snowdance

A homage to late 80ties Amiga synthsongs. Created in Pretracker 1.6.
Needs around 4kb chipmem.

Download the 11kb intro for your Amiga computer here:
https://www.pouet.net/prod.php?which=91639

Color Ado [Amiga 500]

Motionless models flaunting the latest fashion (but with EDMish sounds)

Original :
https://www.youtube.com/watch?v=zNeMDO6Hdk0

Follow LACHEQUE :
Twitter : https://twitter.com/_LACHEQUE
Youtube : https://www.youtube.com/channel/UCmrV...
Soundcloud : https://soundcloud.com/lacheque
Website : https://lacheque.net/

Check out my social medias as well :
https://www.youtube.com/channel/UCtycSLXNaLPD6oaEFtYKrlw
https://twitter.com/Atsura5
https://atsura.newgrounds.com/

LACHEQUE - Wireshark (Atsura remix)

An old track from 2000, done in Jeskola Buzz Tracker
with mostly realtime synthesized instruments and some
samples for drums.

linzner@shinen.com            

Cessation

Tracker DNA

Omnia is a soundtrack for a game in my head. It was made to have an uplifting atmosphere.

Get the album here:
https://cheapbeatsmusic.bandcamp.com/album/omnia-original-soundtrack-disc-1

09 Albatross (Above the World)

My submission for the recent Synths of Rage compilation. Click on the buy link for streaming of the whole album.

Streets of Rage © SEGA
Synths of Rage © 30th Floor Records
Cover version © Python Blue

'Fighting In The Street' (Streets Of Rage 1)

Ironically a more "chil" peice compared to the majority of my tracks, despite its high tempo.

Fog Fog

UPDATE: 
Instrumental version: http://eox.no/projects/MarioKart64Remix_Instrumental.mp3
Instrumental with no effects: http://eox.no/projects/MarioKart64Remix_No_Effects.mp3

I've been thinking about making a remix of the end theme from Nintendo's MarioKart 64 for nearly two decades now, and it finally came to fruition. The original is pretty massive, so of course this one is a little heavy too, but hopefully it came out all right.

Used nearly all my gear on this one plus loads of samples from the game - obviously. Figured I had to use the last sample from Mario, even though I've already used it on 8-Bit Voyager.

Enjoy! :)

reFX: Nexus2, Vengeance, QuadraSID, Phalanx, Vanguard
Yamaha: XS-7, Motifrack, TX-81Z
Roland: JV-2080, JD-800, D-110, U-110, CM-32P, D-50, XP-80
KORG: MS-10, microKORG

Retro Grooves Vol. 2

MarioKart 64 Remix

https://power46.bandcamp.com/album/new-pripyat

Made in roughly 26 hours, but over the course of more than half a year. The person who started this track isn't the person who finished it. Thus far, this is without exaggeration, the most ambitious, most impressive piece of music I've ever created.

This is a track from an upcoming album which I've teased before. Realising that the album is a long way off, I decided to show off a single for it to ease the wait. Maybe I'll show off more singles as time progresses! We'll have to wait and see.

The album revolves around two concepts:
1. Different environments from around the world. In the case of New Pripyat, this refers to towns, cities and rural areas abandoned after nuclear disasters.
2. Variable mixing. Quickly becoming a staple of interactive media, variable mixing involves loops of music being mixed according to interaction from the audience. When arranged linearly, say, for an album, typically variably mixed music will be structured according to how one loop of music fades into another. This is kind of the opposite: This entire track was written as a linear piece of music, sorted into loops like an imitation of how variable mixing would work.

The original arpeggiator motifs occurred to me after listening to a bunch of Fort Romeau's music, and I knew I had to write it down right away. This section starts at 2:33, and combined with the distant-sounding guitar section which precedes it, contrasts the solemn, desolate loneliness of the area, and the mysterious, electronic side. 

3:48 is the first sign of hostility the irradiated landscape shows, and it's aggressive, powerful, and ever-so-slightly sad. It's a mourning of the destruction caused by this power, as much as it is a display of reverence.

5:32 is what I consider the beginning of Part 2. It's not a very long part, but it's important. It's a moment of majesty and of revelation. I consider this the theme of the reactor core, the epicentre of the disaster, which had the sheer power to provide plentifully for the people it eventually drove away. It is the point where this force originated, and it is the point at which the journey must end.

6:30 marks the beginning of Part 3. This is the piece's climax and its ending. The theme of this part begins with just a string ensemble, to give it that scale, depth and emotional edge, but to leave it timbrally somewhat empty too. The rest of the instrumentation doesn't come in and take the spotlight until the drums kick in, and from there, the piece ascends to its climax.

8:12 was always how this track was going to end. No matter what direction the piece traveled in, I somehow knew that this was going to be its ending. It's supposed to be a point where New Pripyat seems to have reached its peak, only to be pushed just a bit further by that last chord.

9:03 is an obvious homage to Kraftwerk's 1975 version of their track, Radioactivity. I liked the idea of this being quietly played off to one side by an old, worn down record player while something climactic happens off in another room, or perhaps it's just a feeling of winding down after resolving a high-stakes crisis.

New Pripyat (OUT NOW)

Used in the aBYSs intro called 'CODA', released at Revision 2019.
The song draws inspiration from a LUCKY bassline...
Created in PreTracker, so no samples used. All instruments are precalced on startup.
Filesize: 17kb
YouTube: https://www.youtube.com/watch?v=QxnBeTD8tng
Pouet: http://www.pouet.net/prod.php?which=80998

Hyperlucky [Amiga 500]

Electronic musician from Norway. I started playing piano/keyboards in the mid 80s. After a few years at the municipal music school, I quickly grew tired of the simple piano-only education and got to move on to classes with keyboards and synths. From the early beginning with Technics K-200 rhythm keyboard from 1983 via some Casios/Hohner keyboards, I evolved with the later Technics KN-1000 and KN-2000 before moving on to Roland XP-50. As the computer revolution made DAWs affordable, 1999 made sequencing using Cubase easy and the studio grew ever larger with more outboard gear. Today the studio has become a sizeable and functional MIDI/arranging studio with over 40 synths/modules and more centered around a MacPro with MOTU’s Digital Performer, and numerous more or less famous productions.

I have always had a musical approach towards sound engineering and composing, rooted mainly in vivid harmonic structures and saturated compositions. Inspiration has always been the likes of Jean Michel Jarre, Vangelis, Eric Serra to name a few giants in the electronic scene, but also a heart towards well produced pop music from the 70s and 80s as well as epic film scores from John Williams, Alan Silvestri and Hans Zimmer. The baby era of computer music from the late 80s and early 90s was also a heavy influence.

MarioKart 64 Remix

Anders Enger Jensen