Captain Credible – Dead Cats

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I was given this a while back to listen to but when I heard how Captain Credible made his music, I asked him straight away for a detailed description on his instruments, and waited for his reply.

Captain Credible is an Norwegian Artist based in Oslo. His music is rather a unique one taking various different beats & melodies and smashing them together, creating one fitting, funky tune. For his music, Captain Credible uses Ableton Live as his base of his operations. However instead of using Ableton for all its software needs, Captain Credible likes to make his own instruments; and when I say make his own instruments, I really mean it.

The guy takes physical parts from various different things and puts them together to make weird wonderful sounds. Take a look at this image below:

If this isn’t chiptune, then I don’t know what is!
CaptainCredible has so much more stuff to show off as well, but I’ll save all this for a future article. I just wanted to show how wonderfully insane the dude is, before I began reviewing Dead Cats.
Anyway, let’s talk about Dead Cats. Starting off, it is one of the most unique albums I have listened to in its music style, with it’s theme focused on science, technology and of course, cats!
We start off the album with the mysteriously sounding song, ‘Forest Moon’, which begins with a rather synthwavy introduction, but this is cut inadvertently with the seriously punchy bass blasting away, with some sporadic percussion put in for good measure. This gets turned up max at the 0.49 mark, when we start hearing the music going into some funky trap, with both the drums & lead feeling like they’re on amphetamines. Forest Moon really shows off Captain Credible’s style is all about: mindless, uncensored & crazy fun through the power of chiptune!

The next song, It’s Dead Cats kicks it further kicks up a notch -can that be done? ;D- into some real hollow drum & bass, followed with Captain Credible singing over the Microphone. It’s extremely high on energy & mind blowingly crazy. As well as the music, the lyrics are really rhythmic, further adding to the energy of the song.

The third song, ‘Cats Within Cats’ is another fantastically well done song, which focuses more on the melody of the music, being more of a laid back piece when compared to Forest Moon & It’s Dead Cats. Glitching & trap are used quite a bit also, which are controlled through Captain Credible’s custom controllers. I really like Cats Within Cats, as it gives us time to breathe and appreciate Captain Credible’s experimentation & inventions.

Schrodinger is my final favourite song off Captain Credible’s album and is the most synthwavey track. It’s also probably the most progressive song, as it contains a lot of build up from the beginning, changing up at 0.47. Schrodinger also features a huge outro as well, coming in at 3.12. It’s a massive change from the rest of the song, as further pushes the themes of science & space. This is also a complete different direction when compared to his other music, as it’s more full beats like ‘It’s Dead Cats’, and no synthwave.

Captain Credible’s Dead Cats was an interesting & entertaining change to listen to. The one thing I liked about Credible, was the fact he doesn’t take himself seriously at all, when compared to other musicians. He also takes a risk by including a little treat on the last track; a recording of his custom made printed circuit board, which he sold on bandcamp, along with the album.

Later tonight also after 7PM UK GMT we’ll also talking to Captain Credible live on Gameface!

We’ll be playing all the music over the last month so come and have a listen, 6PM UK GMT!
Link below:

It’s Dead Cats & Cats within Cats

A good look into Slime Girls!

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This is slightly different from my standard reviews that I generally do here. This week I invested in the discography of Slime Girls. If you haven’t heard of Slime Girls, they’re electronic pop band who reside in Los Angeles, California. They’ve been going on a few years now, with a list of 4 albums to brag!

I’ve been meaning to buy a Slime Girls album for a while, but never could grab them all. So when I saw I could buy the entire discography off Bandcamp for $9 (a pittance in pound sterling), I jumped at the chance to get them all!

Since then I have listened to each album endlessly, soaking in the energy of every song with almost all of them a blast to hear. However when it comes the blog, I can’t review every single one, so I’ve rounded up 3 albums I think best show off what is great about Slime Girls! Let’s get into this!

