Loud stuff across genres.

Made Environmental Station Alpha soundtrack: https://nnoby.bandcamp.com/album/music-for-an-imaginary-soundchip-environmental-station-alpha-soundtrack
Game: http://store.steampowered.com/app/350070

hey! Im your sleepy polar bro. idk how to master but hey i do my best :3

Mamoru Fujisawa known professionally as Joe Hisaishi 久石 譲 , is a composer and musical director known for over 100 film scores and solo albums dating back to 1981.
While possessing a stylistically distinct sound, Hisaishi's music has been known to explore and incorporate different genres, including minimalist, experimental electronic, European classical, and Japanese classical. Lesser known are the other musical roles he plays; he is also a typesetter, author, arranger, and conductor.

He is best known for his work with animator Hayao Miyazaki, having composed scores for almost all of his films, including Nausicaä of the Valley of the Wind (1984), Laputa: Castle in the Sky (1986), My Neighbor Totoro (1988), Kiki's Delivery Service (1989), Porco Rosso (1992), Princess Mononoke (1997), Spirited Away (2001), Howl's Moving Castle (2004), Ponyo (2008).
When he started to take violin lessons at the age of five, Hisaishi discovered his passion for music. Realizing his love, he attended the Kunitachi College of Music in 1969 to major in music composition. Hisaishi collaborated with minimalist artists as a typesetter, furthering his experience in the musical world.

He enjoyed his first success of the business in 1974 when he composed music for a small animation called Gyatoruzu. This and other early works were created under his given name. During this period, he composed for Sasuga no Sarutobi (Academy of Ninja) and Futari Taka (A Full Throttle).
In the 1970s, Japanese popular music, electronic music, and new-age music flourished; those genres, as well as the Yellow Magic Orchestra (a Japanese electronic band in 1978–1983), influenced Hisaishi's compositions. He developed his music from minimalist ideas and expanded toward orchestral work. Around 1975, Hisaishi presented his first public performance, spreading his name around his community. His first album, MKWAJU, was released in 1981, with Information being released a year later. His first major anime scores were Hajime Ningen Gyatoruz (1974) and Robokko Beeton (1976).

As his works were becoming well known, Hisaishi formulated an alias inspired by Quincy Jones, an African-American musician and producer. Retranscribed in Japanese, "Quincy Jones" became "Joe Hisaishi."

I do not own the pictures or the songs on this channel, nor am I claiming them in any way. All music used on this channel  belong to Joe Hisaishi and Studio Ghibli. No copyright intended.

Music Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for non-profit purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

This Channel was made to Display Joe Hisaishi's beautiful work; it has also been created in order to support him and therefore I invite you to buy any of his work. Thanks 



Oldschool, 9x, PC, MIDI, SoundFont, 8-bit, Dark-Metal...

The name's Jordan, but people call me JDub. I'm the guy that made that the Swiggity Swooty song and that popular Nintendo Mii Channel Trap Remix.

Monsters don't sleep under your bed, they sleep inside your head. [WiP]

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.

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