Chillwave turns 10 years old today. Chillwave is curiously well-known among indieheads as a term but also somewhat misunderstood, maligned, and neglected. In the wake of this anniversary I began writing about it’s origins, it’s run from 2009-2011 and it’s subsequent influence on indie electronic music and indie music overall since.
Part of this plan was to highlight the big four - not three - artists key to it’s sound: Washed Out, Toro Y Moi, Neon Indian and Memory Tapes. In particular I wanted to set forward the case that Dayve Hawk’s run as Weird Tapes/Memory Cassette/Memory Tapes was not only crucial to the genre but arguably encapsulated it the best. I also wanted to flesh out the tangled web of various artists and genres closely related and essential to chillwave emergence instead of the usual focus of the handful of core musicians mentioned above that so many features have relied on. Phillip Sherburne’s 2010 article is a
good example of what I mean by expanding on the list of music related to chillwave. Ian Cohen’s amazing feature on chillwave from June 25 took much of the wind out of the sails of my motivation to write about chillwave, but I nonetheless wrote out an grand overview of sorts which I’ve posted below. It would of been the first part of a series of more detailed and likely less verbose essays broken up in sections: proto-chillwave music before 2009, a section on each of the ‘big four,’ another with notable mentions, and a section about everything since 2011. If you are interested I can write and post these over the next few weeks or months, along with playlists.
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Exactly 10 years ago “chillwave” was established as a genre, coined July 27, 2009 on the infamous blog Hipster Runoff in a quintessentially snarky yet borderline insightful post by Carles. It was a flash-in-the pan moment, albeit a substantive one long enough to sustain itself for over a year, culminating in SXSW showcases and the “summer of chillwave” in 2010. Discussion of chillwave online outlasted the overt participation of it’s core artists: in 2011 Memory Tapes, Toro Y Moi, Washed Out, and Neon Indian effectively bowed out from the genre’s main tropes, each releasing a ‘post-chillwave’ album of sorts as they moved on into their own artistic directions.
Only in hindsight can it be said that chillwave occupies a truly unique existence as a genre, an existence that can not be compared to earlier scenes or movements nor expected of trends to emerge in the years ahead. These musicians were united under a genre they neither embraced nor rejected. There was never a “scene” in any geographical manner, or even in a virtual sense as there has been with vaporwave. It was never as vague or nebulous as the “glo-fi” or “hypnagogic pop” style descriptors that have aptly been applied to artists that have both preceded and succeeded chillwave. In terms of legacy it was neither unfairly dismissed, despite its influence, the way witch-house was, nor is it a all-but-forgotten microgenre footnote in late 00s / early 10s history the way seapunk or wonky are.
It can be argued that at its core chillwave is a contrived label, a means of distinguishing it’s artists from it’s underground cousins glo-fi and hypnagogic pop and likewise arbitrarily categorizing specific musicians who fall under more comprehensive genres of synthpop, and electronic, and even broader styles of “dream pop” or “indie electronic.” It's no coincidence that an earnest effort by Pitchfork to dedicate a website, Altered Zones, to the varied yet broadly related minutiae of such underground artists and labels, was similarly doomed from the start, lasting just over year.
The dilemma of genrewave. In fact if there’s one incessant footprints of chillwave it’s the ushering of vague hashtag styles, everything from Spotify’s ham-fisted “fluxwork” and “escape room” nonsense to lofi
chillout hiphop beats to study to youtube playlists.
The real legacy of chillwave’s moment in the sun from 2009-2011 was bridging the gap between unabashed lo-fi weirdness of underground scenes and bedroom producers and more established producers making slick, more cautionary electronic pop and dance music. Before 2010 pop tended to be retro-informed, not explicitly retro-styled. The novelty of overt retro sounds of past music, especially from the late 70s to late 80s era chillwave drew from, were no longer cheap style nods made in the name of irony or gimmick but instead sincerely embraced by chillwave artists. There were plenty of 90s and 00s retro-minded music projects delving into overtly “summer” sounds but they worked within confines: ambient house groups KLF, The Orb, and Global Communication, l the critically acclaimed yet leftfield IDM projects Boards of Canada,
Casino Versus Japan, and
Freescha, Beck’s cheeky and gimmicky postmodern pop, Bjork’s diverse song stylings on her debut album, the shimmery warm ambient sounds within shoegaze and dream pop like later era
Cocteau Twins and
Slowdive or Yo La Tengo’s
“Today Is The Day”, exotica and lounge music revival via Stereolab, Pizzicato Five and the Ultra Lounge compilations. The list goes on. It wasn’t until Panda Bear’s
Person Pitch in 2007 and a string of releases by Sun Araw, L.A. Vampires, and Ducktails (many via the L.A. area label Not Not Fun) in the same timeframe that proto-typical chillwave took form as it did across the Atlantic via neo-disco and Bearlic Beat influenced bands Air France, The Tough Alliance, Studio and The Embassy. While not directly influencing the core chillwave artists directly (for the most part, Memory Tapes was contacted by Air France and later remixed them) they warmed up indie audiences to the vibe so central to chillwave’s general sound.
Despite the litany of precursors and influences, it was nonetheless the core chillwave artists that firmly and finally injected unabashed retro and vintage aesthetics and styling into indie music. Part of it was a lack of commercial liability in terms of appeal - mp3 blogs and social media pages cut the middleman of distro and major indie PR and let bedroom production and it’s DIY ethos get buzz far more immediately. They didn’t try to work within existing genres. They didn’t just drawn on old samples for a melodic hook or one-off song, they made it core to their musical output. The tape warbled, lo-fi samples of Boards of Canada could be coupled with pop vocals. Tropical sounds and instrumentation didn’t have to be in the form of instrumental downtempo electronica or chillout rave music. The utter experimental tendencies of hypnagogic pop like James Ferraro or Ariel Pink could be dialed down without losing any of its core weirdness and retro-sylings. It’s no coincidence that Best Coast - Bethany Cosentino’s surf rock-tinged summery garage rock project that paralleled chillwave’s emergence in 2009 - split off of Pocohaunted, another lynchpin in LA’s hypnagogic pop scene.
