Review| barbeque- pizza lord is sleepy

Chiptune has a tendency to excel on a higher level when it ceases to be defined by its genre boundaries and becomes something other than ‘chip’. minusbaby’s ‘Bias’ is a catalogue of Latin-heavy house, C-Jeff’s ‘Preschtale’ is a progressive jazz rock epic, and barbeque’s ‘pizza lord is sleepy’ is a trip hop/IDM behemoth; they all just happen to be written in the chiptune medium.

barbeque’s sophomore effort is the follow up to last August’s self-titled, and it’s a different beast altogether. Where the debut hit with noise and discomfort, ‘pizza lord is sleepy’ heals with liquid flow and widely accessible, tightly wound beats spat out on the Piggy tracker. Cuts like ‘2oz’ never feel static for a second, constantly moving with sinuous grace, whilst ‘pelicans’ contains a lucidly slow jam with a huge hook and some stellar beats to back it. The beats, in fact, are some of the strongest around. ‘brain’ uses some hard hitting syncopation, ‘orange’ moves gracefully from trip hop beats to industrial tinged breaks and ‘skitchin’ spits KODEK sounding swagger.

The actual music itself is great too, though you wouldn’t expect such a coating of all-consuming creepiness from an album titled ‘pizza lord is sleepy’. Not many releases in chiptune lend themselves to discomfort so willingly. ‘mellowmouth’s dissonant piano and the disorientating melodies of ‘brain’, not to mention the countless vocal and noise samples throughout, all add to the sense of unease. This vibe doesn’t relent until the anomaly and oddly 80s sounding album closer ‘doubleheader’, but its upbeat melodies find a good home as a climax.

There are a few missteps though. Opener ‘gruff’ is a minute too long for what it ends up delivering (i.e., not much), ‘vvv^s’ is simply of inferior quality to the rest of the release and ‘holywaterjug’ has moments of greatness, but the forced sounding dip into breaks midway through results in some weak melodies.

That being said, the experience garnered from ‘pizza lord is sleepy’ is overwhelmingly positive. The whole release thrives on repetition, but it’s a repetition that sounds meticulously controlled and precise. Every nuance sounds specifically placed and the aura of anxiety so perfectly crafted it’s hard not to get lost in the unrelenting barrage. Sounding more influenced by 90s downtempo than Nulsleep or Bit Shifter, if you like your chiptune vibrantly expressive and immersive, I could not recommend better.  

Favourite track: orange

Get the whole album to stream or download for free here.

Tracklist:

1. gruff

2. mellowmouth

3. orange

4. 2oz

5. pelicans

6. vvv^s

7. holywaterjug

8. brain

9. skitchin'

10. doubleheader

Review| Xetryz- Overflowing Emotions

The speed at which electronic music can transition from composition to release is unparalleled. As a result, new composers often fall into the trap of releasing too much, too fast, and with too little attention paid to detail. Xetryz’s most recent release, ‘Overflowing Emotions’, is also his third since February of this year, and suffers from these afflictions considerably.

Mixing trance composition, house and chiptune together, Xetryz has managed to compose some substantial tunes, but tunes which are ultimately let down by their production. Nowhere is this more obvious than on the album opener, ‘On A Journey’, where the hooky and hugely layered summer-tinged motif is drowned out over poorly mixed counter-melodies. Elsewhere, prominent melody phrases obscure ‘Telling A Story’s seapunk vibes and the climactic moments in ‘Uplifting Spirits’ sound messy and lifeless.

Other parts of the release also sound rushed; some of composition, like the complete halt to momentum in the middle of ‘On A Journey’ or the grating repetition in ‘Telling A Story’ and ‘Uplifting Spirits’, sounds slapdash and, contrary to the album’s title, superficially void of emotion.

There are good points though. The instrument choices on the whole are great, and along with the melodies they create a summery vein which runs throughout the release. The trancechip euphoria of ‘On A Journey’ is definitely the releases’ highlight, and ‘Telling A Story’ has some great seapunk melodies hidden behind its garish production.

Overall, the album has some great melodies, but their presentation musically tends to dampen their effect. Whilst moments hit home, mostly in the first half of the release, other parts stutter around helplessly, hiding the pearls underneath unfinished and rushed production. ‘Overflowing Emotions’ is a promising, but ultimately flawed piece of work. 

Favourite track: On A Journey

Grab the whole release here.