3. Heart On Wave:

This is a small EP mainly full of remixes of the titled song, but it’s a great album, nonetheless! Both Slime Girls’ original songs, ‘HEART ON WAVE’ & ‘Video Girl’ are packed full of meaty beats, melodies and the signature music style. It’s quite a change from the gritty style of their first album, Vacation Wasteland, and sounds more closely towards Anamanaguchi, more so ‘Video Girl’, which reminds me of ‘Planet’ from ‘Endless Fantasy’.

However, LSDJ’s roots are not forgotten, with a remix of ‘HEART ON WAVE’ entirely on game boys. It’s so good it’s hard to tell the difference between the two! As for the remixes, they provide another great 2nd serving to what are already great songs. All are amazing, with my favourite being Petriform’s remix, due to its progressive opener. Also adore the artwork, and is the best cover out of all Slime Girls’ albums.

2. No Summer No Cry:

The one thing I like about Slime Girls is the fact that they always seem to change up the style for each album, be the two single EPs, or the first album, Vacation Wasteland. No Summer No Cry is something completely different from the other two, going down the conceptual root, with the main theme about how summer has gone too quickly. It starts with the best slowly intro I’ve heard in a while called, ‘we never saw the ocean’ and it feels like as if I’m watching The Goonies all over again! It then goes into ‘Summer is Gone …Again’, an updated version of Vacation Wasteland’s original LSDJ track. It’s a nice revision from VW’s rendition, and matches its energy well.

I really love the unique style of No Summer No Cry. It’s completely different from the prior single EPs, and its not afraid to go into other genres which don’t fit with Slime Girls’ general sound This includes such songs as, CCC (Gelato Beach Ver.), which sounds as if I’ve gone into a Nintendo game!

I really wanted to put this at my top albums. Every song was unique, and you could feel the amount of passion that went into creating it (it even came out on my birthday, proper stoked am I)! However, only time will if tell if the album will define music, which I believe is what my no.1 has done, and why I put ‘No Summer No Cry’ as my no.2.

1. Vacation Wasteland EP:

In my eyes this is probably the best of Slime Girls’ repertoire. Before I sat down to give it a listen, I couldn’t understand why it was so popular on bandcamp. I suppose back then, I was new to the chipscene and hadn’t begun to appreciate the finer details of chiptune. But now I can see why, with its perfect balance of gritty chipmusic & the surfpop genre both coming together extremely well. Almost every song comes into its own, with songs such as, Summer is gone, which features some lovely harmonizing pulse channels, and Splash Nebula, featuring fantastic leads over the top of some brilliant guitar & drum backing.

Don’t go on just these two songs however, as the WHOLE album is genius and and a must have for any person wanting to expand their chiptune catelogue or even get into the genre! As a whole, I feel Vacation Wasteland really helped shape the chiprock community across USA, as we now have countless bands following suit such as, Astroskeleton, Melt Channel & Shadynasty, all absolutely brilliant. I’m looking forward to Slime Girls’ live performance, and hopefully they’ll come to the UK (get in touch with Superbyte guys)!

If you liked all Slime Girls’ music feel free to check out their bandcamp support them.

Super Robotic Encounters – Go Melody

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This weeks review I decided to listen to something a bit more melodic. Super Robotic Encounters is a chiptune musician (real name, David Day) based in the United Kingdom. Bay has been making for over 15 years, with the last two years as a semi-professional musician. He bases his music around mainly ‘silly melodic bitpop’, but also goes over into the genres of VGM & chipmusic. Bay has also created a couple small EPs & LP, prior to the present album.

Go Melody is Super Robotic Encounters 3rd album, with 11 bitpop/chiptune tracks. The past few months I’ve been mainly listening to music with a beat, so Day’s silly, happy style was a nice change.

My first pick song is the second track off the album, ‘Wake up, Mister moon’. It starts with really cute keys as an introduction, giving the feeling you’re looking up towards the night sky. It then kicks in with fantastic winding melodic lead, whilst hooking you in with the fat bass & drums. This is great early song, to get you into Go Melody, as it really reminds me of those Super Mario years I used to play on the 64. Good times!

