Showing posts with label 8bit. Show all posts
Showing posts with label 8bit. Show all posts

Friday, 25 September 2015

MUHROCHKA – TEARS THAT LED TO OUR END

'Tears that led to our end'. It's a very sad title, a six-word micro-story that tells you everything you need to know: there was sadness – hence the tears – and there was an ending of what we can assume was a relationship. Instantly there's a snapshot of long talks, grey skies, the dullness of the world from the perspective of the speaker, the impending doom of it all, the hours stretched out ahead in unending fathoms of solitude.

Very melodramatic, I know I know, but that's how it feels – and that's just going from the title of this track by Muhrochka. It's difficult to get much information about this guy, but we can abduce that he's from Russia somewhere, thanks to a link (albeit not working) to a profile on VK, which is basically Russia's Facebook. 'Tears that led to our end' is eight months old but it's of no consequence: the track sounds how it sounds regardless of time.

So what does it actually sound like? It's chiptuney, that's for sure – "fakebit" as it's been tagged. To a flailing set of hi-hats, marshy snares and pulsing kicks, a muffled tide of droning, damaged synth sounds judders in a fuzzy whirlwind: an immediate landscape of hardy metallic greyscale, dark teal waves cresting and crashing in a storm of static. Decaying clusters of bleeps play fluid notes over the top, alternating with sparse and plaintive booping sounds soaring in the bright murk of it all, like a brave face in the wake of anguish.

Melancholy, gloomy, introspective – these words would all fit Muhrochka's song, but there's something other than that, something vital about the track, something alive and beating at its core. Though it spins a sad orbit in your mind, this song is by no means downbeat – as much as it charts an unchangeable series of events, it also serves as a record of courageous acceptance, an illustration of hope.



Muhrochka Social Media Presence ☟
YouTubeLast.fm Bandcamp


Monday, 14 October 2013

99LETTERS MACHINE

Here's something noisy. Cause, you know, sometimes you need something noisy and boisterous to purge your mind of those tiniest of feelings that can really do a number on your mood, like small occurrences that can - albeit irrationally - ruin a perfectly good day. So something that can knock some sense into you is a good thing. Music can do the job of that proverbial "knock", though, cause we don't wanna get too violent with our good selves do we? No.

So here is 'Machine' by 99LETTERS - an Osaka-based DJ and producer who spends his time between Japan and France, real name Takahiro Kinoshita (or just Taka). According to his SoundCloud page, he's made music since 1998, beginning the process using a Gameboy for its sounds. But everything evolves, does it not? And now what supposedly began as chiptune style stuff has grown into some pretty hectic dance music with more than a little nod to the industrial side of techno. That, at least, is what I hear in 'Machine', which is 99LETTERS' latest single & offering to the ears of the world.

The song, aptly enough, starts with the sound of some machine or mechanical process - the perfect little intro to what is a relentless grinding of buzz-saw bitcrushed bleeps, a shower of rapid-fire sparks of distortion. That is underpinned with a beat that at first combines well-rounded kick with almost-out-of-time hi-hat flourishes, later extending to the sheer fizz of open hi-hats alternating with a fat, whip-like snare. It grows with intensity after a break that pummels you with ear-crunching low-low synth like digital gravel or the spirit of chiptune awakened through a séance with a blender as the medium. Or something. Indeed, the Taka himself says that part of this song was created by "some sampling with my gameboy."

It's lively and does not pull any punches, laying itself out from the start as a track fully intended to get the blood racing. More of that crunchy bass appears at the end, until the track fades out but whether or not this is because the SoundCloud stream is promotional, or if it is actually intended, I don't know. In any case, it will be out soon (???) on Japanese dance music label, House Studio-R.

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Listen to 99LETTERS on Soundcloud
Hear more 99LETTERS on Myspace
Visit 99LETTERS official site
Follow 99LETTERS on Twitter
Check 99LETTERS on Tumblr
Watch 99LETTERS on YouTube

Tuesday, 21 May 2013

DAISUKE TANABE INTERVIEW

Mr Daisuke Tanabe, everybody. I have been a fan of this guy for a couple of years now, ever since I stumbled upon some of his old stuff on Spotify I was hooked by his sound. It sometimes sounds like a computer glitching to a hip hop beat, sometimes sounds like a hip hop song painted in a circuit board pattern.

I wrote about a couple of his songs quite a long time ago, 'Cuculus Canorum' (which is no longer available sadly) and 'Ghost', both of which display his glitch-trip-hop style very well indeed. It's the experimental sound, and the resulting pioneering spirit of having an adventure with music that comes through in his songs, which is very enjoyable indeed. He is also one half of the very cool Kidsuke along with Kidkanevil (who answered these same questions two weeks ago).

And here are Daisuke's answers to my lazy interview...


Who are you? Where are you from? What do you do?
My name is Daisuke Tanabe and I'm making music.