Tracklist:

1. On A Journey

2. Telling A Story

3. Uplifting Spirits 

Week #20| el Musho- 0xDWARF

Week 20, and we're revisiting the Nordic people for another slice of excellence. This week it's el Musho providing the track, so enjoy!  Grab the track here. 

WT: How did you first come into contact with the chiptune scene?

El Musho: When I was eleven or twelve I got a shareware CD with modplug tracker on it. It took me some time to learn how to use it but at thirteen I was spitting out midi-instrumented tracks at a steady pace. A while later I learned that the music from my favourite games (jazz jackrabbit and unreal tournament) were actually XM modules and a lifelong spree of stealing samples began.

In 2011 me and a friend decided to buy Gameboys to further progress in the chiptune scene, I was bored with milkytracker and thought that a real sound chip might spice things up (it did).

WT: You also work under the moniker ‘Six Eyed Cat Abyss’, could you tell us a bit about that please?

EM: Well Six Eyed is more of an electronica project; it’s highly experimental and spans many genres... I use my voice there, as well any instruments I have laying around - and synths, of course. 

I live in a forest and a lot of songs take place here, among trees and moss and rain and dirt. When my Gameboy tunes tend to be happier and upbeat, six eyed cat abyss is slow and sombre. More longing in this kind of music.

WT: What’s the chiptune scene like in Sweden from your point of view?

EM: I don’t live in a major city and I don’t travel much, so I haven't been to many shows. Locally it’s kinda dull; my town is occupied by metalheads. It seems to be a completely other matter in the three biggest cities though, lots of interesting people and projects!

We also have a massive backlog of great artists/music from the demoscene, especially from the Amiga days.

WT: Could you walk us through the favourites of your past releases and what went into creating them?

EM: Well there's the "major" release, MEOW (said the traveller) which is a full-length Gameboy album from 2012? 2011? With some great (and some not so great) tunes on it. It wasn’t exactly a planned effort but rather just Some Songs I Happened To Make While Learning LSDJ Magic. They are kind of happy; I like the eurobeat-influenced demoscene style so it probably sounds a little like that.

Then there's one called WHY? which is a bunch of the modplug tracker modules I made when I was between thirteen and fifteen, and they’re really HORRIBLE but I released them yesteryear anyway as a joke.

My favourite album of mine, though, is not released yet but it’s all done and finished, just waiting for me to actually get my shit together and put it out there!

WT: How would you say influence you the most musically?

EM: Oh, that’s probably extremely many! And I tend to be unable to see whom inspired what until after it’s all done and gone.... but if it could only be one I’d say it’s a dude called BZL, he has some really funky tunes all right!

WT: Could you tell us a bit about what went into your WeeklyTreat entry?

EM: This is a Gameboy doing some groovy things, I like making happy chiptunes. Also an approach vie experimented some is adding some more instruments like guitar or kazoo, so there's some of that too.

WT: What are your future plans for ‘el Musho’?

EM: I want to make Musho a more live-friendly act, for now there’s awkward loading pauses between songs because I only have one flashcart :( I have an extra Gameboy but it "needs" prosound and backlight... and another cart.
But mostly I want to mix it more with regular instruments, I can almost play guitar nowadays, there’s melodica, kazoo, piano, etc - and my sister plays fiddle and wants to help, so it’s very possible it may turn out a 2-player "band"! We've made some tunes already and they’re great!

Review| b4by f4c3- waVes

Riding the chipthrash wave that seemed to captivate the scene last summer and autumn, b4by f4c3 brings a lower-fi take on the genre with a more Avant-garde approach.  Influenced by chipthrash less from its brutality and more through its melodic loci (if that’s not a paradox), b4by f4c3 continues following that manifesto on his most recent release, ‘waVes’.

Things start out well, with a sample introduction leading into the slowly building lo-fi plod of ‘Insert Into Ears’, which atmospherically sounds oddly reminiscent of The Knife track ‘Stay Out Here’. Album closer ‘Mr.Nelson1934’ follows a similar pattern, evolving like a live jam coated in Acid influences with perfect lo-fi production.

However, elsewhere the EP dips in quality. ‘The Diaz Fiasco’ promises chipthrash mayhem in its introductory tones, but instead we’re given messy noisechip with lacklustre melodies. A lot of the outros on the release feel half-hearted and disorderly, especially in ‘Insert Into Ears’. Also, large amounts of the sampling are hit and miss, for instance ‘Never Nude’ ends with a referential sample of ‘Arrested Development’, and it comes off as nothing but cheesy.

