Showing posts with label Streets of Rage. Show all posts
Showing posts with label Streets of Rage. Show all posts

Monday, 27 November 2017

🐣 DOWNSTATE — HOW TO FIX AN IBM FAX MACHINE INSTRUCTIONAL GUIDE 1996

This one is a scenic soundscape, a canvas painted with old tools, vintage equipment employed in the creation of something new and something beautiful, something that summons an elsewhere. In the description of the track on SoundCloud musicmaker and creator of this particular track – the descriptively titled 'how to fix an IBM fax machine instructional guide 1996' – downstate wrote: "I made this with the drum sounds from a dying roland jv30 and the korg M1 digital synthesizer." At points it's like breakcore made with an old drum machine, which in fact might be exactly what it is, with the percussive clacks and metallic zings zipping and trilling with glitch intensity and wheezing retro quality.

There is that newness to it, painted with old brushes and old paint. But then there is this golden-age sound to it, and it probably has a lot to do with the warmth of this, the analogue warmth in the thick chords that bubble in their slow singular refrains, as much as it has to do with the quite literally gleaming melodies that ache and twinkle zither-like above. And in this classic sound is perhaps an inherent leaning towards cinematic, scene-setting, VGM-style (thinking Earthbound, Streets of Rage, for instance), the expansive, exploratory feel of it. downstate also mentions that they probably "could have cut the hiss from the broken keyboard but i like it sounding like shit its authentic." But that hiss, that decayed grey noise hovering throughout, does indeed add to it, does add authenticity, gives it the swathing static of ages gone by as a backdrop.




πŸ“ 
Downstate Internet Presence ☟
facebooksoundcloudbandcamptraktrain


Tuesday, 22 September 2015

BUDDHAHOUSE – PUBLIC ENEMY

Ready to go on a journey of jostling energy, drink a cup of urgency pressed and bottled in the chilly Japanese city of Sapporo, elbow your way into some space on the dancefloor and buss out the hardiest and most robust of your two-stepping prowess? Because that's what you're gonna get with 'Public Enemy' by BUDDHAHOUSE.

I've already mentioned the city, but yes, BUDDHAHOUSE is a self-professed "DJ, beatmaker" from Sapporo, which is on the "wild frontier" island of Hokkaido, Japan. And this track, like I mentioned, is a wonder of energy and urgency, of no-nonsense, no-frills, wild dance-only music.

Dissect it and you'll find – within a dynamic ebb and flow of drops and build-ups – its punchy punchy kicks, its marching snare drums urging you abrasively into rowdy dancefloor formation, rolling toms adding warlike pugilistic flavour, jangling jingling scathing hi-hat noises crashing together like a box sharpened swords going down a slide, its cutting synth chord pattern sweeping over the bustling bang of the beat. Shuddering galloping aggressive house with retro ornamentation; imagine someone breakdancing to this in the snow at the side of a road as confused cars slow down to watch.

Two great parts: at 2:53, a turntablist record scratch bookends a slice of slow amen beat bustle, before the shout of "Somebody in the house say 'yeah!'", which is sampled from Public Enemy's 'Caught, Can We Get A Witness?' and thus giving BUDDHAHOUSE's track its name.

And from 4:28 onwards, where there's this tiny rising-and-falling bleepy melody that really really reminded me of the tiny bleepy melody in the breakdown bit of the theme for Stage 2 from Streets of Rage.




BUDDHAHOUSE Social Media Presence ☟
SoundCloudblogTwitter


Monday, 21 October 2013

STRANGEHEAD γ„·γ„Ήγ…Šγ…… (DREAM CHASER) [FREE DOWNLOAD]

For ease I am not going to be dealing with the Korean characters, although here is a fun fact: it's called Hangul and instead of being written straightforwardly, each word is a 'block' of these little characters. Isn't that fun? Someone should create some blocky typography of English in this way. It'd look nice I think. What am I saying? Who cares. The Hangul here - γ„·γ„Ήγ…Šγ…… - if you want to know, is like an acronym or abbreviation, cause it's in letter and not word form, and says: d r ch s. DRCHS - a truncated form of Dreamchase(r)? I guess.

Anyway, in the depths of the night I found this song and I enjoyed it a lot so I am writing about it right now. It's probably really bad for LA trackmaker Strangehead because I'm writing about this in a not very good mood so I don't think I'll do the song as much justice as I normally would, however I do hope that you - whoever is reading, skimming, or ignoring this writing right now - enjoy the song no matter what gibberish I blather, what garbage words I tip-tap into this word box right here. Pls enjoy it. Let's call it 'Dream Chaser'.

Caught up as I was in the 80s synth dreamscapes offered by people's musical reaction to the film Drive and its College & Kavinsky-dominated soundtrack, the love of this type of music has never left me so the opening to 'Dream Chaser' is like a sudden step into an alternate world populated by electronic beauty and the tough undertones featured in games like Streets of Rage. However, this song is the kind of thing you'd hear once you've cleaned up the city in that game, don't you think? It begins as a foray into dubstep tinged by bleeping arpeggios and a smooth lead synth heralding good news.

Claps lead up to a lovely winding build-up awash with freestyle beats, snares roll and hi-hats buzz with insectoid surgicality, the second part of this song being marked by the fun vocal sample of "Readyyy... Go!". It's a plunge pool of low melodies bopping over wide Sonic-inspired chords, clean and smooth and delicious. A second "take-off" at like 1:38 sends us into fantastically happy world, where house piano chords stab and vox synth provides simplistic melodies (sounding like a K.K. Slider song from Animal Crossing). More dynamic changes - strings join the show for drama - claps in a frezy. Then everything suddenly fades out leaving you with candy-popping soft synth mixed with a pop song sample from where I don't know.

How nice was that? And with all the videogame references I've made it's clear that, whether intentionally or not, the often underrated, earworming videogame sounds have made their influence known. With the song levelling-up its atmosphere of fun and magic, the title seems very apt indeed.

- - - - - - - - - - - - - - - - - - - -
Like Strangehead on Facebook
Listen to Strangehead on Soundcloud
Follow Strangehead on Twitter