In other words the vast treasure trove of past music to sample or emulate was truly opened up as a viable option for indie musicians without hesitation or constraint. It help revitalize psych rock and dream pop. It’s not a stretch to say acts like M83 or Tame Impala would not have produced their unabashedly retro-tinged albums of the last decade. There wouldn’t be such mainstream appeal of media like Stranger Things and it’s soundtrack. The entire scope and direction of EDM in the 2010s toward a blender of genres it is now would have likely remained stratified and categorized in specific styles and tempos à la house, trance, techno, drum and bass, etc. as they were in the 2000s and earlier.
Chillwave isn’t alone in bearing responsibility for this, but it certainly stands out as a key example. One other genre comes to mind in it’s similarly rise and fall and subsequent pollination of vast influence and derivatives: dubstep. It bubbled within the electronic music communities and, ironically, already moving past it’s core sound when it exploded in popularity around 2009-2010. “Post-dubstep” and “bass music” succeeded it with much longer lifespans. Quirky and (and in the case of ‘brostep’ controversial) offshoots like wonky, future garage, future bass, etc. developed into their own subgenres and launched successful careers and scores of releases, niche, labels and flourishing live scenes. It’s the sea of divergent styles and trends that dubstep and chillwave released that make them so important, because once seen in the confines of their own limited scope in terms of time and place they seem far less significant. It’s often a mixed legacy as well, for every critically acclaimed song or album in the wake of dubstep and chillwave there’s a plethora of competent, decent yet nonetheless cookie cutter, middle of the road derivative tracks and releases, complete with equally slick and homogeneous imagery. EDM and major indie electronic acts with crowd-pleasing “bass drops” and “chill vibes” are undeniably appealing, even if their music might fall flat of brilliance or progression.
The meta-cultural discussion of chillwave previewed a decade or instantaneous commentary on music and the seamless injection of public reception on the same level as established media outlets. Fan hype outdoing PR marketing, a formerly published review getting less online traction than twitter memes. Despite perception of dismissal or eyebrow-raising chillwave spurred features and think pieces, and then subsequent features about chillwave features and think pieces, many of which came out years after the genre died out. It had one foot in the dying days of mp3 blogs and nascent social media pages like myspace, and another foot in social media outlets like instagram and twitter. This kind of transition occurred in other ways: Washed Out’s cassette release of
High Times in 2009, a literal nod to retro aesthetics, foreshadowed the unexpected revival of cassette tapes years later, bringing it from its role as a cheap niche format for underground noise and experimental acts into a vinyl and CD alternative for many a major indie label label. It’s a fitting physical parallel to chillwave as an ethos - tape hiss, wow and flutter, dropouts, etc. were embraced for their warmth and nostalgic appeal and incorporated into music that where laptop DAWs like Ableton and immediate online samples could be gleaned from the internet. The fusion of vintage sound with modern production has been a key part of retro-fetishim and the embrace of physical analog media in indie music has brought it full circle.
The most striking thing about chillwave may be the fact that it’s still considered a genre at all. I don’t mean this flippantly or in regard to its merits but rather it’s extremely unusual place in recent music history. It may very well be the last music genre to be coined, adopted by successor artists, well-publicized and hyped, and subsequently cited with a concise but nonetheless clear timeline. Everything post-2010 has been either relegated to microgenres coined by journalists and fans, self-described more broadly as a vibe or style or movement or collective (cloud and mumble rap, deconstructed club, PC Music) or simply lumped as experimental or progressive acts within well-established genres and scenes. It could be argued Vaporwave holds this title, and notably it kicked off with Daniel Lopatin’s ‘sunsetcorp’ youtube videos in the
same summer of 2009 (albeit with much less initial traction), but it has been a far more open-ended, broad, and perpetually redefined scene and movement with far more indirect influence and less mainstream awareness. It’s more of a nascent internet / virtual scene, a “post-genre” music movement even. Perhaps chillwave itself is “post-genre,” after all, as mentioned earlier it had no firm geographic center, not one of its original artists openly embraced the term, and it’s rise and fall was arguably a completely contrived narrative by the collective internet hive mind of artists, fans, and journalists. Regardless of what chillwave was, is, and will be - fad, trend, genre, movement - it can’t be denied or downgraded from it’s infamy and place in 21st century pop music, a window into the shift from postmodern pop remaining stratified and categorized in the 90s and early 00s to the rise of healthy niche microgenres and underground scenes...and, hopefully, truly hybrid and even inscrutable styles of progressive and groundbreaking pop music being produced in the decades to come. Or maybe not, and if so we can at least appreciate the fact that we can throw on
“Feel It All Around” for summers to come.
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Some discussion questions:
When did you first hear about chillwave?
Favorite artists / releases?
Favorite of the 'big four' ? (Memory Tapes, Neon Indian, Washed Out, Toro Y Moi)
Is chillwave still a "genre" and apt style descriptor for music made in 2019?
What are some underrated / overlooked artists or releases indieheads should check out?
Should I keep writing about chillwave? (FYI this was the most abstract essay, I plan to write more informal guides / overviews about the music itself.)
Edit 1: THANKS FOR THE GOLD!
Edit 2: THANKS FOR MY FIRST PLATINUM!
Edit 3: THANKS FOR SILVER! I feel like a reddit Olympian or something
Jimmy's Top 10 Fun but Never Ever Forgotten Arcade Standards!
Do you bear in mind Mr. Do, Mr. Do's Castle, Bomb Jack, Super Pac-Man as well as more?
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- Super Pac-Man.
