Tuberz here. Rather than rant about theory and rhythms and other malarkey, Brandon thought it would be nice to get me to review some of the stellar new tracks from ‘Chiptunes = WIN: Volume 7’.
I took up the challenge with eager willingness to enjoy some tunage and I must say that I have really been taken by surprise with the sheer quality of some of this music. That’s saying something because I already thought the music would be insanely good. Without further adieu, let’s hear my ranting about other peoples’ application of music theory.
Careful or V.7 art contest winner, TinyNeenja’s, Glitch Dragon will melt more than just your face!
ARE YOU READY FOR MY SCATHING CRITIQUE OF GAMEBOY JAMS AND OTHER SUCH PARAPHERNALIA???
Welcome back to the first Office Hours session after last month’s Chiptunes = WIN Volume 3 release! This month I am reviewing a recent release titled ‘SNESQUE’ by fellow Longhorn and ChipWIN alum Zackery Wilson.
In addition to his talents as a pianist, Zackery Wilson has extensive formal training in composition and is currently a doctoral candidate at the University of Texas at Austin. He is also one of only a few composers combining contemporary classical music with chiptune elements, intended for a more formal concert setting than most live chip music.
My first exposure to Zackery Wilson’s unique musical style was his track ‘Ain’t Got Time to Bleep’ from last year’s Chiptunes = WIN: Volume 2. Clocking in at a blistering 1:39, this track packs a lot of punch in a short amount of time. In retrospect, ‘Ain’t Got Time to Bleep’ feels like a precursor to this year’s ‘SNESQUE’ release; each track on the album is a brief musical landscape exploring a variety of sounds and textures.
Released in partnership with netlabel Ubiktune, ‘SNESQUE’ was created using original soundfonts from a variety of Super Nintendo games and composed inside FL Studio. Each track is restricted to samples from one specific SNES game, which are noted in the titles. A further compositional guideline for each track is brevity – the longest is just under 3 minutes in length. Like most level-based video game music, the tracks loop seamlessly one time before ending. Combining authentic retro sounds with modern DAW effects is a hallmark of Zackery Wilson’s style, and it is masterfully done on each track of this album. My review separates various elements of composition into their own category, focusing on how they interact within each track of the album.
Earworms Served Au jus [Melody]
Each track on ‘SNESQUE’ is a smorgasbord of delicious melodic tidbits, full of interesting timbres and cool ornaments – I love all those pitch bends, especially in the third track. One of the striking things about Zack’s style is his use of very high registers for his melodies. The melodies on this album seem to be structured similarly to a big band trading solos between players, and you can definitely hear the influence of screaming lead trumpets and altissimo alto sax lines.
Although each track is individually a beautiful and well-crafted miniature model of perfection, my biggest complaint about this album as a whole is the over-reliance on the “freestyle solo” melodic style. I realize that I have spent significant lines talking about the uniqueness of ZW’s style, so it feels a bit like complaining that John Fogerty sounds too much like Creedence Clearwater Revival when I then complain that the melodies aren’t all memorable. However, after listening to the album several times, one does start to get a sense of repetition and melodic coherence – listen to the solos in ‘Snowball’s Chance in ‘L’ for an example of a track that sounds on the surface like one long solo, but there are definite repetitions and similarities between the individual melodies.
We’re In This Together [Harmony]
I have to tip my hat to Zack for this category, as writing in a jazz/fusion harmonic style is incredibly difficult to pull off with any amount of sincerity and he does it with absolute skill and conviction. Going far beyond an amateurish “add diatonic sevenths to every triad” harmonic approach, this album is a textbook in jazz voicings and harmonic progressions. Zackery’s piano chops almost certainly include woodshedding Chick Corea solos, Thelonious Monk’s harmonic language, and the understated beauty of Oscar Peterson. Every single track does something unique, but my favorite harmonic moments are in the keyboard and organ comping in ‘Y So Secretive?’ – that major/minor shift in the first section is really cool.
On the Down Low [Bass Line]
As a bass player I am very appreciative of a hip bass line, and chip music usually has its fair share of neat bass licks. Although the listener’s attention is mainly drawn to the melody and chordal accompaniment patterns in each track, there are a few moments where the bass is allowed to stand out in the texture. Honorable mention goes to the delightfully quirky synth-slap sounds in ‘Earthbound and DOWN,’ but my favorite bass moments happen in ‘Have A Nice Flight.’ Some of the little bass fills in this track and the solo that starts at 1:08 just beg for a pixelated Victor Wooten thumping along in the background of an accompanying music video.
Girl, you decide how HTML elements render in a browser cuz you got STYLE [Musical Styles]
Zack describes the styles of the album as “[f]rom progressive rock to jazz fusion, samba to swing,” which is quite a wide range of disparate elements to pull together! Although I mentioned this next comment as a slight negative in the melodic design, each track flows together quite well when listening to the album from start to finish. No one track sticks out of the texture in a negative way, and there is not single sample that sounds out of place. The cohesiveness of extended tertian harmonies in each track help the music form a single sonic landscape, where electric guitars and slap bass can coexist with flutes and string pads. I don’t quite hear the prog rock influence – perhaps more Rick Wakeman than Dream Theater – but that is quite alright. The textures and repetitious melodies of ‘Suck ‘R Punch’ make this track unique on the album, but it does not sound out of place since the harmonies and occasional screaming lead lines are found elsewhere on the album.
