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danimal cannon

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Posts posted by danimal cannon

  1. Shnabs 2a03 style chips vs my Gameboy DMG loudass chips is like the difference between a classical guitar arrangement and distorted electric guitar. Let's start NO'ing classical guitar arrangements for not being fleshed out enough. Oh wait, that's a traditional accepted form of music. UNLIKE CHIPTUNES.

    I could go forever. 2nd class citizens in the music world yet?

  2. Dude, relax. No one is discriminating. Did you read the thread or just skim the first few posts? There is no rule on OCR that says "no chiptunes", just that if you're going to do chiptunes you need to be very creative and make up for the limited capabilities in other ways. Your track is very creative. If you submitted a remix with a GREAT arrangement in this style, I would YES it.

    If someone came up with a good song composed for 3 flutes and a bongo which is a shitty analog for chip music (basic percussion and monophonic instruments) it would be held to a different standard than chip music, which at this current point is a 2nd class citizen in this site. You would not bash the track for not having huge sounding drums (which would probably sound awful), because that's not the style that was trying to be reached. You wouldn't bash the flute players for not playing anything in the bass clef, because flutes don't hit those notes.

    But for some reason, programming a chiptune well, with thought out expressions, evelopes, and traditional chiptune drums, is unacceptable, even though that's a perfectly legit style.

    It all goes back to "why do we listen to videogame remixes". The real answer is that OG chiptunes sound fucking weak and didn't get very fleshed out due to memory constraints.

    "Oh man, this would be an awesome song if it had sweet electric guitars and an orchestral string section, you know real instruments"

    But as a guy who has done that ad nauseum, and then explored the chiptune world extensively, I can return to say that chip music is every bit as legitimate as any other kind of music, whether "PURE" or with enhancements. And trust me, you don't know how much chip music can be seen as a musical 2nd class citizen until you've tried to perform shows for the general public doing it.

    What if Sam submitted a piano song, and you guys rejected it saying, "sorry we only accept piano songs if they have (YET TO BE SEEN) amazingness like chords of 12 note polyphony and descending bass note arpeggios played so fast that they sound like kick drums.

    It would be ridiculous right? I mean piano music is a completely legitimate respected type of traditional music. After dissapearing to the chiptune trenches for 2 years, I can assure you that chiptunes are every bit as legitimate. 3 years ago I might have agreed with you. But talking about how chiptunes are limited is like telling a harpsichord player that he needs more dynamics. Or how pianos can't play a single note tremelo picking style very well. Or how a synth player sounds very fake and not human. Or how a trumpet is way too monophonic. EVERY instrument has certain limitations. And I've never seen an instrument like chiptunes reinvent music in this day and age. Cept skirlex lol

  3. Wait till I submit my gameboy remix of a gameboy song just fuck with you guys. My sound design and hugeness will be bigger than a lot of your dance tracks. Then what? http://danimalcannon.bandcamp.com/track/roots And no, other than a little limiting and EQ on a master bus, there's zero processing going on with those instruments.

    Sidechaining? Fuck that shit, real men do it with envelope commands.

    DSP? Fuck that I'll modulate my waveforms by cycling through manually drawn ones.

    Here's my point. Chiptunes have evolved. My gameboy isn't a chintzy midi, it AN INSTRUMENT. It's A SYNTHESIZER. Fuck man, the most popular synthesizer of the 80's (DX7) had the same chip as a Genesis. To discriminate against one kind of instrument is just plain shitty.

  4. some great reviews


    Danimal Cannon seems to have suffered from a serendipitous lapse in common sense: he saw no reason why one guitar and a Game Boy can’t sound like a five piece band. He saw no reason why Prog-Rock, Metal, Electro and Pop couldn’t be woven seamlessly into a one album that nonetheless declares a sound of it’s own. And he saw no reason why Beethoven’s Moonlight Sonata shouldn’t be thrown in for good measure. No, Danimal Cannon couldn’t see why any of these unlikely factors shouldn’t add up to one bad-ass solo debut. And now, one powerhouse record later, neither can I.

    In fact, the irreverent approach in Roots hangs together so well, so organically, that you tend to forget, as you bounce your way through it’s deep and dynamic grooves, just how much musical ground has been covered. That’s because, no matter how extreme it’s stylistic transitions Danimal Cannon knows to let one thing lead the way: the music. Unconcerned with genre tags, he follows the groove where it takes him, perpetually playing with time, tempo and texture–sometimes landing squarely in an established genre only to tweak it into some twilight hybrid that defies ready categorization, but with such finess that you barely notice a change. Always present, grounding it’s stylistic forays is some energetic and compelling groove which, whether it’s a four-on-the-floor dance hall thump or a glitchy prog-style 7/8, functions like a musical navigator, lending to the music a sense of fluidity, cohesion and ease.