If this were a debut release I’d be more forgiving of the pitfalls, however, being the 11th release on his bandcamp, it’s harder to ignore the faults. The opening sample on ‘Never Nude’ seems to describe the album’s focus, “Let the experiment, begin!”, but the execution isn’t up to scratch. ‘waVes’ doesn’t so much sound like an experimental album deconstructing the noise genre as it does a collection of “the last five songs I wrote” haphazardly slung together.

That feeling of unfocused rashness defines the album as a whole. Whilst chaos is a definitive statement of chipthrash, in the works of shitbird, Optimus Chad and others it sounds deliberate, planned, and precise. However on ‘waVes’ it comes off as inartistic, un-eclectic and aesthetically thin; here chaos is a mirage not a component. If you want a fix of chipthrash, personally I’d check out Datathrash’s bandcamp instead.  

Favourite track: Insert Into Ears

Get the whole album to stream or download here.

Tracklist:

1. You Know What

2. Insert Into Ears

3. The Diaz Fiasco 

4. Never Nude

5. Diabetus

6. Mr.Nelson1934

Review| MrWimmer- Once More Unto The Breach

The relationship between chiptune, guitar and vocals has become more varied in recent years. Artists have been slowly testing the water; Noisewaves blended chip with post-rock, Starpilot offered it post-punk, and chiptune’s most successful chiprock alchemist, The J Arthur Keenes Band, wielded equal measures of reggae and baroque pop. MrWimmer joins his contemporaries with his own concoction; chiptune and indie pop via The National. He’s not new to this; MrWimmer has been releasing music since mid-last year, though this is surely his most definitive statement thus far.

Firstly, I’d recommend tackling ‘Once More Unto The Breach’ with headphones. The production throughout is muddy and the nuances which give this release its character will often be missed on laptop speakers. Saying that, the vocals sound fantastic throughout. The croons in ‘Dreamzzz’ and the title track features some fantastic Jay Tholen-like moments of desperation, and the vocals in ‘I’m Not That Kind of Boy’ add to its pre-Beatles ballad pop atmosphere.

The guitarwork is also fantastic throughout. Unlike some other chiprock out there, (early Gooch, touches of Noisewaves and I Fight Dragon’s entire discography), MrWimmer manages to avoid the common pitfall of using guitars or chiptune elements just for the sake of aesthetic gimmickry,  which often leaves the two fields of live instrumentation and chip output sounding disconnected from each other. These two elements combine, along with the anguishing lyrics, to form a thick atmosphere of unrelenting murk not seen often, if at all, within the chiptune world.

The last of the trifecta, the chiptune elements, are where the problems arise however. Whilst portions work well, for instance, the drifting melodies of ‘A Good Night’s Sleep’ or the stunningly beautiful opening of ‘Possibility’, overall the chiptune elements sound messy and sometimes detract from the hard-won atmosphere. ‘She Closes Her Eyes’ as a whole sounds quite jumbled, moments of ‘Blasted Field’s eastern melodies sound like a forced, desperate grab for variation, and the introductions on a whole are dismal.

However, it does end on a high note. Final track ‘This Is Why We Can’t Have New Things’ is a fantastic piece of composition. It’s the only track on the album to engage instantly, flowing into a chiptune prog pop epic with dizzying heights, before plummeting from its melancholy peak to the bleak desolation atmosphere of previous tracks.

Overall, ‘Once More Unto The Breach’ is ambitious, but often doesn’t quite hit its own targets. The album sounds like a collection of studio outtakes; in fact if segue-way tracks ‘A Good Night’s Sleep’ and ‘Blasted Field’ were extracted the release might have flowed better.  However, with tracks as great as ‘This Is Why…’, the title track and ‘I’m Not That Kind of Boy’, ‘Once More…’ sounds like the album before THE album. The ‘Hello World’ before the ‘Unconditional Acceleration’. The ‘Power Supply’ before the ‘Dawn Metropolis’. Full of promise, uniquely austere and invigorating when it does find its feet, I recommend ‘Once More…’ if only as a prelude to the meteoric rise I’m sure is on MrWimmer’s horizon.

Favourite track: This Is Why We Can't Have New Things

Get the full album to download or stream here.

