Track 08: Heroes take time to reflect. Augustine Gonzales, on the Performance Knowing this is from a thriller, I couldn't take a straightforward approach to interpreting this piece. David Peacock, on the Arrangement This film left a lasting impression on me, and the score is such a prominent part of that. The backbeat chords kinda gave the original a quirky quasi-reggae vibe. Finding a way to interpret arpeggiated synth chords into something one person can play on piano was a great exercise in creatively approaching the material. I wish I had a secret to how we achieved this. Prologue Rich Vreeland, on the Composition You encounter a mysterious force and the journey begins.
David Peacock, on the Arrangement This one is short and simple, and ends up being ninety seconds long like the original. This album was released in 2011 and was the breakthrough release for Disasterpeace. And was an earlier version with the vector background. The first half of the song is largely Derris-Kharlan's composition, while the second half is mine. Augustine Gonzales, on the Performance The lilting jazz-like feeling throughout the piece made it pleasurable to record. Track 04: Floating through space. Somewhere, our limbs lost in the distance.
Ultimately Rise of the Obsidian Interstellar is 8-bits of technical bliss, contrasting flavors, technological rock ability, and for those of us who grew up with it pure cartridge gaming nostalgia. As I said earlier, I suspect by the nature of the way it was composed, the rhythms on this album are wildly unpredictable, angular, and frantically furious. I started writing this album in 2006, four years before its release, and around the same time I finished Level. Boing Boing is published under except where otherwise noted. He also discusses the history of chiptune, and the intersections between progressive rock and video game music.
I think we landed on it, in the end, it just took a while to get there. Augustine Gonzales, on the Performance If I had to pick a favorite of the album, this would be it. Afterward, I edited this down into a more listenable form, a six-minute track and the closer for Hyper Light Drifter. It is a perfect closer to the album, acting as the slow and peaceful return to earth. This piece was initially an attempt to update The Solar Prime Elite see my album, Deorbit for inclusion on the album Rise of the Obsidian Interstellar.
Dusan, no twitter but you can see my pixeljoint gallery Thanks for the comments! If you look at genuine chiptune music from the late 80s and the early 90s, this is not surprising: bombastic progressive rock is infused with gaming culture. Music isn't much different; both in the way we access it, hear it, and the way it's played. The effort is a solid one, despite a couple mediocre melodies or slightly uncomfortable changes of pace from time to time. This week I want to look at the album Rise of the Obsidian Interstellar, by Richiard Vreeland, better known as Disasterpeace. With Rise… Disasterpeace essentially justifies and legitimizes chiptune music.
Still, he also treats his listeners to moments of melodic reward and pleasant themes that help the album remain a solid effort nevertheless. Remember to tune your ear to always be aware of all the inner voices. While this album certainly isn't for everyone, some may not able to see past its condensed quality; this is music that is just as exciting and a rewarding of a listen as its electronics contemporaries. Rich Vreeland, on the Composition The original score for the film Somewhere used the twinkle effects from the animation to come up with the rhythm of its thematic melody. The arpeggiated harp-like runs came about when I was enjoying the chord progression, and became a recurring motif in the arrangement. Read about what we do with the data we gather in our. Death Rich Vreeland, on the Composition I originally came up with this melody on my Aunt's upright piano during a Christmas break.
However, this album is a standalone work, and more than just a collection of soundbytes accompanying a game. Known in real life as Rich Vreeland, Disasterpeace has aimed for an uncommon style of chip music composition since he began writing his 8-bit tunes around 2005. This track started as a Kwakfest entry. I had this one sort of mirror the original by gradually slowing down and getting softer instead of speeding up and getting more stressful. You really get a sense of the story arch from the original film and score. Subsequently, this piece was used in the temp score for It Follows and ultimately became a big inspiration for that score. Would you like to share some of the process of this image? For those of you who enjoy making things, I highly recommend these types of events; creating lots of varied material in a short amount of time is an amazing experience and one everyone ought to explore.
I set out to create a closing track for my album Level, and knew I wanted something that was optimistic, and kind of frenetic in its energy. Always listen and think about where a chord is coming from or going to and match the tone accordingly. It helped to elicit not only the vastness of space, but also the dark loneliness it can bring. What are some ridiculously obvious examples of this, you ask? It almost felt like playing the game during the recording session. As popular music leans towards a more electronically synthesized sound, there is no style of music more relevant to that idea at its core than Chiptune; music that is completely reliant on digital sound manipulation. Augustine Gonzales, on the Performance I found it important to remember that there can be drama, even when it's pianissimo; it only makes the climax at the end that much more exciting. Then I recreated it with basic chord accompaniment using the keys on my laptop, while on a bus, headed from Boston to Hartford.