If you’re a big fan of Mario, then sit back cos all these songs are like a fantastically written love note to the red plummer.

Whilst the majority of the songs are around 2 minutes long, all of them are very unique in sound, melody & style, whilst keeping to bitpop. My second pick song, does just that. ‘Homely’ is a very bluesy song which hits you with a fantastic 8bit organ instrument, followed by some funky leads. It really shows how much skill Day has in creating music, as everything in this song comes together well, and even though some melodies may get used again, he changes the style of the instrument, opting for a deep square sound.

The next song to entice your ears, is ‘This is the end’ (even though it still plenty more songs after it). It kicks straight into its main riff, a nice bluesy & uplifting number which compliments the style of the song. This progresses into the chorus at 00.37 and lifts the song even further than the verse had. After listening to the song, I guess the theme for ‘This is the end’ is that its a tribute to all the songs at the end of video games, which is why its such an epic number!

The final song to tie off this four song list is the last tune off Go Melody’s track list, Systems Fall. It’s a lot more different from the others, being more funky whilst using minor scales & chords. The biggest change from everything else is that there’s a lot more layers of instruments and music, with the drums really taking a step up. It begins quite basic with just a melody, bass & drums however, the tables are turned at 1.27 when some extremely fat and distorted bass. This kicks the song up into serious overdrive and ends the album in such a spectacular way.

I had really fun listening to Super Robotic Encounters’ latest album. It reminded me of Izioq’s past album, Retro Life, as they both had variety and fantastic melodies throughout. Go Melody, was a great change to what I listened to prior to the album, due to its carefree style and beautiful melodies.

Wake Up Mister Moon & Systems Fall

Chema64 – VIZIERS

For this weeks review, I’ll be looking at Chema64’s VIZIERS. A bit of context, Chema64 is an LSDJ artist who resides in Mexico City, Mexico. For his music he solely just use’s Nintendo Gameboys, creating a mayhem of different sounds. As well as that, Chema64 also founded 56kpsrecords, a netlabel whose goal is to promote chiptune music.

To start, this is the first time I’ve listened to Chema64’s music, and I must say it is probably one of the most hard hitting, glitched music I’ve heard in a while, whilst still containing a groove through out, and pouring some sweet WAV dubstep into the mix.

Straight off the bat, VIZIERS starts off with one of its best songs on the album, “s u n s e t” and begins with a raw arpeggio, feeling like rays of heat coming on of a barren desert. One of the things which keeps you listening to “s u n s e t”, is the fact it holds the beat through its use of grime & glitch, in which the WAV channel is heavily used to create as sound full of doom.

Following on from that and raising the bar is the second song, “Dataslave”, which has some interesting use of the drums samples, to create fills that sound almost like clockwork & robotic. The continued use of the WAV channel also sounds almost like a robotic voice and really helps convey the themes of Dataslave, as being a prisoner of technology.

To compliment that fantastic array of robotic sounds is Neon Geisha, a hard hitting & heavy yet dancy song. The signature robotic voice is there to take care of the monstrous beats, whilst the main melody plays against the dancy vibes, creating this mix which switches from dancy to monstrous, robotic dubstep.

And now we now go to my final favourite song off the album, which is Wintermvte. It begins with a great arpy introduction, over the top of some trappy snare drums and claps. This intro last for about a minute, until the fat dirty dubstep wobble (done on the WAV channel) kicks in at 1.07 to full effect. It’s mixed and balanced extremely well, with both sounds playing off against each other.

After listening to VIZIERS, I can say that Chema64 really handles dubstep, glitch & grime extremely well. It translates over really well, with nothing forgotten or lost. Whether you’re a big fan of MDK’s (Morgan David King) dubstep music or Knife City’s Precious Jewel (as both do dubstep, grime & glitch very well).

S U N S E T & Dataslave