Tracklist:

1. She Closes Her Eyes

2. A Good Night's Sleep

3. Dreamzzz

4. I'm Not That Kind of Boy

5. October

6. Possibility

7. Blasted Field

8. Once More Unto The Breach

9. This Is Why We Can't Have New Things

Review| Origami Repetika- Little Bumble

Every once in a while, whilst sifting through the expanses of the chiptune world, you find a gem that reaffirms your belief in the genre’s scope and power. ‘Little Bumble’ was one of those releases. Sent to me in a PM by a member of chipmusic.org under the name of SJSFC, I opened up the link and explored. I was met with a set of conflicting notions; it was hosted by FMA, a curated and often high quality host of varying musical styles. However, on the other hand, the artwork showed a badly drawn bumble bee. The release was a mere four tracks and a blurb stated it “might appeal to those with young children”, painting it to be a collection of low-quality and embarrassingly crude takes on chiptune.

Whatever my preconceptions might have been, what I found inside pleasantly shocked. The tones and atmospheres can only be described as elegant;  I’d only ever experienced tones so engrossing before in small snippets of ant1 and Zan-Zan-Zawa-Veia’s work, and the level of emotion pushed around these four short tracks rivalled that of peeR’s definitive release ‘Dances’. The EP follows a freeform progressive jazz flow, giving it a sound that wouldn’t be overly amiss appearing on Ubiktune. Countermelodies constantly shift and harmonies consistently strike an internal chord; in fact the melodies are sometimes touchingly beautiful.

Some of background glissandos in ‘4c iced tea’ are truly stunning, the end section of ‘tuffet’ makes inspiringly subtle use of droning pads, soft triangle bass and piano, whilst the harmonies and horns in ‘mighty lilbumble bee’ are remarkable. Almost inaudible sample work in the background gives the release a thick layering and the constant shift of thematic attention gives it huge breadth. Whilst not every note ‘strikes’ with you, for instance the opening 20 seconds of ‘tuffet’ are so dissonant it breaks the album’s pace slightly, on the whole every second sounds precise and purposeful.

If you were to follow FMA’s advice and give this to small children, the complexity within would be completely lost on them, however, the gorgeous tones and warm square sounds would undoubtedly find a willing audience. And that, in a crux, is the genius of this release; complexity without sacrificing emotion. If you’re disillusioned with the quality of most chipmusic output today, this will surely reignite your passion. A must download. 

Favourite track: mighty lilbumble bee

Grab the full release here. 

Tracklist:

1. kind gentle beautiful person

2. 4c iced tea

3. tuffet

4. mighty lilbumble bee

Head over to his site for more greatness!

Week #19| Love Through Cannibalism- Beach Glitch

Week 19... And we visit Spain for a summer treat from our own resident artist, Love Through Cannibalism! The track is here, and below is probably the trippiest interview yet...

WT: To begin with, what was your first contact with the chiptune world?

Love Through Cannibalism: Paying attention to my favourite Gameboy game from my childhood: Kirby's Dream Land. I noticed how some parts of the soundtrack stopped playing when other sound effects were playing, same thing for Pokémon OST. I didn't know about channels and that kind of things! (Love Through Cannibalism laughs) I was around 6... (Love Through Cannibalism stares at the horizon with a nostalgic feel in his aura).

Then I got the Gameboy Camera, and I toyed around with Trippy-H for a bit. I was totally unaware of chiptune music or music making in general, I kind of just pressed buttons. But many years later, when I was 19, I gained my interest back while listening to iamerror randomly, then I was aware of the interesting point of mixing chiptune sounds with other genres.

WT: Was that interest in mixing chiptune sounds with other genres what prompted the very experimental breakbeat inspired sounds of your earlier work?

LTC: Definitely! What really interested me was the contrast that chiptune generates when you put it "out of context". To me, 8bit generated sounds were pure cute, innocent nostalgic sounds from my childhood, and I’m deeply interested in "decontextualization", so just mixing it with other genres was really appealing to me. (Love Through Cannibalism takes out a framed Saskrotch picture and puts it on the table)

I first started mixing my bleep and bloops with distorted guitars and shitty drums, but probably after too much listening to Venetian Snares / Saskrotch I became interested by jungle sounds and breakcore (drum and bass, etc.) Saskrotch pretty much did the kind of music that I was hoping for, but as much as I love him, something else was missing for my personal purpose and understanding of "chipbreak" (Chiptune mixed with breakcore / drum and bass / etc). To sum up: I was too much under the influence of artists that did that mixing of genres, and I took that as reference for my earlier work. As much as there was an experimentation goal on it, my earlier albums are more of technical exercises to get comfortable with a genre and slowly begin to craft my own sound.