Super Pac-Man is the 4th entry in the Pac-Man collection of video games, launched in arcades in Japan on August 11, 1982 and North America on October 1, 1982. The third as well as 2nd games-- Ms. Pac-Man and also Pac-Man And also, both from earlier in the year-- were developed by Midway Games in the US without Namco's involvement, making Super Pac-Man the first official sequel.
Earlier Pac-Man arcade machines utilize Zilog Z80 processors. Super Pac-Man is the very first in the collection based upon the Motorola 6809.
Ok, I reviewed sufficient! Please, take me to the
#arcadegames, #videogame, #arcademachines, #arcadegames. Noise and gameplay mechanics were transformed radically from the initial 2 entries into the Pac-Man collection-- rather of consuming dots, the player is called for to eat tricks in order to open up doors, which open up areas of the puzzle that contain what in earlier games were known as "fruits" (foods such as apples and also bananas, or various other rewards such as Galaxian flagships), which are now the standard things that should be cleared. In earlier levels, secrets open nearby doors, while as the gamer advances with the degrees, it is much more usual for keys to open far doors.
Along with the original power pellets which permit Pac-Man to consume the ghosts, two "Super" pellets are readily available and also will certainly turn Pac-Man into Super Pac-Man momentarily. In this form, he comes to be much larger, can move with enhanced rate when the "Super Speed" switch is held back and might penetrate doors without unlocking them. He is additionally invulnerable to the ghosts, who show up thin and flat to provide the illusion of Super Pac-Man "flying" over them. He still can not eat them without the help of the original power-up. When Super Pac-Man is about to change to regular Pac-Man, he flashes white. The Superpower can then be prolonged by eating a power pellet or extremely pellet, if readily available.
- Mr. Do.
Mr. Do! is a puzzle video game produced by Universal as well as released in arcades in 1982. The initial game in the Mr. Do series, it was just one of the first arcade games to be launched as a conversion package (by Taito), and took place to sell 30,000 devices in the United States.
The object of Mr. Do! is to score as numerous factors as possible by digging passages via the ground as well as gathering cherries. The title character, Mr. Do (a circus clown-- except for the initial Japanese version of the game, in which he is a snowman), is frequently chased by red monsters called creeps, and also the gamer sheds a life if Mr. Do is caught by one. The game mores than when the last life is lost.
Cherries are dispersed throughout the level in groups of 8. 500 bonus points are awarded if Mr. Do gathers eight cherries straight without stopping. A degree is total either when all cherries are gotten rid of, all creeps are damaged, "ADDITIONAL" is meant, or a diamond is located.
Mr. Do can beat creeps by hitting them with his bouncing "power round" or by going down big apples on them. While the power round is bouncing towards a creep, Mr. Do is defenseless. If the ball bounces into a location where there are no creeps to hit (such as behind a dropped apple), Mr. Do can not use it once more until he has gotten it. When the power sphere hits a creep, it after that reforms in Mr. Do's hands after a delay that enhances with each use.
Mr. Do or the creeps can push an apple off the side of an upright tunnel and crush one or more creeps. If an apple drops greater than its very own elevation, it vanishes as well as breaks. Mr. Do can additionally be squashed by a falling apple causing a death.
Occasionally, the creeps change briefly right into even more powerful various colored monsters that can passage via the ground. If one of these digs through a cherry, it leaves fewer cherries (as well as less points) for Mr. Do to gather. It commonly crushes itself, other creeps, and/or Mr. Do when it digs under an apple.
Each time ball game passes a certain threshold throughout play (5000 points), a letter from the word "BONUS" appears on the playfield as an Alphamonster, and also the player can beat or be beat by this beast in the same way as a creep. Defeating an Alphamonster awards that letter to the gamer and collecting all five letters of the word finishes the level, goes to a cut scene playing the motif to Astro Kid, and also grants the player an added life. Alphamonsters attempt to eat any apples they run into, which makes them difficult (yet not impossible) to crush.
The creeps spawn at the center of the screen. After they have all showed up, the generator will certainly develop into a food product; selecting this up scores bonus points, ices up all the creeps, and also calls out an Alphamonster and also three big blue monsters. The latter can consume apples also. The creeps remain frozen (however still harmful) till the gamer either beats all 3 blue monsters, defeats the Alphamonster (in which instance any remaining blue monsters are developed into apples), loses a life, or finishes the stage.
Seldom, going down an apple will certainly expose a ruby which, if gathered within regarding 15 secs, finishes the degree and also awards a bonus offer credit to the gamer (in addition to 8000 points), enabling him or her to play a totally free game.
- Mr. Do's Castle.
Mr. Do's Castle is a video game launched in arcades by Universal in September 1983. It is the second of the Mr. Do collection of video games, although it wasn't meant to be. It began as a game called Knights vs. Unicorns, but the U.S. department of Universal convinced the Japanese arm to customize the graphics into a Mr. Do!
Gameplay:.
The game takes place in a castle filled up with platforms and also ladders, some of which can be flipped from one platform to another. The game developments to the following degree when all cherries on the level have actually been gathered or all opponents have actually been defeated. The gamer sheds a life if Mr. Do is captured by a monster, as well as the game ends when the gamer runs out of lives.
As in Mr. Do! the gamer can make an extra life by gathering all the letters from words "EXTRA". Routine monsters can be changed into monsters birthing the ADDED letters by gathering all three keys dispersed around the playfield and afterwards grabbing a magic guard from the top flooring. Beasts in this state are simpler to defeat than regular; a basic hammer strike will certainly get the job done. After a short period, they change back into their regular kinds. The game additionally offers a bonus offer debt for accumulating an uncommon ruby that shows up on the playfield at random intervals.
The cherry blocks are absent from Mr. Do Vs. Unicorns and also early alterations of Mr. Do's Castle. Instead, obstructs that are not keys or heads at the start of a phase will certainly be fill blocks (those left behind when unicorns come under holes and are laid off for a time). As a result of this, there are just three methods to finish a degree in this variation, versus the four methods to total levels in Mr. Do's Castle. On top of that, in these early alterations, the fill obstructs change shades every 2 phases.
