Interview - Falling for a Square

Jason Sposa, commonly known by his music moniker Falling For A Square, has been crafting gentle chip music releases since 2010 with "XO", his unique debut. Since then, he has continued to broaden his musical horizons by employing the use of the GameBoy, vocoder, and even a bit of electric guitar for good measure. His musical style is soft and easy on the ears, with each new album ushering in a clever and innovative listening experience for chiptune fans.

Jason recently took the time to participate in a brief interview I conducted, in which he discusses his passions and love for the genre.

1. Tell us a little about your unique compositional style. What convinced you to write gentle chip music in a world full of noisy GameBoy tracks?

"To be honest, when I first started to write chipmusic I tried composing for a more elaborate or what you term 'noisy' sound, and simply am not capable of doing it.  Thus,  have a great deal of respect for fellow chiptune artists that can pull it off and pull it off well.

"Sitting down and writing songs for Falling For A Square is oddly enough pretty formulated. Whether I am writing songs on a Gameboy or using my iPhone, I tend to have an idea or a story I want to tell and use this as a template for how I want to mold each song. I have been writing music since high school and now am a father in my 30’s so, you can imagine I have seen my own musical style and preference change with age.  These days I seek to write and listen to simpler, mellow tunes to complement my current rush of city life and juggling of fatherhood, marriage and personal interests.  When I was younger, I engrossed myself and my songs with varying modulations since life was a bit more carefree - I suppose I was subconsciously seeking something to juggle."

2. “Compute for You”, the second track from your first release “XO”, is one of my favorite songs of yours. What was the inspiration and process behind this track?

"Thank you for your kind words - I believe there is something very special about 'xo'.  The album was 95% accident.   I was just starting to learn how to compose with the tracker style of Nanoloop for iPhone, and I was pumping out these little songs that seemed to carry a lot of emotion so the album came together rather quickly. 'Compute For You' is about a crush.  It is also the first song I composed that uses a vocoder for vocals.   At first I thought it was a really cheesy idea, but putting words to some of these songs is exactly what they needed for true completion.  The vocoder has definitely become a staple for my particular set-up and I am really glad.  The inspiration for this particular song and all of my 'love songs' are about my wife.  She definitely puts up with all the 'bleeps and bloops' in the house, on commutes, and late at night.  Her patience for my passion is amazing."

3. What do you think is the biggest problem facing the chiptune community today, and how can it be most easily rectified?

"You know, I generally like the community.  I like that it’s a bit obscure, separated from the mainstream and not trying to become the next big genre. It’s almost like the bridge between my own generation before the internet, GarageBand’s, and phone apps and the generation today – and that’s a pretty big gap with varying age ranges.  The best part of it is sharing this secret gem with anyone who is willing to listen and learning that they enjoyed it, too – whether on a lounge-y/club level for sheer ambience or on a more nostalgic level for the more ‘old school’ console-type styles."

 4. Tell us a little about your new full-length studio album that will be hitting BandCamp later this year.

"The new album, which is currently untitled, will be out this Fall and I am really excited about it!  It's going to be a Nanoloop for iPhone driven record.  I will include a couple of guest appearances on vocals, but overall, it's pretty upbeat compared to my last full length release. I will be using some electric guitar, real drums, loads of neat iPad and iPhone applications; however, do not be fooled - it will still  have a very nice 'fakebit' feel to it.  I am in the process of recording in my little home studio and later will have it shipped off to Atlanta to be mixed and mastered by a good friend of mine.  In addition, I will be releasing various EPs over the course of the year.  I find it very therapeutic to release EPs of similar mediums just to keep the flow of this project active for me and hopefully for others."

5. What are some of your favorite chip musicians and albums, and why?

"Here is a list of my current chiptune crushes:

1. I Am Still Breathing by Little Scale  

Little Scale is a constant inspiration to Falling For A Square's material.  I love the sounds he obtains on these very simple cartridges and he makes me want to push harder in this genre continuously. 

2. Fake Music by Computerization

I have been collaborating with Derek of Computerization on some vocal work for my new record.  I love Derek's style and vocoder usage. His lyrics and storyline are just terrific.

3. 101030 by Coova

If you're into Nanoloop v.1.1 - 1.5, then Coova will definitely inspire you.  Her compositions are very soft and complex. Admittedly, I am super jealous every time I spin her records.  