I'm still experimenting and abusing the amen break, still looking for that missing thing, to achieve the sound that I’d love to hear. I pretty much do music for that, just music that I’d like to hear. There is not much chipbreak out there, why not make more? (Love Through Cannibalism pulls out a roll of bills and starts counting money)

WT: You’ve also formed a connection with the seapunk community through some of your releases. Could you tell us a bit about both this and your own label, Wavwave?

LTC: At some point I was tired of my "unhappy" or ultra-nostalgic sound (All my melodies ended up being quite "sad" without even trying) and decided to create a release strictly related to summer, warmness and tropical happiness.

While I was crafting this sunny style, seapunk started to grow up. There are lots of similarities with my electropical music and seapunk music, and I have lots of friends that are really involved with the seapunk world, but I think my latest music is more oriented to summer, while "true seapunk" music is about water, not only the happy beach party atmosphere that I do. So I’m not really seapunk, but it's pretty obvious that I share a connection with the aesthetics that it represents and we have similar ideas in many artistic areas. (Love Through Cannibalism opens a Mountain Dew bottle and drinks from it).

Wayde Harris and I decided to jump onto the seapunk bandwagon (not really to gain popularity, just to support some of the ideas that this culture represents) and create a Netlabel called WAVWAVE (Love Through Cannibalism points to Andrew that he should add a link there and try to make the hyperlink colourful and beautiful). Our only goal was to gather all the chipmusicians interested in tropical feels and sunny music, or at least related to oceans and that shit (Love Through Cannibalism apologizes for using dirty words). We created random GIFs to get tumblr followers, get noticed and help chipwave musicians to reach our website, without much success. We released my music and some Whitely too, but artists are not interested on the label yet. Like I fucking care LOL I’m rich anyways (Love Through Cannibalism starts to show his diamond chains and his Casio VL-1 made of gold to the camera).

WT: You’re WeeklyTreat track is quite different from your usual musical output, could you talk us through how you made it?

LTC: I like to do funny experiments on splits // compilations that are not under my own "released" material. I tried to do different styles on this one but ended up being just pure glitch after all.

This track is pretty different from my usual stuff because it's not as melodic or "nice" as my usual thing, it's pretty much noise and not cool at all. Lots of glitchy high-pitched crunchy kicks, bleep bloops and everything else that's beautiful in this world.

It features glitched LSDJ cuts, my new CASIO SA-10 (Just bought it yesterday) and my usual LxTxCx sounds. After "over-thinking" the track too much I decided to remove lots of unnecessary parts and keep it simple, it's around 2 minutes but I really hope you like it!

I'm planning a new LSDJ release with this kind of glitchy drums, but more dance oriented. (Love Through Cannibalism starts to glitch himself).

WT: Artwork also plays a big part in your involvement within the scene, can you begin by explaining the visual influences behind you work?

LTC: Yes, artwork keeps me busy most days. I don't really know about my visual influences! I take influences from almost everything, not only other visual artists. I usually take influences from music and use that ideas for my artwork, especially from abrasive and psychedelic electronic music, like Animal Collective, Flying Lotus, that kind of stuff.

My main occupation (for the past 4 years) is being a Fine Arts student here in University of Barcelona. I specialized in image developing (photography, video, design, etc). I've been forced to see tons of artist's work there, but nothing related to pixel art or glitch art. That's a good thing, because I always try to apply influences from other fields of art to pixel/glitch art. In fact I tried to solve all the examinations from my career using pixel art! (Love Through Cannibalism laughs). Pixel sculptures, glitchy drawing, using Gameboy camera pictures for an advanced Photography class essay, etc

What I do mainly is pixel art and glitch art, and I’ve been doing artwork for my project and for many other chipmusic artists out there (Cheapshot, Whitely, Holy Konni, PXL-BOT, the list could go on). You can check my portfolio here.

I developed my style and learned about pixel and glitch art just by interest. I always loved that kind of graphics. I must say there are a lot of "contemporary" pixel, nes and glitch artists that do things like me and that inspire me a lot, like NOCARRIER, Party Time! Hexcellent!, Max Capacity, Ralp,  Raquel Meyers, etc. They have more experience like me but I hope to become as good as them soon! (Love Through Cannibalism stands up and points at the sky with his finger, with an epic glow on his eyes).

