| | chip music | electro
| pico-pico | gameboy | gabber | 8bit | blip-pop |
Under nästan 2 års tid nu har MICRODISKO levererat unika hi-energy-lo-fi-electro
konserter och dansgolv, alltid med basen i chip music...nu den här
gången kan MICRODISKO stolt presentera en live chip-electro lineup
utan motstycke tidigare i Malmö, med några utav världens
absolut främsta artister inom chip music-scenen. ...samt som vanligt
visuals - projektioner, ljus och rök.
NULLSLEEP och BIT
SHIFTER är just nu ute på en turné som de döpt
till INTERNATIONAL CHIPTUNE RESISTANCE - http://resist.8bitpeoples.com
- och som tar dem runt i USA, Europa och Japan. Enda spelningarna i Sverige
är på Microdisko i Malmö och Stockholm.
NULLSLEEP och BIT SHIFTER tillhör genrens föregångare
och stora stjärnor, som har uppmärsammats i skilda tidningar
såsom Wired, Wire, Vogue, XLR8R, Rolling Stone, New York Times,
m fl.
NULLSLEEP and BIT SHIFTER embark on the INTERNATIONAL CHIPTUNE RESISTANCE
World Tour 2006! Equipped solely with Nintendo Game Boys and NES consoles,
this two-man cell operates as a highly dangerous mobile chiptune assault
unit. The familiar beeps, clicks, and tones of obsolete game hardware,
repurposed into arresting laser-guided melodies and low-res, hard-hitting
precision rhythms -- all delivered at high volume from standard-issue
handhelds and home gaming consoles. The machines are small, the sound
is gigantic, the scope is worldwide, the advance is unstoppable. Prepare
your defenses.
GOTO80 är det svenska bidrag som kompletterar
kvällen, och inte på något sätt en svag länk.
Även GOTO80 håller världsklass, svettas ordentligt på
scen, har turnerat ute i Europa, bott ett tag i Australien och det finns
ett sug efter att få över honom till spelningar i både
USA och Japan. GOTO80 valdes till Årets Artist vid Microdisko Chip
Music Awards 2005 i Stockolm. Bejublad konsert på Hultsfredsfestivalen
2003. Till skillnad från NULLSLEEP och BIT SHIFTER, som alltså
främst använder ljudchip från eller i Nintendo-produkter
som instrument, använder sig GOTO80 i sina låtar av Commodre
C-64’ans klassiska sound ....men på ett mycket hårdare
och brutalare sätt än nägonsin var menat. ....GOTO80 plockar
med sig fin 8-bitarsgrafik och kanske att våra amerikanska vänner
gör samma sak.
live:
BIT SHIFTER [new york, usa]
Bit Shifter explores high-energy, low-bit music composed
and performed on the Nintendo Game Boy, in service of a sound both beat-heavy
and melodic. The result is a subversive foray into a distinctive soundset,
all executed on a console misperceived as being technically limited. Tagged
by Rolling Stone as a "Game Boy hero". Debut album Life's A
Bit Shifter released on 555 Recordings, garnering bewildered looks and
rave reviews. He has performed in basements, homes, clubs, museums, once
even a church and soon a boat. A more recent follow-up release in the
Information Chase EP (8bitpeoples). Bit Shifter's music adopts an innocently
familiar soundset, redirecting it into the service of novel and visceral
new idioms, all on a pocket-sized console. The result: giant sounds from
small machines. A startling and innovative step backwards in technology.
Se även www.bitshifter.cc
live:
NULLSLEEP [new york, usa]
Nullsleep uses Game Boys and NES consoles to create conceptually
unique music that blends subversive hardware hacking with powerful melodic
pop. In 1999, together with friend Mike Hanlon from Detroit, he cofounded
the 8bitpeoples: a collective of artists interested in the audio/video
aesthetics of early computers and videogames. In the time since, Nullsleep
has released a number of recordings through 8bitpeoples, his most recent
work focusing on music created with the Nintendo Game Boy and Nintendo
Entertainment System platforms. His constant push for new ways to force
the most out of yesterday's machines and the unparalleled romantic chiptune
intensity embodied in his music have gained him notice worldwide. Whether
thrashing away on a keyboard hooked up to a Game Boy like an electric
guitar or rocking hacked NES cartridges, Nullsleep consistently demonstrates
his passion for pushing the limits of both the hardware and the heart.
Nullsleep är en av New Yorks största Nintendo-fanatiker,
aktiv som hårdvaruhacker, Gameboymusiker och ledare för nätskivbolaget
8bitpeoples. Musikaliskt har han kanske blivit mest känd genom sin
15 minuter långa Depeche Mode-Gameboymegamix. Hans egen musik är
influerad lika mycket av syntpop som inde, melodisk, personlig och varmhjärtat
naiv.