Why did you decide to start creating music?
I was trying to make some sound with old keyboad when I was a kid and it was fun. And I'm still doing it.

How would you describe your sound? What makes you and your style stand out?
Can't explain. Too much thinking on this question.

Is there a perfect time and place for listening to your music?
Whenever you want is the perfect timing.

What inspires you most when writing a song?
Good things to bad things. Everything around me.

What is your most memorable musical experience?
To travel around and meet interesting people is the best thing.

What are your favourite three songs at the moment?
I just got Nina Simone record from recycle shop last week and it was a great album.

Who do you most admire in the music world?
Can't pick one. Everyone is doing their own thing and it's a great thing about making music.

In your opinion, what is the future of music?
...is what people will be?

What's the future of your music - what do you hope to do next?
Cannot tell my future. I don't plan anything at all. But I will make music.

What, aside from music, is most important to you?
I grew up near nature. Nature is very important for me.


Short and sweet. What's the saying? Still waters run deep? Does that apply here? I don't know. Maybe it does. You could say that his answers reflect simple-yet-effective minimalism that is the building blocks for many of his songs - you could also say that his brevity is yet more evidence (along with his musical style) of someone who won't be reigned in by any conventions. Not least my questions! But despite this, you can see that he is an honest person: he certainly doesn't mince his words.

There will be more music from this guy, thankfully. Alongside the Kidsuke stuff (which was confirmed by Kidkanevil in his interview), which Daisuke obviously enjoyed as he said "London is my second home", he also told me that he is "making a new album (finally)" which will be out "hopefully early next year". Looking forward to it! ありがとう!

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Like Daisuke Tanabe on Facebook
Listen to Daisuke Tanabe on Soundcloud
Follow Daisuke Tanabe on Twitter

Friday, 10 May 2013

BOTTLESMOKER BOREDOM AND FREEDOM

Here's something new. This is a great fresh sound that hooked me instantly like an enchanted I-don't-know-what - there's just a certain vibe going on in this song that makes it utterly wonderful and a true joy to listen to. Yes yes yes. This is 'Boredom and Freedom' by a duo from Bandung, Indonesia, who go by the name of Bottlesmoker. But in real life they are called Anggung Kuy Kay (Angkuy) and Ryan Nobie Adzani; together they have been making music since 2005 and are famed for having paved the way for themselves with a completely DIY approach to music. Making use of things as diverse as old mobile phones, xylophones, Nintendo DSs - and through circuit-bending to literally create their own instruments - the pair made more than a few waves on Indonesia's music scene, then-dominated by hard up-tempo house and techno. Not positive waves, mind you. Seriously. Their music, in fact, "wasn’t permitted to play in local radios because of the instrumental concept" - major wtf.

Enter: The Internet. And like some 'it was all a dream' ending, things turned out very well for Angkuy and Nobie. They released their first album via Myspace in 2006 and since then have seen quite a following grow around them, gaining the attention of several record labels along the way. Fast forward to now and they are generally accepted in Indonesia, which is great - but I've just realised I can't really do their story, as it were, justice. So go read about them here.

Anyway, Bottlesmoker have just released (like two days ago) a new album entitled Hypnagogic that you can download for free. Yes for free. It's part of their creative-commons-what's-yours-is-ours-let's-spread-good-music-everywhere attitude towards, um, music. Head on over to dystopiaq, who is the netlabel releasing this new record. Why aren't I talking about the whole album? Why am I just talking about one song? Because I'm just downloading it myself actually. I need to write about this one song first. Yep - 'Boredom and Freedom' will give you more than enough of an idea of what to expect: amazingness. Listen.

Beginning as I suppose a piece of music that evokes boredom - not because it actually sounds boring, far from it; it perfectly provides atmosphere of boredom with ambient drones, echoing 8bit bleeps and a slow lethargic beat. Soon we're going up-tempo, blasted into a euphoric playground of sounds, the preparation of a colourful rocket becoming airborne and exploring the sky: freedom. The bubbling instruments blur and soar past one another, taking your ears to a very happy place for a few minutes. Melodic, experimental, almost videogame in its fun nature, the sound of Bottlesmoker is nearly as amazing and feel-good as the story of Angkuy and Nobie's journey from rejection to pioneers of and inspiration for independent music in Asia itself.

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Like Bottlesmoker on Facebook
Listen to Bottlesmoker on Soundcloud
Hear more Bottlesmoker on Myspace
Visit Bottlesmoker's official site
Follow Bottlesmoker on Twitter
Check Bottlesmoker on Tumblr

Wednesday, 1 May 2013

CRYSTAL HARU NO UMI (OCEAN IN SPRING) [FREE DOWNLOAD]

I really like this song. But it's a shame because I always keep finding these songs that are months, even years old - this one is like a year old as it is. But then I think, "What does it really matter?"