WT: You’re also the artist for this here project, could you tell us a bit about the creative process behind that and how you thought it up?

LTC: I did a couple NES / Chiptune related hardware mock-ups in the past, and since my bosses Andrew and Alex wanted something like a cartridge I tried my best to create album art that looks like a physical videogame.

The creative process is really simple, I already have a formula for it. Once the main design is done, I only have to arrange the text and do a selective and tasteful pick of colours. Then I use the artist's favourite NES game to create the background of the cover.

I take sprites and screenshots from the NES game and convert the colours to create a 2 colours image that works well with the whole design. Working with pixels is great because you can take pixels from a Gameboy, a NES or any other computer graphics that are based on the pixel system and they mix together very well. I like working with sprites as much as creating pixel art from scratch!

WT: How did your T-Shirt designs come about?

LTC: Same as creating music, I designed the t-shirts that I’d like to wear. I also loved the idea of other people wearing t-shirts with my design on it. I kind of enjoy thinking that someone is doing things, like, living nice experiences while wearing my shirt, and I’m there in some way. (Love Through Cannibalism shows his self-designed t-shirt to the camera).

The only problem is that I don't have the time / the resources to do the t-shirts by myself, so I must use Spreadshirt. Spreadshirt is really great because they provide high quality t-shirts and the design is amazingly printed, they also do the whole shipping process etc, but their prices are kinda high (15 euros per shirt minimum) Then I must choose the price that I want to gain per design, so I must say something like 1 euro to keep the shirt affordable for the people, so I don't really see much money for this and it's kinda for love of the art.

I'll probably increase prices eventually since I’m growing up and have bills to pay so get hurry and pick one for low money because I’m already talking about a partnership with GUCCI and shit will become expensive at the speed of light.

WT: You recently performed live at Low Cycle, could you tell us a bit about this experience and the set-up you used?

LTC: My good friends at Lowtoy are organizing a great chiptune cycle in Barcelona, for local artists and celebrities over the world (they got Je Deviends Dj En 3 Jours, Nordloef, China Toy and many more). They are doing great things for Spanish Chiptune!

The experience was really great! I'm not used at listening to my own music through a powerful audio system, and playing live is always really fun. I need to work on my live performances to add more energy to my stage presence and get some people dancing. For my next live I might do some stupid stuff like a silly dance contest or something like that.

My setup was my girlfriend's laptop + Akai MPD26 (A midi controller to do skrillex things, send glitch shit to the main audio output and play some live drums), my CASIO VL-1 and my CASIO SA-7. Oh and some Gameboy too, going from Ikumi to Trippy-H. I play some melodies and harmony over the main mix!

WT: What is the chiptune scene like in Spain?

LTC: Not as big as in other countries like UK, Japan or USA, but still growing and healthy. I'm part of a collective named Cultura Chip we are one of the most active chiptune collectives in Spain, we do lots of stuff, and we have some crazy talent flowing around there. We are also open to Latin countries and pretty much everyone that speaks Spanish.

We also have Lowtoy, 303bcn, Club Sprite, AAMSX, Sebitya, Familiar and a few more!

But regular people here don't know much about chiptune or anything related to the scene, still pretty unknown but we are working on it, one festival at a time! 

I'll probably create a new Spanish collective named Amigos Del Supermario and we'll discuss super mario related stuff the most part of the day because super mario is one of the best chiptune DJ's and we must pay respect to him he pretty much created the 8bit as a concept. (Love Through Cannibalism starts playing a Super Mario Bros flash game in his PSP).

WT: In terms of both art and music, what have you got planned for the future of Love Through Cannibalism?

LTC: I started this project while I was a teenager, but I grew up and now I have a life and bills to pay, so I’ll probably end up focusing more on artwork than music, because I already have commissions for artwork and if I apply myself I can end up having a job related to pixel graphics making, and that would make me incredibly happy! (Love Through Cannibalism shows a printed screenshot of his PayPal account, showing to the camera how rich he is).

However I don't plan on quitting music or anything like that. I feel like I abused the amen break and the "moombahton" beat enough, so maybe I start doing different styles of music now, but keeping the chiptune elements and my current flavours. At least for a while I would love to do more experiments and glitchy music ;D I also would like to experiment more with legit chip sounds, and don't force myself to use DAW's and do a more "live" oriented kind of music.

By the way my name is Víctor.