard enough. And, of course, I wanted in on it. So, on the last day of Rockage 2.0, I spoke with maybe three or four people and gave them a sampler of some of my chiptune material – one of those people being Eric Fanali, who runs Rockage and puts on chiptune shows, among many other shows, in and around San Jose, and my involvement in the local scene kind of snowballed from there.
What I can tell you about Rockage 3.0 is that the lineup is amazing; even better than last year. I’m so very excited to be playing the same event as many of my friends and many chiptune and VGM musicians that I have a ton of respect for. And on top of that, the plethora of free play arcade games and tournaments for prizes (if you’re going, readers, fight me at Hydro Thunder) is staggering – the fun never ends! It’s unmissable. Rockage 3.0 is at San Jose State University from February 7th to the 9th, and I hope to see you all there!
Kuma: Oh man that sounds like MAGFest all over again! I’m super upset I can’t make it and mad jelly of my friends who are going! That aside, is there anyone you’re sharing the stage with you’re especially looking forward to seeing perform? Slime Girls? Danimal Cannon? Space Town Savior? Who are you most looking forward to partying with?
Kuma: Definitely sounds like it, and I know my friends who are attending definitely can’t wait to get out there and get stupid with you. That being said, I’d once again like to thank you for taking the time to sit down for this interview. Is there anything you’d like to say in closing–shout outs, promotions, thank yous–before we wrap things up?
Petriform: Well, I’d like to thank you for having me, and ChipWIN in general for being so damn awesome! Readers, I hope you enjoy my new album, ‘Veneer’, and come out to Rockage 3.0! Let’s party!
That wraps it up for this edition of Raw Cuts. Don’t forget to follow Petriform on your fave form of social media, as well as checking out his music, including his newest release, ‘Veneer’, and my personal favorite,’Brown Plaid’, both of which you can listen to below! Last but not least, if you are in the San Jose Area next weekend, do yourself a favor and get your ass to Rockage 3.0! It is a party that is sure to impress! Peace!