And as I keep saying, if it's the first time you've heard it, it's new. Like, I don't think I ever heard Jimi Hendrix's 'All Along The Watchtower' till I was 18 - and what? I'm still alive. No lightning bolt has hit me. No gods are angry with me... I think. And so it is with this lovely song from Japanese electro trio CRYSTAL called 'Haru no Umi' ('Ocean in Spring') - oldish tune, but hey it's new alright.

How I found these guys was as simple as Teki Latex mentioning them on Twitter, just offhand. Then I discover that that they are actually the new signings to his label, Sound Pellegrino. But yeah this is all blah blah, let's listen to the song.

From the rippling and totally chilled intro, it's a glorious blend of chiptune-style music - the kind of thing you'd find on the title screen of an old but obviously totally cool videogame - of Japanese style music (because I can hear in there that the melody keeps to a Japanese musical scale and whatnot), and also of electro house music. Ok, 'electro house music' is a rather generic term, but I get this mainly from the totally in-yo-face beat: wide hammering snares and pulsing kick, with handclaps added for good measure. Like a zingy cocktail, people may look at you strangely for ordering it, but boy-oh-boy is it satisfying.

EDIT: Ok, so Ryota from CRYSTAL told me that it's their own rendition of a traditional Japanese song played around New Year called, likewise, 'Haru no Umi'. "The song is originally by Michio Miyagi and composed in 1929," he said. "And it is well known in Japan. While New Year holiday, you can hear the song in every restaurant and shopping mall in Japan :)" - fun fact! And you should listen to the rather stunning original.

Catch my drift on this, or not? I really like it. I don't know where this fits into the grand scheme of things when it comes to CRYSTAL's "official" releases. Maybe this isn't even by them. Maybe it's all a big joke. Well, ha-ha if so. And if not, then I am glad to have found it because it shows off their skills quite nicely; a great ear for dynamism within a song, composition and for the sheer good-humoured nature of having fun with synths. The base of all good electronic songs I'd say, no?

It's quirky, different, and comes with enough bite to warrant multiple listenings (and you can download it for freeee). In any case, this is more than enough for me to listen to on repeat until their first EP on Sound Pellegrino, called Get It, comes out on 20th May!

You'll find a more stripped-down, chiptune version of this song if you mosey on over to CRYSTAL's Geocities page - old-school.

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Like CRYSTAL on Facebook
Listen to CRYSTAL on Soundcloud
Hear more CRYSTAL on Myspace
Follow CRYSTAL on Twitter
Check CRYSTAL's Geocities page

Monday, 24 October 2011

DAISUKE TANABE GHOST & CUCULUS CANORUS

Always up for something new; here is something new. For me anyway. For you perhaps not. If it is new, all the better. These are the lovely jazztronic glitchive triphopular sounds of Japanese producer, Daisuke Tanabe. Hailing from Chiba with an art degree and a pretty clear vision of the sound he would be crafting, Daisuke Tanabe has been going for a while, living and working in London for a while before settling back in Japan - Tokyo to be exact - to make beautiful beautiful music. He comes from a background working especially in the techno and breakbeat genre, explaining why his forays into the now with music taking elements of jazz, hiphop, folk and electronica have that hard dancey edge. You start with something, you can't get away from it. But in Daisuke's case, it doesn't seem to be a problem whatsoever.

Let's start with the irreverently chilled 'Ghost' (below). It's a handsome shard of a song, containing all the parts of Four Tet glitchdom you've ever loved. This edgy throwing out and pulling back of sounds, as if constantly casting out a line, as in fishing line - the fluidity of the song and the nearly wind-shook electro bells running through give a totally nature-inspired feel to the sound.

Add this with some cute major scale synth sounds and you have yourself a pretty trippy number with a slow nearly-disappeared beat. To beef the song up, he adds some thin cymbals to crash lightly over everything, as the ongoing ringing clacking twisting ghost beat grasshoppers staccato to the end.



See what I mean?

But you get something a little different with the much more offbeat trip-hop tripstyles of the jazz-electro-glitchfunk of 'Cuculus Canorus' (below). It starts with a totally stripped down beat, bitcrushed moderately to give it an 8bit feel in all its swagger-inducing glory. Here, everything gets a bit loungey, though with a killer clean bass foundation to stop you the chill from being just pure lounge and pure sit back. Again, we have a near-trademark cutesy melody in some high-pitched synth blips, and a breakdown featuring open-hi-hat sounds. Nothing wrong with sticking to your guns.



That SUB BASS at the end! Shudderingly ice cold.

So that is Daisuke Tanabe - no doubt you'll hear more from him one day. Hopefully he will be gracing the world with some new stuff very soon. But at the moment, there's so much on his SoundCloud that we're not exactly wanting. I urge you to listen to this man's creations whenever you feel like you need to. At work, walking places, or during an afternoon's worth of chill.

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Please listen to more Daisuke Tanabe on his SoundCloud
• And here is his profile at Discogs
• But you may be more interested in following him on Twitter
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