Thomas Gilmore offers a brief history of chipmusic, whose practitioners "make complex music in a minimal way."
The more popular tools of the chipmusic (or chiptune, or 8bit) trade were made from the early '80s to the early '90s, when the most efficient way to add sound to a video game or computing experience was with a sound chip. These sound chips are limited, there are no two ways about that. Usually they're restricted to a small number of voices (sounds that can be played at once) and the palette of sounds themselves are set to a handful of presets that the chip is capable of creating. As a result of these limitations, the sounds created by these electronic devices are unmistakably distinctive.
What I love about it is the reminder that it isn't a new thing: music was always written for these devices, and many of them came with consumer-friendly composition software from the outset.
One thing about this history that's not quite right—and many of us in geeky indiedom make the same mistake—is in believing that this stuff is only just "starting to change what is happening on the surface of popular music."
On the contrary, this stuff has been mainstream for a good decade now, and the interesting thing is that all these pixels and bleeps are not just another passing fad. The undercurrents of dependence between nostalgia, avant-garde and mainstream culture obscure the way they've become weirdly, persistently invisible to one another. Derrida probably coined a word for this sort of thing 30 years ago, but I can't hear you looking it up because I'm listening to pseudo-orchestral dance arrangements of classic arcade chiptunes.
The winner of our annual Treasure Island Music Festival haiku ticket contest will see The National, Deadmau5, FKA Twigs, The War On Drugs, Chvrches, Father John Misty, Lower Dens, Jose Gonzalez, and many more artists at our favorite musical extravaganza taking place October 17 and 18 on the San Francisco Bay. As you’ll recall, our […]
My friend Rachel Demy has spent a decade managing tours and doing production for bands like The National, St. Vincent, Death Cab for Cutie, and many others. For all those years, she’s always had a camera around her neck, seizing rare opportunities to capture fleeting moments of art, joy, sadness, and friendship on and off […]
San Francisco’s Swedish American Hall, a beautiful 1907 building on Market Street, has been totally renovated while maintaining its historic detail, and now our friends at Noise Pop are curating a marvelous lineup of intimate performances from some great indie and alt.music artists. Tonight is Milo Greene (video below), tomorrow is Widowspeak, Saturday is Villagers, […]
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