    But above all, this record just plain rocks. It’s finer nuances are grounded in a fun-loving energy that can be appreciated by music journalists and arena rockers alike. This rare balance–it’s subtle yet unpretentious quality– gives Danimal Cannon’s music an unusually broad appeal that will no doubt take him far. To be sure, Roots is a strong recommendation to all chip fans, prog and otherwise.

    And also on OSV!


    What I was hearing, however, sounded like the work of a hardened veteran, chock full of masterfully measured dynamics, thoughtfully programmed software instruments and complex, melodic arrangements that could have been played by a 4-piece prog metal band if they didn’t sound so damn good on a Game Boy.

    Now, a year later, I’m similarly stunned by a full-length release that’s staggering in both length and variety, where guitar solos (born of both plucked strings and pulsewaves) soar over a bassline bedrock and into picturesque landscapes of micro-processed progressive, math rock and heavy metal anthem. Combine that with a smattering of live instrumentals and guest appearances from the likes of keyboard virtuoso Shnabubula and you’ve got one hell of a debut chip music album.

    Whether or not you’re familiar with his past contributions to Armcannon and Metroid Metal, it’s easy to hear Danimal’s immense compositional talent shine through the gnarled 8-bit textures of Roots. In a remarkable variety of ways, the album approaches the Game Boy hardware in a way similar to early demoscene music, with composition as the first and foremost priority. The result is an extraordinary amount of complexity, showing a fearless determination to not let the limited hardware have any say in how each song is written. It’s almost as if everything were already composed for a full rock band that thought it would be best to let 4 channels of Game Boy audio do all the work.

  5. ubi031.jpg



    "Roots is my debut chiptune album, I decided to "go big or go home" and make it ~70 minutes. I've been laboring over this album for over a year now and I've learned a lot along the way. It seems like with every new track I would discover a new way of making chiptunes, or another artist would inspire me to head in a different direction.

    The album makes its way through a load of genres and moods, and that's because I love a lot of different kinds of music. The gameboy has such a distinctive sound, so that even though I traverse through so many genres the album retains a cohesiveness, glued together by the bonds of chiptune.

    This album would not be possible without the sharing of information, tricks, and ideas. I still find myself learning things in LSDJ (someone showed me a new trick THIS WEEK). For this reason I've decided to include the .sav files in my album. Go ahead, learn, remix, be curious. There's no reason to have trade secrets in chiptune composing. I am extremely proud of what I've been able to accomplish with this album but it would not have happened without people showing me things first." — Danimal Cannon.

    intro (1:04)

    Roots (4:54)

    Forest Gnome Shindig (4:39)

    Polywrath (4:46)

    Agrobacter (2:57)

    Danimal Across America (3:26)

    A New Day (3:15)

    The Big Crunch (3:31)

    Synergy (ft. Paul Wardingham, Shnabubula, and Tony Dickinson) (6:02)

    Good Journey (Don't Say Goodbye) (3:32)

    Blueshift (4:19)

    Jean Luc (4:04)

    Gorelax (4:31)

    Spacewalk (4:29)

    Beethoven — Moonlight Sonata (6:06)

    She Will Be Remembered (4:05)

    Danimal Across America (IRL Mix) (3:26)

    All instruments played by Danimal Cannon EXCEPT:

    Track 9 Synergy:

    3:38-6:00 bass guitar by Tony Dickinson

    3:38-4:11 piano by Shnabubula

    4:14-4:55 lead guitar by Paul Wardingham



    Artwork by Francis Coulombe

    © All rights reserved.

  6. Favorites list *yawn*

    this isn't really accurate. It's more of a very complex poll. You had to listen to 45 seconds of each track rated, and over 7000 tracks were rated. Only a few people made it through the entire amount, but they're also the ones doing most of the reviews.

    In fact in the reviews, you can see the DISDAIN for the fact that it's so heavy on CV and MM. Their reviews for the top track do not solidify that it IS the best NES track ever, but that it just happens to be the most popular. This isn't a favorites list, it's more of the results of a poll, for better or for worse.

  7. 2nd round of dates announced

    August 2nd in Cleveland, Ohio @ The Roc Bard [ Doors at 7, show at 8 ]

    August 3rd in Columbus, Ohio @ The Treehouse

    August 4th in Chicago, Illinois @ Subterranean Doors at 7:30, Show at 8.

    August 5th in Flint, Michigan @ we don't know yet, we're jumping on a show with Duane of Duane and Brando Fame.

    August 6th in Indianapolis, In @ GenCon


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