- Mr. Do's Wild Ride.
Mr. Do's circumstance is a roller rollercoaster, as well as the things is to reach the top. As the automobiles (and eventually various other items) rate around the track, the gamer needs to get away by utilizing an incredibly rate button, or by going up little ladders spread about the track to evade the threats. 2 symbols at the end of the degree variety from cakes to ADDED letters or diamonds change upon gathering cherries at the top of each letter. The game is timed, and also the timer ticks quicker when the very rate button is held back. Crash with a roller rollercoaster auto or an additional object is deadly, knocking Mr. Do! off the rollercoaster as well as setting you back a life.
After the 6th degree is completed, the game cycles back to the very first with numerous barriers and/or more roller coaster autos to prevent.
- Bomb Jack.
Bomb Jack is a platform game launched in arcades in 1984 by Tehkan (later referred to as Tecmo). It was adhered to by two official sequels, the console as well as computer system title Mighty Bomb Jack, as well as the arcade game Bomb Jack Twin as well as Bomb Jack II, which was accredited for personal computer just.
Gameplay:.
The game's antagonists are enemies such as birds and also mummies which, once they go down in the bottom of the screen, can morph right into points like flying saucers and also orbs that drift around the display, making Jack shed a life if he touches them. Other comparable rewards are the B (Incentive) which raises the score multiplier (up to 5x), the E (Extra) which provides an added life, and the unusual S (Special), which grants a totally free game. There are 5 various displays in the game, each including a distinctive plan of systems (the fifth has no platforms at all).
- My Hero.
My Hero (Seishun Rumor in Japan) is a side-scrolling beat 'em up released by Sega by means of arcade in 1985 and also for the Master System in 1986.
The arcade variation consists of three various levels, each continuing in a countless loophole up until the player runs out of lives. It starts out with the gamer personality (named Steven according to the arcade leaflet, Takeshi in Japan) on a city street enjoying as a street ruffian runs off with his partner (called Remy, additionally according to the arcade flyer, Mari in Japan). This same procedure repeats for the rest of the game, only with 2 other managers as well as stage designs.
Due to area limitations on the Sega Card, the Sega Master System port just includes the street gang in 3 stages that enter a continual loophole up until the player sheds all lives and also obtains a game over. The ninjas and also the ape/human enemies from the arcade variation are omitted.
- Woman Bug.
Lady Insect is an insect-themed maze chase video game generated by Universal Entertainment Corporation as well as launched in arcades in 1981. Its gameplay is like Pac-Man, with the primary addition to the formula being entrances that alter the format of the labyrinth when used. The arcade original was fairly unknown, yet the game located bigger recognition as well as success as a launch title for the ColecoVision console.
Gameplay:.
The goal of Girl Bug is to eat all "flowers," hearts, and also letters in the maze while preventing other pests. The gamer is represented by a red, yellow, and also green personality looking like a ladybug while the adversary insects' appearance varies by degree. The border of the labyrinth functions as timer, with each circuit signifying the launch of an adversary pest from the central location, as much as (normally) an optimum of 4. The rate of the circuit raises on stages 2 as well as 5.
There are 8 different enemy insects-- a various pest is presented on each of the first eight levels. Beginning on level 9, each degree has four different opponents.
Unlike Pac-Man, the player can change the design of the maze by shifting any one of the twenty environment-friendly gateways. It is not possible to totally isolate a portion of the labyrinth via gate changing.
When the fourth opponent pest goes into the puzzle, the central area will certainly show a level-specific vegetable. Eating a veggie offers the gamer reward factors as well as incapacitates the opponent pests for several secs, though touching them is still lethal. The arbitrarily put skull icons are deadly to ladybugs as well as enemy bugs. An opponent bug who dies returns to the central area. When a vegetable is consumed, the central area will remain empty unless an adversary pest dies and also is re-released, revealing a new vegetable. A ladybug who dies will certainly shrink from view as well as be quickly replaced with symbols appearing like the stereotypical wings as well as halo of an angel.
The colors of the hearts and letters cycle through a brief red, a middling yellow, and a longer blue. The factor worths are as complies with:.
Flower: 10 factors (20, 30, or 50 factors with appropriate multiplier).
Blue letteheart: 100 points (200, 300, or 500 points with ideal multiplier).
Yellow letteheart: 300 factors (600, 900, or 1500 points with proper multiplier).
Red letteheart: 800 points (1600, 2400, or 4000 points with proper multiplier).
Vegetable: Begins at 1000 factors, rises by 500 with each degree to an optimum of 9500 points on degree 18. Yet level, the veggie's appearance (horseradish) and also point worth continue to be fixed.
If a heart is consumed while it is blue, a point multiplier will certainly enter into effect, indicated by the blue section in the top right corner of the screen. The very first blue heart doubles all factor values, the 2nd triples them and the third quintuples them. This multiplier lasts till the level is complete. Eating hearts while they are red or yellow offers no advantage past the points gathered.
At each level, the puzzle will certainly consist of three letters. The initial will be randomly chosen from the collection of X, T, R (which show up only in EXTRA), the 2nd will be randomly picked from the set of (which appear only in SPECIAL), as well as the 3rd will be an A or an E (which appear in both words). An additional goal of the player is to complete the words UNIQUE (indicated in red in the top left edge) and BONUS (in yellow at top center). If, as an example, a letter S is eaten while it is red, the corresponding letter in the word SPECIAL will transform from grey to red. Consuming an S while it is any other color (or if the S in SPECIAL is already red) offers no advantage beyond the points gathered. Finishing the word SPECIAL rewards, the gamer with a complimentary game, while finishing BONUS provides the player an added life. Completing either word causes all its letters to return to normal as well as immediately advances the player to the next level.