4. Information Chase  by Bit Shifter

I actually heard this record after recording a couple of my own releases and remember saying to myself:  'What the what?!'. In my opinion, Information Chase is like the Pinkerton of chipmusic.  It is well thought out, innovative, and an essential to the scene as well as to any beginner who wants to get into composing this type of music.  Finally, he is a local New Yorker, is constantly at shows, and an overall very humble and nice guy." 

6. Lastly, what is the number one message you’d like to bring the chip music community through your music?

"I would hope that people who stumble across Falling For A Square would be inspired enough to learn more about this genre of music and start creating similar sounds.   To me, this genre and the way it is growing is one of the best kept secrets around and I would be honoured to have played a small part in that. xo"

Falling For A Square's website and music can be browsed here: www.fallingforasquare.com

Interview - Pixelh8

British chip musician Matthew Applegate, otherwise known as Pixelh8, has been one of my favorite artists since 2009, when I first listened to his commendably original release "The Boy with the Digital Heart". Holding a special place in my heart, Matthew's sophomore album was programmed completely from scratch and in code on the original machines. That references his unique philosophy of the genre: take it where no one else will, stay faithful to the original ideas and programming, and just have fun being yourself with the music. There is truly no one else in the community quite like him.

Mr. Applegate graciously participated in a brief, six-question interview with me today, through which he manifests his continually evolving style and outlook on the remarkable world of 8-bit music.

1. Though you got started with chip music pretty modestly with a bottle of milk spilled into an old Nintendo, you’re now an internationally-recognized chip musician with three full studio albums and a fourth in the works. What has been the driving force behind your constantly evolving style, which is usually quite structured but also very unique?

"I have always simply wanted to do interesting things, I learned early on I didn't want to be a famous musician on a major label, I wanted to have freedom above everything else. Freedom to sometimes to not make music and teach, to do workshops to study, get back to music when I was ready, not when a company wanted a new product. All of my heroes have evolved  over their careers Aphex twin, Schoenberg, John Cage I think you have  to eventually or you run the risk of boring yourself and the listeners if you don't. I love chip tune music, I want it to stay and that is why I am prepared to evolve it, instead of serving up another album that  sounds a lot like my old one."

2. Your 2007 release “The Boy with the Digital Heart” is a personal favorite of mine. Besides being written entirely in code, the music itself is also particularly recognizable with its varying emotions and quirky beats. Can you tell us a little about how the sad-themed track “A Party without You” came about?

"The whole album is based around the relationship of me and my girlfriend when we were teenagers, they are all stories from when I was around 16 years old and people do feel the emotion in them even though they are very electronic, probably because they were real stories. I used a Commodore 64 for the main melody I think it was a sine-wave variation it gives it that sweet sad feel to it. With 'The Boy with the Digital  Heart' I consciously wanted to show various emotions and genres in chip tune as I thought chip tune at the time was sounding a bit samey, I did want just dance related pop-ish music[;] I wanted a story."

3. Your numerous workshops and lectures have kept you quite busy over the years. What gives you the greatest pleasure while teaching a room full of kids about computers and video games?

"That they go away and make and break stuff and they tweet me with how they are progressing, I love to hear that they have taken something small that I have taught them and put it with their other knowledge and  have used it to progress what they want. It is just another way of ensuing that chip tune isn't just a passing fad. I am quite happy to talk about chip tune music in person and I think a lot of people are shocked when they do find out I'll teach them, via email is another matter[;] though I get maybe just under a hundred emails a day about 'how do you do this' in chip tune music and I just can't answer them all."

4. What do you think of the chip music community as a whole right now?

"I think I am generally concerned that a lot of them aren't getting involved in computer programming, that is fine, you don't have to be a programmer to be a chip tuner but it helps. It really helps to design individual sounds, learning about the quirks and limitation of different machines often help me write the music. If not [you're] gonna use the same sounds as everyone else and the same presets and then things might run into trouble. The greatest game composers people like Rob Hubbard were also amazing coders[;] I say it's a 50/50 music/coding thing for me. Make and break is what I always say."

5. “The Schematic”, your new double-album, is set for release later this year. How are you continuing to evolve your compositional style with this record, and what is your number-one goal with it?