The production value throughout ‘SNESQUE’ is incredibly high. Each instrument is balanced well in the overall mix, and the highs, mids, and lows all sound good. I really enjoy the subtle effects that are sprinkled throughout the album; reverb is not overused, and both pitch shifting and echo help bring a humanizing element to the vintage soundfonts. Perhaps the best way I can compliment the production in each track is that, to me, the post-processing is never obvious or overbearing throughout the album. No, this is not a strict use of SNES samples as it was done in 1991, but at the same time these tracks never stray too far into the uncanny valley of modern-versus-retro audio production.
Insert Coin to Continue [Replay Factor]
While Zack uses repetition as one of his compositional constraints for each track, it never gets in the way of enjoying any given moment throughout the album. Like the best examples of looping in video game music, the loops here are seamless and completely unobtrusive to the listening experience. Essentially, when listening straight through this album you have heard each track twice, although it never feels that way! I have listened straight through the album many times for the purposes of this review, and I still do not feel as if I am tired of any particular track. The track embedded here is a collaboration with Player 2, Zack’s brother Jay who is also a member of the Volume 3 roster. I would be interested in hearing more about their collaborative writing process and if it was a peaceful Mario/Luigi experience or closer to Mario/Wario antagonism.
Zackery Wilson’s ‘SNESQUE’ is an album of tunes that are short in length but absolutely filled with quality from start to finish. The energy of each track remains high until the final note, and there is a seamless progression from track to track. Combining original SNES soundfonts with modern production techniques is a delightfully fresh take on modern chip music and gives this album a unique sound.
Final Grade: 58.5/60 (97%)
That wraps up Office Hours for today – the professor has a lot of grading and midterm exams to copy… Until next time!
Yesterday the CWB’s First Lady Ryn, the resident Chiptune Newb and Chip Mom, guided you through the first six tracks on the Chiptunes = WIN Volume 3 compilation album, and today our very own PixelRecall, the man responsible for the monthly “Sladerfluous” reviews & interviews, covers the next batch of five tunes below!
Those of you who are in the know have probably already heard the 51 rockin’ tracks that comprise the newest compilation from the team over at Chiptunes = WIN. But for those of you who are looking for some more info, that are new to the Chip Realm, or are seeking different perspective on the tracks, the crew here at the ChipWIN Blog will be, over the course of the next few weeks, reviewing the *massive* Volume 3 compilation track by track, artist by artist. Starting off this week it is I, First Lady Ryn, the resident Chiptune Newb and Chip Mom, who will be sharing the first six amazing tunes with you!
Oh thank heaven, et cetera. Volume Two keeps its momentum going with none other than…
Track #7: 505 – Dataride
The best tracks always leave you wanting more. No stranger to crafting epic journeys, 505 exhibits the same songwriting qualities on Chiptunes = WIN Volume 2 that made his 2012 release Interlude an absolute gem. Taking just the right amount of time to introduce the key elements, 505’s track shines even brighter at the 1:02 mark, stuttering into a perfect stride as the kick drum drives everything home. At two minutes in, a great melody starts to overlay the foundation of this one while an amazing solo closes out the final sixteen seconds. Dataride could go on for twice as long without overstaying its welcome…but that’s what the repeat button is for.
Track #8: James Landino – Blue (Dj CUTMAN mix)
Boston chip artist James Landino, a.k.a. KgZ, serves up his own wicked brand of house alongside a very special guest. Stepping out from behind the curtain, Dj CUTMAN puts his own spin on an already-solid work. CUTMAN’s presence is notable here, adding a whole new dimension of sound and definitely bringing the bass. The minimalism present around the 1:42 mark is welcome and while this segment closed out the original version of the track, CUTMAN wisely uses it to build upon and reprise the opening melody. Which, really, is a testament to the quality of James Landino’s composition. Excellent collaboration.
Track #9: Twistboy – Springs
Relative newcomer (to chip, anyway) Twistboy supplies one of the few LSDJ tracks on Volume Two, but it’s here for a reason. A delightfully funky work with some amazing spacing, allowing it to breathe, Springs is aptly-titled. Perfectly suited for the dance floor, it’s somehow both soothing and energetic. If you dig this be sure to check out his On Vacation EP. This dude’s going places.
Vince Kaichan…There’s only one Vince Kaichan. While Iskloo Dandruff strikes me as a very Kirby-esque song, the swirling melodies add a unique touch. There’s not many composers that can pull off something this impressive so seemingly effortlessly. The subtle pitch bends and notes add a lot of flavor. If I’m at a loss for words, it’s only because this is one of my absolute favorite tracks. Vince Kaichan has a natural gift for composition and I’m always excited to hear what he produces. This is an essential listen.
Track #11: Zackery Wilson – Ain’t Got Time to Bleep
At a brisk 1:39, who am I to argue? This track tears out of the gates with furious purpose and MINDBLOWING technical prowess. With no disrespect intended, you could tell me Yuzo Koshiro himself wrote this and I would ACTUALLY believe you. Zackery Wilson has more raw passion, ideas and skill jam-packed into this amazing 99 seconds than many artists can muster for an entire album. Not exactly a surprise, though! As a trained (read: professional) composer, pianist and old-school Nintendo enthusiast, with numerous awards and accolades to his name, Zackery knows his craft VERY well. His influences are especially notable from the :40 mark on, as a Jun Ishikawa-like segment flows magnificently from this point. Simply put, Zackery Wilson has mastered brevity as an art form.
That’s it for our second round of artists! Stay tuned for next week’s coverage of Chiptunes = WIN: Volume 2! (OH AND MAYBE BRKFEST)