The veggies associated with the first 18 degrees and also their equivalent factor values are: 1 - cucumber (1000 ), 2 - eggplant (1500 ), 3 - carrot (2000 ), 4 - radish (2500 ), 5 - parsley (3000 ), 6 - tomato (3500 ), 7 - pumpkin (4000 ), 8 - bamboo shoot (4500 ), 9 - Japanese radish (5000 ), 10 - mushroom (5500 ), 11 - potato (6000 ), 12 - onion (6500 ), 13 - Chinese cabbage (7000 ), 14 - turnip (7500 ), 15 - red peper (8000) [note that the name is misspelled in the game], 16 - celery (8500 ), 17 - wonderful potato (9000 ), 18 - horseradish (9500 ).
The tune that plays when a new Girl Insect enters the labyrinth is a fragment of a tune called "Ladybug Samba".
- Baraduke.
Baraduke, also called Alien Market, is a scrolling shooter arcade game originally launched by Namco in 1985.
The player takes control of a spacewoman in a biohazard match, Gamer 1 is Kissy and Player 2 is Takky. They have to clear 8 worlds of raising trouble (each one is composed of five regular floorings and one boss flooring) by utilizing their wave guns to damage all the enemies inhabiting them. They need to also save the one-eyed Paccets for added factors and the opportunity to make another guard in the end-of-floor perk games.
On each floor there are a certain variety of opponents known as Octy, which will leave power-up pills behind when defeated. Defeating all the Octy on the present flooring will open up a pipe at the end of the flooring, and the player will have to find as well as enter it to continue to the following one. The one in charge floors include a large enemy (a Blue Worm in Globes 1, 3, 5 as well as 7, a Turning Eye in Worlds 2, 4 and also 6, and also the Octy King himself in World 8) that must be killed in order to proceed to the next world.
- Choplifter.
Choplifter (elegant as Choplifter!) is military themed scrolling shooter created by Dan Gorlin for the Apple II as well as released by Broderbund in 1982. It was ported to Atari 5200, Atari 8-bit family, ColecoVision, Commodore 64, VIC-20, MSX, and Thomson computers. Graphically enhanced versions for the Atari 8-bit family members and Atari 7800 were released in 1988 by Atari Firm.
In 1985, Sega released a coin-operated arcade remake, which subsequently was ported to the Famicom and also Master System in 1986. Choplifter is just one of minority games that initially appeared on a house system as well as was ported to the arcade.
10.P-47.
P47 Thunderbolt (called P-47: The Freedom Fighter in Japan) is a shoot 'em up game developed by NMK and also Jaleco. It was launched in the Arcades in 1988 as well as ported to many house systems. It was adhered to by P-47 Aces in 1995.
Gameplay:.
The game takes place in World Battle II and also the gameplay is basic. The player should make use of the ideal tool to fight an employer or go with a phase.
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makingvaporwave. I'm Jack, I make art under Lucid Sound Driver, バーチャルSound Terminal , and a few other hidden aliases I prefer to keep anonymous (at least until a further point in time). I’ve been involved in music most of my life…. not master musician in any art, but I’ve had some minor training in a few fields, I’ve played different instruments throughout my life (piano, bass, and percussion to name a few), and music has always been something largely supported in my family. My uncle is a bassist, my grandma a pianist, and bassist as well; my mother before she passed was an amazing vocalist. It’s been something I’ve been lucky enough to grow up around and have support with growing up because I know a lot of fellow producers, artists, and musicians have not or don’t receive support from their family.
I’ve been a heavy music advocate all my life, and I listen to just about everything from Noise to Rap to Thrash Metal to J-Pop….really I listen to just about everything (I know people say “that’s a copout excuse”, but in all honesty it would take too long to name genres I’ve found interest in because it’s something I dedicate lot of time to). I feel listening to different music is one of the best things you can do for yourself. Everything I have listened to, regardless of my preference to it, has opened my mind in some way. There are multiple titles I have come across that at first take didn’t ahhh me or I flat out didn’t like, but I try to go back to them and take in the work fully. I try to relate with the artist to some degree, and find what it was that they were going for. In some cases I am still not “fond” and I wouldn’t call it my type of music, but I try to always keep open to the subjectivity of art and regardless of intention respect artist for what they do (this could be applied to how I feel about all forms of art really, I respect anyone bold enough to do their thing whatever it may be).
I’ve been interested in electronic music heavily since about eighth grade. I was really fond of house, minimal tech, and dubstep when I was younger. Some artist I listened to once before I still admire to this day, but when I view some of the music I thought was siiiiiick I kind of laugh at myself….. Its fine and it holds its place in time, but you won’t find listening to a lot of music I once did (no offense unmentioned artists). It wasn’t until like 12th grade that I started getting into experimental electronic music. It was when I moved out to Northern California out around Placerville (those are the mountains if unfamiliar) Real interesting area to say the least. Met some friends that were into the arts more and supported passions I had like poetry and literature so it was a really life opening experience being in that atmosphere. I think the solidifying moment for me was listening to Black Moth Super Rainbow’s “Doppelganger” on DMT. Though ingested poorly (a decent sized amount crudely spread on some herb) the effects of the lo fidelity sound emitting from the speakers in waves took over my body in a way I can’t explain. Please do not take this as me trying to advocate drug use of any kind. This is simply what was a turning point for my view towards music … (I would be lying however if I said I haven’t found some inspiration in certain plants/chemicals).