Nedan finns en intervju med NULLSLEEP
Se även www.nullsleep.com
live:
GOTO80 [gbg, swe]
GOTO80 är Anders Carlsson, för närvarande
bosatt i Göteborg, och en av de starkast lysande stjärnorna
inom den samtida C64-musiken. Han kommer sin vana trogen att leverera
varierad chipmusik av världsklass. En gigantisk pixel-explosion av
pop, hiphop, megarave, databröt och .. så vidare! Detta blir
andra gången som GOTO80 spelar i Malmö - den första var
ett bejublat framträdande på Microdisko (eller egentligen Beep-pool,
som klubben hette på den tiden) i okt 2004. Efter att hållit
på och spelat i hela 10 år släpptes förra året
fullängdsdebutalbumet COMMODORE GROOVES på etiketten Rebel
Pet Set. GOTO80 är egentligen ett enmansband, men till denna spelning
(liksom vid en hel del andra konserter) kommer Anders att ha extra förstärkning
på scen av kompisen MATSUMOTO.
Se även www.goto80.com
DJ NEO-O ( ._.)
före...mellan...efter...liveseten spelar
DJ NEO-O ( ._.) en glad, dansant och ibland hård blandning av blip-pop,
chip music, electro, pico-pico, gameboy, gabber, 8bit, casiotone, ....
entré: 60 sek
18 år leg
Tidigare upplagor av MICRODISKO MALMÖ / BEEP-POOL har
erbjudit livekonserter med artisterna: EAT_RABBIT [lyon, france] - SIDABITBALL
[paris, france] - DIN STALKER [berlin/malmö] - 047 [gbg] - DISCO
CALCULI [malmö] - BLASTERHEAD [tokyo, japan] - QUARTA330 [tokyo,
japan] - PAZA [sthlm] - RANDOM [sthlm] - TSR [sthlm] - COVOX [sthlm] -
BOY VS BACTERIA [visby] - GOTO80 [gbg] - ROLEMODEL [sthlm] - SLAGSMÅLSKLUBBEN
[malmö]
Intervju med Nullsleep, maj 2004
Question: Who is Nullsleep?
Answer:
Nullsleep is the name that I adopted in 1999 when I began to track music.
That was during my first year at the Columbia University School of Engineering
and Applied Science, where I spent most of my time skipping classes on
Java programming and database management in order to pursue projects involving
8bit hardware. It was also the year that I co-founded the 8bitpeoples
with Mike Hanlon.
Question: What is 8bitpeoples about?
Answer:
Well, when the group first formed we were basically just a group of guys
with a common love for classic videogames and in particular their style
of music. We were interested in releasing quality music of our own for
free and just having fun. Since then we have matured somewhat, continuing
our devotion to free music, while also creating a research & development
division dedicated to the creation of software and hardware, and the dissemination
of documentation related to our cause.
Question:
I see that you are very connected to things like technology
and videogames. What influence does that have on your music?
Answer:
When I first began making music, I found myself trying to copy the sounds
of early videogame consoles and homecomputers by imposing some form of
limitation on the tunes. For instance, limiting the number of channels
or the types of waveforms. It wasn't long before I found lsdj and started
using the Gameboy to track music, and no longer had to create my own set
of limitations, relying instead on the limitations of the Gameboy hardware.
What is most appealing about it to me is the challenge of working within
these limitations, and pushing them as far as you can. So I guess I would
say that the influence it has on me is to make me strive to always do
as much as possible with as little as possible.
Question:
What would you say about your style of music? Are you
inspired mostly by video games or other music aswell?
Answer:
I take inspiration from lots of different music. In videogame music, I'm
mostly listening to the techniques that others have used in order to get
the most out of the hardware when composing their tunes. When I hear something
that really sounds like it should have been impossible or that i would
have never thought of doing on my own, I'm inspired by that. Outside of
that, I listen to a lot of rock and pop music mainly, such as Depeche
Mode, David Bowie, and The Smiths among others. From this type of music,
I'm mostly interested in the song structures and interesting transitions
between different parts in the song. So I guess when these inspirations
come together I end up making something like chiptune rock. :)
Question: What is your goal with music
and 8bitpeoples?
Answer:
As far as my own music, I just want to keep having fun with it and moving
forward. If I ever feel like its become boring or I'm not doing anything
new, I'll stop... or atleast take a break from it. With the 8bitpeoples,
the answer is mostly the same I think. I just want everyone that is involved
with the group to be having fun first of all. Besides that I hope that
we can continue to mature as a group and do even more outside of just
music. This year I would like to create a division dedicated to art within
the group and also get more people interested in coding involved to help
with the research & development section. In the end, I would like
to realize the 8bitpeoples as a group that is known for constantly pushing
the limits of 8bit hardware in music and art.
Question:
So you don't hope to be a professional game music composer?
Or a chip music rockstar ;)
Answer:
Being a game music composer isn't something that I really aspire to, if
I continue doing what I'm doing now and at some point it leads to that
opportunity then I'll make the decision then. But unfortunately, I'm not
so interested in composing music for the current generation of videogame
consoles, because most of the challenge in working around the limitations
has been eliminated. And as far as being a chip music rockstar, if you've
seen me perform live then you know that I already am one. ;)
Av Malcolm McLaren i tidningen WIRED Issue 11.11 | November
2003
8-BIT PUNK
Malcolm McLaren, the subculture hacker who created the Sex
Pistols, discovers the new underground sound. It's called chip music...