"Instead of having one large album with a schizophrenic happy/sad feel I am splitting them up. 'Software' is happy pop chip tune, 'Hardware' is avant garde noise chip tune, both I feel or at least hope will progress the genre albeit in very different directions. I am using a special recording technique on 'Hardware' which is both expensive and time consuming but hopefully it will make people think, 'wow I didn't know you could do that with those machines' and maybe even freak people out a little."

6. Lastly, what does the future hold for Pixelh8?

"Well I have just finished my Masters Degree and [I am] planning out my PhD, when that gets the green light I will have a few months to finish all the demos for the album and hopefully finish 'Obverse' (non-chiptune) which is an album about drumming, and two game soundtracks are already in production (chip tune / electronica), so yeah as always busy."

[Pixelh8's work can be viewed at his official website: http://pixelh8.co.uk/]

Interview - Radix

He's arguably the biggest pioneer of module chip music, and if you haven't heard of him, you should reconsider your status as a chiptune fan. The artist in question is Radix, who spent several happy years of the 1990s composing legendary chiptunes on the Commodore Amiga. His carefree, intensely happy melodies would eventually earn him a fine reputation as one of the best chiptune composers of our time.

In real life, he's known as Jakob Svanholm, and he graciously took the time to answer several questions I had about chiptune projects from the past and future.

1. In the 1990s, you began writing module chip music... what introduced you
to the idea, and what led you there?

"Not entirely sure how I got started but I remember getting my hands on some chiptunes, and sitting down to study the techniques. One of the first chiptunes I listened to was Lost Scrotum by Paso. What a track :) I think I was immediately drawn to the simplicity of chip music, and to me they served as an outlet for all those naive melodies and pop elements I had growing inside my head, all this in a format which allowed me to get away with it :)

It's funny because I never considered myself a chiptune musician. I certainly composed my share of chiptunes back in the day, but it was mostly for giggles and not my primary objective in the demoscene. Looking back, perhaps it IS the chiptunes that made the biggest footprint, I don't know :)"

2. How did you get involved with the demoscene, and what was it like to be a
part of?

"I got involved in the demoscene during the peak of the BBS era in Sweden. Some demogroups around Stockholm were looking for members and I was asked to join. If I'd try to describe my impression of the demoscene, I'd say it was very friendly, it was exciting and underground, and finally I'd say it was very competitive, but in a positive way. I listened and studied the works of other musicians to no end, trying to improve."

3. Your compositional style in your chiptunes was quite unique for its time,
and is now heavily emulated by many other artists such as Malmen and Cerror.
What inspired you to create such happy, emotional melodies in this
particular way?

"In all fairness, everything is about emulating the work of others. You study, copy, reproduce. You mix up some ideas here and there and the result is something new. Speaking of those two fine musicians you mention, I think they're brilliant and they surpass me in the art of chip music in so many ways. The reason I made happy chiptunes, I don't know but I think that came naturally for me. Some chiptunes that inspired me greatly were happy, playful, charming and fun, and I believed there should be more tunes like that :) If I were to mention some maestros that taught me the ways of the chip, it would have to be Heatbeat, Monty, Supernao, Nuke, 4-mat, wotw, Reflex. Probably many more :)"

4. "Rainy Summerdays" and "Yoghurt Factory" are two of my favorite tracks of
yours. What were your goals while composing these tunes?

"Glad you like them :) Rainy Summerdays was composed on a rainy day in '95 on Amiga. Good times! '93-95 was the highlight of the demoscene for me. I think this particular tune was heavily inspired by a chiptune called "Spring Air" by Sire (one of the best chiptunes ever, in my opinion) used in the classic Lego 40k intro released at The Party 1993. Sire, if you read this, I tip my hat to you :)

Yoghurt Factory, well let's just say that the yoghurt factory in Alsace countryside actually exists, and they have all these clever machines doing all sorts of things :) I wanted to make a chiptune that was simple in melody but also had some interesting mechanical-moving-parts feeling going on at the same time."

5. Would you ever consider returning to chip tracking with a new album?

"Who knows, maybe one day :) When I listen to modern chiptunes, like the works of xyce, malmen, joule, zabutom, 4-mat, I can certainly feel this urge to get back to it. Though, right now I'm trying to focus on my Mosaik project as much as possible, and even that is down to a very casual level. That said, some collaboration work is not out of the question :)"

6. What do you want your legacy in the chip music scene to be?

"Someone once said that my music evokes feelings of limitless potential. Such a great comment, and if I can make one person feel that, then I'm already happy :)"