From that point on I started really stepping away from what I was so fond of at the time. I owe a lot of my credit due to YouTube honestly….I would listen to artist I was finding that I enjoyed and if I saw a track title or alias name that caught my attention I’d open the link and see what lies ahead. If fond of the artist I would search their name, and again this process would continue on and on (upset because I have lost HDD with years of music on there I’ve collected I will likely never see again). Got really into Adult Swim beats, and started listening to Trip Hop’ish artists like Negrosaki, Ethereal Universe, and Flying Lotus. Loved the chill aspects of electronic type vibes which where amazing for skating. Somewhere in all that I found Casino Versus Japan who branched me off into ambient (what most would classify IDM) artists like B.O.C., AM-Boy, Freescha, and Milieu (these are still some of my most influential musicians to date without sounding rude to the countless numbers of other people who have inspired me, but if it weren’t for these artists I wouldn’t be where I am today.
I got into Synthwave quite heavily a short while after that and really got into Com Truise (loved the name and was drawn to it). Somehow through that I found “Floral Shoppe”, which I know is an “Oh of course” moment, but I’ve always been a big Asia nerd and I was so fascinated by how weird this album looked. I clicked it and was immediately blown away. It was almost in a sense the type of realm I had been searching for at that point in my life. It solidified with me and I can still remember that moment to this day. It’s funny because I didn’t realize Mac+ wasn’t Japanese for awhile. When I first found vaporwave it was still a lot more anonymous than it is now (which I miss to a degree. It is amazing talking to artists I admire and even more so when artists I admire contact me, but I do miss the type of feeling it once possessed). I was honestly baffled once I became a part of the vapor community more intensely and saw how big it was, how big it was continuing to get. Very proud to be a part of it, and I am honored to be able and speak to you now.
Now for what you have been waiting for……Production tips.
First off let me just say to anyone out there considering getting into music production of any sort just do it!!! Seriously just do it I’m not kidding you. I have wanted to produce music since I was 15 years old, but always hesitated and stopped myself. I saw prices of equipment and software and I got so nervous because I didn’t want to spend money on something that was “wrong”. I have purchased equipment I have later gotten rid of and though it may not have been what I wanted in the end it’s no big deal like I imagined it to be. I think my first real piece of gear that gave me a taste of production (and some of you may laugh at this) was the Kaossilator Pro…..I purchased it back in 2012 or 2013 I believe. If you don’t know it’s a little touch pad synthesizer with like 200 built in sounds and 4 loop banks (very limiting though. You can only record 16bar loops, but in order to do that tempo needs to stay above 110, if it drops even to 109 the loops switch to 8 bar though I did learn techniques to work around that). I spent a lot of time just making and deleting mixes……basically starting up a bass or drum line and then working 3 layers on top of that. It was a matter of delete and replace to keep music going…..when transitioning songs I would erase one loop and drop 3 volume channels as I brought in a transitioning sound effect then take out then erase those loops and fade in new pieces I would create. The simplicity of the device and its limitations really helped me get a genuine understanding of improv music production which is a key element of mine today.
I started working in Ableton back in December 2014. Had this younger cat invite me over to see his production setup and I was stoked because I had always wanted to see a setup (looking back it was nothing marvelous but it was still cool). He showed me a few things in ableton and let me play around with it a bit. When I realized its functions where the same as the kaossilator (the matter of hitting record playing a loop and hitting stop to loop it) I was hooked, and even more so because I could record any length I want. I was limited to 16 bars before and it was working but now the sky seemed endless (its funny I have a project somewhere with like a 356 bar loop or something like that). I downloaded a 30 day trial version of Ableton and produced my first little album in that 30 day period (its awful xD but it was more or less an art project for me) titled trial error because I made it on a trial version of ableton and it was incomplete. I laugh, I still get compliments on certain tracks in that album (some people pushing me to finish it, but it was a piece in time that’s over and I feel it’s appropriate to leave things as they were). It at least garnered enough attention from some local producers who took some interest in what I was doing and helped give me a type of support base with production (although they work in completely different DAWs they still supported and helped me out).
I released my first official album on Illuminated Paths in 2015 as my all original alias Lucid Sound Driver titled “Among the Thrift Shop Floor”. It was a concept album based around someone going about their day to day lives and in the most absurd and unexpected place having transcendental moment, the idea that life holds beauty around us at all points, but we are sometimes caught up in the world around us and miss that pure bliss of living. It was all done on a 5 dollar toy keyboard from the D.I. (Mormon thrift shop) and field recordings I got from all over. I had recently purchased a handheld Tascam DR-22WL and started recording everything I could (I still do, currently have close to 800 or so personal audio recordings ranging from kids laughing/crying, airplanes overhead since I luckily live by an airport, cars, skating, stores, bathroom trips you name it. I feel capturing sounds around you is important. You never know what inspiration might come). It was my first time ever recording anything and my very first time using audio files in ableton but I wanted to make a project of it. Again not endorsing it but for this project I ingested a reasonable amount of psychedelics went to work on this piece. I had prior to this experience set up audio files in appropriate columns (keyboard, human sound, nature sound) and prepared for the work. I made the entire album in one sitting with no idea what would come forth (aside from some light cleaning up after words for the finished album). I actually went into this state where I had these almost tremor like movements throughout my body, almost convulsive, but still coherent and semi functional, as if I induced a sensory overload and had to recover.
Second release was via Beer Wizard as Virtual Sound Terminal which was my first step at plunderphincs. (I want to let people know since I’m here that the separation from LSD, and VST, my two main aliases that are publicly known, is due to LSD being all original material from sound design to recordings mastering and composition, and VST dabbling or fully diving into pluderphonic works). That album I really just wanted to get weird with audio files. I started experimenting heavily with audio effects in that album and it came out weird AF . . . . I still don’t know how I feel on it, but it sold out and I’ve had some people genuinely interested in the art project, some of which have helped me out tons in the vapor scene.