...the results can be explosive. Like when punk rock reclaimed rock and
roll, blowing the doors off the recording industry in the process. Or
when hip hop transformed turntables and records into the instruments of
a revolution. Now it's happening again. In dance clubs across Europe and
America, young people are seizing the automated stuff of their world -
handheld game machines, obsolete computers, anything with a sound chip
- and forging a new kind of folk music for the digital age.
Until recently, I was feeling stifled by the tyranny of the new. New corporate
lifestyles for doing everything well. Too well. iPod this. PowerBook that.
Listening to albums, like Madonna's latest, that were made using Pro Tools
- software that reduces virtually every mixdown effect to a mouse click
- left me with a depressing sense of sameness, like everything on TV.
I had decided to make an album about the "look" of music: the
visual gestalt of youth culture. For me, music has always been a bridge
between art and fashion, the two realms I care about most. It's one of
the most natural expressions of the youthful need for confrontation and
rebellion. Now it was lost in the hearts and minds of a karaoke world.
I couldn't find my place in it.
Then I discovered chip music.
It all began on a freezing winter evening in snow-capped Zurich, Switzerland.
Some friends of mine had a vague relationship with a small-label dude
who caught my attention at a party rattling on about lo-fi. He soon had
me playing phone tag with a clique of "reversible engineers"
working illegally in Stockholm. I didn't know what that meant, but I was
eager to find out.
The quest led me to the outskirts of Paris: Ivry sur Seine, to be exact,
dead south of Chinatown. In that desolate industrial district, I had a
10 pm appointment with two guys named Thierry and Jacques.
The address turned out to be a forbidding, semi-abandoned factory. I couldn't
open the gate, so I waited nervously in the darkness. After a while, a
suspicious, balding youth came out of the building - Jacques. He seemed
to have trouble finding the keys to undo the heavy chains that secured
the premises. Finally, the doors swung open. After a terse greeting, he
led me up a concrete stairway and through dark, labyrinthine corridors
of peeling plaster.
"What's that smell?" I asked, my nostrils assaulted by what
seemed like a hot pot of hairy horse and curry powder. "It's the
Cameroon embassy," he answered, smirking. Jacques, a shy young man
whose teeth were nearly black because of his fear of dentists, explained
that wood carvers, graphic artists, photographers, and hip hop kids from
North Africa worked here. Only half the factory had electricity or heat.
Two flights up, Thierry welcomed us into a dim, tiny room at the far end
of the building. To my surprise, I found myself in an Ali Baba's cave
of outdated studio equipment. The chamber was stuffed floor to ceiling
with hardware from the dawn of the 1980s: dinosaurian Amigas and Ataris
once prized for their sound chips and arcane applications, giant echo
plates, and knob-studded analog synthesizers. In the center was a pair
of dusty turntables, one with a 45-rpm single on its platter. Thierry
put the needle to the groove. I reeled as the record player emitted a
din like screaming dog whistles. It sounded like a video arcade gone mad.
The low light revealed the Frenchman's T-shirt. Emblazoned across his
chest were the words FUCK PRO TOOLS. The phrase described perfectly what
I'd been feeling for months. Like any fashion victim who comes across
a new and stylish idea, I was smitten. Fashion is most easily used as
a disguise - it allows you to be something you're not. It's much more
difficult to use it to express who you are. I understood immediately that
this was no facile fashion statement.
"Who made this record?" I asked. In stark contrast to the silent
Jacques, Thierry - once he started talking - could hardly stop. "Mark
DeNardo from Chicago," he said. This twentysomething Puerto Rican
artist, he told me, is the Velvet Underground of the 21st century, the
next step in the evolution of rock and roll. "This is chip music,"
Thierry continued, "made on an old Game Boy. I don't like hi-fi.
I can't afford hi-fi. To make this music costs only 15 euros. You can
pick up an old Game Boy from the marché aux puces," the Paris
flea market. He presented an outdated Game Boy and, maneuvering his thumbs
on the keys, showed me how to create musical sequences.
Thierry spun another record. "This is Puss," he explained. "He's
from Stockholm. He sings with a girl: 'I'm the master, you are the slave.'
They're the new ABBA!" The album cover featured a simple photo of
a Game Boy, nothing more. I loved it.
The next record was an EP - an extended-play 7-inch
- by a Stockholm artist called Role Model. The last time I had come across
this format was in the 1960s, when I bought my first Rolling Stones record.
Role Model sounded like a videogame fashion show, as though Twiggy were
somehow stuck inside Space Invaders. It was intelligent dance music made
using analog approaches, distinctly human and more individual than simply
switching on a drum machine. The more I listened, the more contagious
it became. The names of emerging artists rolled off Thierry's tongue:
Adlib Sinner Forks, Bit Shifter, Nullsleep, Glomag, The Hardliner, Lo-Bat,
8-bit Construction Set - an entire lost tribe of Game Boy musicians.
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