Burrito Galaxy 64 - Subnames Galore Etc. (AKA Burrito Galaxy) - Boss Music

V.S. SUDOWOODO (Pokemon Gold Silver Crystal Offcuts)

album art: https://twitter.com/TomasPraestholm
music: @damifortune
track 3 live drums written, performed & recorded by @jaxcheese
track 16 co-written with @doctorn0gloff

Distant Islands: 51 minutes of experimental SNES chiptune, treating the soundchip like the quirky 8-channel sampler that it is; featuring microtonality, glitches galore, heavy manipulation of the chip's available effects and parameters, and unusual, often homegrown sounds. All tracks were recorded straight from a single Super Famicom system, with the exception of live drums layered onto "Welcome Back to Dragon Airlines".

Someone once told me that when I write I "leave keys for distant islands" and the phrase has stuck with me ever since. This is my first full-length, non-compilation album in three years, and I focused on making something that resonated with me personally and employed the kinds of sounds I wanted to hear. I also went all-out in exploring just how strange, incredible, and absurdly messed-up the SNES could conceivably sound. I'd like to think this covers some new, fresh territory in Super Nintendo chiptune, and I hope you enjoy it!

All songs were composed and written to blank SNES ROMs using osoumen's C700 VST (or forks of the VST that add microtonal functionality and extra MIDI tooling), then recorded from my Super Famicom. The rendered audio is lightly mastered for consistency.

Distant Islands

🏝️Buy🏝️

Thank You for Flying DragonAir!

Viridescent Isle of Vestiges

Welcome Back to Dragon Airlines (feat. jaxcheese)

cccc

[2020] spiral4

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Let's Go Swimming

Urban Picnic

...for large ensemble and electronics. Score: https://www.youtube.com/watch?v=HejA2cX75Wk

performed in cambridge on 11 may 2019.

flute: james ferrier
clarinet: sam greening
trumpet: cara bronwen james (recorded by rory gordon)
viola: alexander gunasekera
e. guitar: matthew fox
celeste: joanna cheng
piano: ben nobuto
drums: leo bridger

no shape and every shape is a study of cycles and acceleration. Like biological cycles in nature (circadian rhythms, lunar cycles etc.), each player in this piece functions as an independent cycle, producing a single chord or gesture at a specific rate. As the piece progresses and the tempo accelerates, each cycle gradually contracts and moves towards a point of mass convergence, like planets aligning. This form was partly inspired by a concept of modulation and movement in traditional Japanese arts known as Jo-ha-kyū, which essentially means that all actions or efforts should begin slowly, speed up, and then end swiftly. The Noh playwright Zeami viewed this as a universal concept applying to the patterns of movement in all things.

no shape and every shape

no shape and every shape

nobuto

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