For my third official and most current release I made my first full ambient project titled “Serenading The Indigo Child” which was made similar to my first album in means of toy keyboard recordings, field recordings, etc. I did dive into some virtual instruments with this album and spent a good deal of time on sound design for pads etc. Basically it was all a matter of improve trial and error to achieve what I got. This was an album where concept was devised first (a lot of the time a work is created and I develop a concept around it, however the work makes me feel…..it’s why I have hours of unreleased material) and I designed a musical backdrop to provoke the emotion I was trying to bring forth
I feel it’s very important diving out of your comfort zones in production…..don’t get stuck in one field of sound or one genre of music. Diversify and do things that are new to you. I strive to change things I am doing in my musical work constantly, some people aren’t fond because of this it seems, but it’s something essential in my eyes, once you create your formula you should change the pie. If you lump yourself in one category forever it just becomes nothing more than mere finger exercises with no real mental stimulation. I am real excited for some of my coming releases so you can see what I truly mean in regards, but realistically I try to make every piece I do different. I like to leave the listener a bit unsure of what to expect. Don’t get me wrong there is nothing wrong with working in fields you admire often but challenge yourself to do things that are new to you. Experimenting in different musical stylings has actually brought insight to my works with genres completely separate from one another, in ways I never imagined.
I feel conceptual purpose to your work is important to and realistically in some cases I find concept equally if not more superior to content. It is what solidifies your work and give it life, gives it meaning. It feels almost meaningless for me to throw tracks together and say “here’s my album”. I feel it is a disservice to my listener and my art itself as silly as that may sound…..it seems like it didn’t mean enough to me to put earnest emotions to. If I can’t create a fitting concept with working compositions I won’t release it. I have hours of material that may never see public release. Some are works that I have been unable to adapt a proper conceptual work around though sometimes I revisit them and ideas come forth. Others are works that were made simply for myself almost as a self healing process and are not really intended for public eye……maybe one day when the time is right, but it’s just not now. The pieces haven’t aligned to create an appropriate presentation. I find it’s important though to give meaning to your art though no matter what it is.
Don’t let other people influence what you do with your art either. You can find inspiration in others but don’t try and mold yourself to be someone or something else. You are you, and you should respect that. If everyone hated every musical and artistic piece I had put out it wouldn’t matter to me…… If I never made a dime and it was what people referred to as a “hopeless passion” and “lost cause” it wouldn’t matter to me. I do it because it’s what I do; it’s what I love to do. I don’t create music or art in hopes of praise from others, I do it for myself, and if people like what I have done that is honestly just a plus. It still really trips me out when people admire what I am doing and even more so when they like it enough to reach out or buy a copy. I could have never imagined the support I would receive and some of the people who have reached out and told me how I have helped them in some aspect of their life have honestly changed my life. I have and still receive some negative criticism for works of mine (“It’s too boring” “It should be faster” “Does it have a beat?” “Where’s the lyrics?” “What is this aquarium music?”), and sometimes the hate people give hurts I won’t lie, but who cares? At the end of the day you have to accept the criticism and stay true to yourself. Don’t get caught up trying to please others or you’ll forever be lost.
Now for actual track talk (my apologies)
I rarely go into a project with an idea at mind. The only time this usually happens is during moments of insomnia. I suffer from very severe musical insomnia in which I hear a musical composition being performed in my head and literally can’t shut it off. It’s impossible to sleep and usually carries on for a few hours. It was a big issue for me until I started making music. Now if I hit those states I hop on and record one or two lines that are playing in my head so I can remember it and shut my computer, and brain down for the night (sometimes it doesn’t work though and I stay up all night). I try not to force creative work. I have found its best to wait for it to come to you. Sometimes a small break to reflect really opens some doors when you come back to your keyboard and DAW. I don’t know if its common but for me I continually find myself getting inspiration at about 12:00-2:00AM at the time I refer to as “producers witching hour”.
Like I said I usually don’t go into a project with any general framework. I find it is best to experiment. If working on all original music I will generally write a generic kick snare pattern to use as a more natural tempo than the god awful beeping. I perform all my compositional work. I am unable to click and draw music well, it comes off almost synthetic. I usually will start with either a bass line or a light chord progression. From their it’s all a matter of improv experimentation. I play at random for awhile changing variations until I find something that catches me. From there it’s a matter of continual trial and error. Sometimes I will be working on a project for hours and create a new line I like so much that I save the current project erase all the aspects besides the characteristics that work with my new line and save it under a new name. (So making 2 projects from 1 project idea if that was confusing). I then always rework the other pieces I kept on the project that appear on both so they differentiate from one another on the final work, but it helps as base support for a short time while creating a new project out of the existing one. I can write a handful of songs in a short amount of time, but mixing and mastering is something that has been totally new since learning production. I have always played in music so composition is something that comes naturally for me but production and music making are totally different.
I am still not amazing at mastering but I do have some techniques I have learned over time that can really help you out if you’re up and coming or simply unaware of their usage (surprisingly have been able to advise some artists who have been producing far longer than myself). Panning is one that is very important. I know it sounds unimportant but don’t keep all your audio tracks centered (even individual drum sounds). If you pay close attention to almost any professional mixing of music (in any genre) the panning for different sounds and instruments varies. If you don’t already experiment a bit because the slightest tweaks make a huge difference and help greatly on your master mix down. Layering as well. Seriously layer everything I can’t stress that enough. It adds so much dynamic to your sound. I used to use single layers for like bass and lead, drums, etc. and it was just so piddly. It sounds very weak. It wasn’t until experimentation in ambient droning work that I truly learned this. Now I apply it to everything. I usually have about 3-4 layers at least on each track I am using (some projects waaaay more than that). What I do for instance (on leads) is I take my most clear sounding track that I want to be the main focus on and I usually keep that fairly clean (light reverb, little to no delay) and increase the track volume then I’ll duplicate that 2-3 times and drop the volumes fairly low. I usually take one of those tracks and increase the reverb fairly high and add an auto panning effect and an accompanying phaser (need to get the phaser JUST RIGHT). The other I bring reverb up about half way to the first duplicated track and again add an auto panning feature (different timing is essential) and add a small amount of delay, usually on an 8-4, 6-3, or 4-2 timing. For the third I usually bring the volume real low and start playing heavily with filters, flangers, and phasers, to create a good background distortion and sometimes I will accompany that some delay as well. The same rules mentioned prior for lead lines apply as well to certain pluderphonic works I do as well. It’s always a matter of experimentation and of course I don’t ALWAYS do that and it doesn’t ALWAYS work, but it is something I’ve noticed myself doing time to time and I feel it adds a cool dynamic to your sound. Layers are essential to your work but it’s all about subtlety. If you hear my layers by themselves some are almost impossible to decipher and some sound just awful but when you combine them all together at the proper volumes it sounds superb.
Big thing I want to point out if you’re layering drums onto a sample of some sort (relation to VST’s upcoming album) and they sound to separate from the audio and unnatural drop the frequency on your drum racks. I tend to keep it just a bit below 10k on my frequency (though it is different on my Kick, and a few accompanying drum sounds so I keep those in separate audio tracks). Also I almost always separate my Kick from Snare in audio tracks. Helps a lot when linking things like Side chaining your bassline to your kick drum (at least for Ableton). One of my best tips I can give you is test your music on anything you can (headphones, cars, good speakers, bad speakers). I have learned one technique as weird as it sounds and that’s if you can get your audio to sound good on a television (end mix down) it will usually transfer over well to other output sources. Basically being that television speakers are so generic it really lowers the bar for things. If it sounds good on some nice headphones as well as a television you’re hitting a wide array of sound output (also being television is a huge commercial product it is good to know your audio sounds good on it if you decided to use it commercially in any way).
One of the things that has intrigued me the most in production is audio manipulation (be it your own recordings or samples you have currated). There’s really no way to explain it. I find new techniques daily and I will let you know that the sky is truly the limit. I know people who have been producing since 93 (my birth year) who are still learning new techniques. It is truly an into the rabbit hole scenario and its ever expanding. I don’t want to go too far into my techniques or else it wouldn’t hold a personal unique trait, but I’ll share two fun techniques of mine you can play with.
One very fun thing to do is offsetting your samples. So basically you make two tracks that have the same sample as one another. Take your samples and offset them about ½ (line up one of the samples to start halfway through the other), sometimes this works well as is, but one addition I usually add is dropping the transposition of one of your samples, -12 always works, but I like experimenting around -6 to -8 to get more differentiating notes so it’s not just an octave difference. It will completely switch up the sample at hand. I have actually released one or two songs that are full of continuously changing variations but are in all reality just one loop.
Another fun technique of mine is making pulsing beats (I’m not quite sure how to explain this but it’s a low frequency pulse rhythm that is used heavily in astral projection work). Take a vocal sample (I usually prefer something with some sort of background sound accompanying the voice to add more fullness). Open a project at 160tempo in Ableton and drop your sample in an audio track. Now seriously I zoom in on my file and create the smallest loop I can. I would say it’s like 1/128th of a note or less if I had to make a guess. Seriously it’s shorter than a vocal chop. The sound produced is one of the most unpleasant sounds imaginable. It was so loud and shrill when I first made this it almost blew out my ear drum so keep aware of your track volume. The trick comes when you export that audio to a new audio track and create an audio file of that shrill high pitch. Drop your transition to about -36 and bring your tempo down anywhere from 50-20 on the tempo. 9 times out of 10 if done properly you get this amazing pulsating rhythm. I then export that audio entirely and use it in a new project (that way I’m not trying to make a song at 20 BPM on my tempo).
When it boils down to it production is all a matter of trial and error. No one can teach you how to produce music. Myself and others can lend techniques we use in our work, but you have to find your own path. Everyone has their own techniques they use. Even when we are achieving a similar effect in our sound we are almost always doing things differently than one another. That’s what’s amazing about production. It truly is art and open entirely to whatever you can imagine, and it’s almost an independent activity. On a side note to that don’t get wrapped up in what software you should get. For me I personally prefer Ableton to other DAW’s I’ve worked simply due its keen ability to allow improv performance which is my forte, but I am not against DAW’s like FL, Cubase, Logic, etc. , etc. In the end it’s not the software or tools you have, but how you use it. A lot of people blame their software or hardware but it’s a cop out. I’ve seen people push gold out of an iPhone so it just goes to show you can make truly amazing art from any medium. Personally I want to get more into hardware with production myself. Not because I feel it is better for production, but I appreciate the naturalistic feel of hardware and actually using a device dedicated as an instrument. The only thing holding me back in that aspect is the cost. It’s always ever changing and new ideas come forth every day.
I guess that’s about all I really have to say right now, and I’m sure I’ve bored you already, but if you remained here until the end key points are:
*Creativity is above all else, don’t tarnish that to “fit in” *Respect your art no matter what other say of it (this is why concept is important to me) *listen to and take in as much art as you can muster *Step outside of your comfort zones and try to work in areas you are unfamiliar with. Diversify and Grow *Just go out and do it, don’t second guess yourself any longer *Layer, layer, layer, *Keep eye of panning levels on your instruments (this helps in multiple genres) *Audio Manipulation is too amazing for words *Software and Hardware are not what make an artist great it’s all based on you <3
You all mean the world to me and I appreciate you taking the time to stop by. If you have any questions feel free to reach out to me here or on FB, Gmail, wherever ‘s clever. I might add a few things on here as the month progresses, if you want me to talk about anything in particular let me know in the comments or something .
I will proofread this more tomorrow, and try to clean it up a bit because I'm sure it could use it anyways take it easy
-Lucid_SD
*
Unrelated** Just had my work from my latest album out on No Problema Tapes titled "Serenading The Indigo Child" just got reviewed in Music Connection Magazine and received some very nice review. The references they related my sound to were more than flattering. Thought you might enjoy it; Very short, but sweet
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