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Anamanaguchi’s New Video “Meow” [F]
Jan 8th, 2013 by Dan

Do you like Anamanaguchi? No? Well it’s not your blog.

January: The Concert Curse [Fukubukuro 2011]
Jan 2nd, 2012 by Dan

I’m sure I’ve mentioned it before in this space, but I was not a frequent concert attendee prior to my undergraduate degree. It’s partly not living in a major hub in high school, part a disdain for live music that I have since lost, and part a sense of urgency as I feel myself aging.

A concert is a weird beast, really. I’ve probably attended more in 2011 alone than most people get around to in their entire lives. Don’t get me wrong, live music is still a huge thing, but I wonder if the ubiquity of Youtube and easy, pervasive access to music has dulled people’s enthusiasm for blowing out their eardrums in large, sweaty groups of people.

You may recall that I received some bad news at an Anamanaguchi concert back in March of 2010. This is a story of the rise and fall of The Concert Curse (cue spooky music).

See, two similar events are easily dismissible as a coincidence, but three? That’s hitting pattern territory. Eric touched upon it in the comments of my April Smith post in last year’s Fukubukuro. A superstitious man would stop going to concerts while dating. I was not a superstitious man in early January.

Anamanaguchi was, coincidentally, in town yet again. I’d been dating Danni for about a month and things seemed to be just peachy. She was super into me, but I guess I had glossed over the fact that she was just re-entering the dating game after a broken engagement the year before. Danni was cool and she dug video games and was receptive to chiptunes so we decided to hit up the Black Cat with David and Kendra and catch Anamanaguchi doing their thing.

Pete, Ary, Luke, and James delivered in a set that was much stronger than the one we caught at Sonar and the night was awesome. Everyone had fun. Everything seemed like it was fine. Two days later Danni broke up with me. She said she felt trapped and like she was in too deep. Meeting my little brother was the straw that broke the camel’s back. It made her freak that things were moving too fast and getting too serious. I jokingly blamed David, but he and I both knew that it was something more insidious: concerts

Of course this all turned out to be a blessing anyway. The end of my relationship with Danni opened me up to dating Tiffany, who things were going well with, except…two concerts were coming up within three days of each other with a date sandwiched in between. Could my budding relationship handle that kind of mojo?

I frantically laid out the impending crisis to my visiting friend Liana in a night that I rather embarrassingly spent lamenting the woes of my love life rather than enjoying hanging out with my friend. That very night we were at an embarrassing half-concert at a Cornell event, but the real deal was that coming Monday. Min and I were set to go to Philadelphia to see Jonathan Coulton. Surely the melancholic songwriter would curse my relationship and doom me to loneliness yet again!

No. Not this time. The curse was somehow lifted. Perhaps I had confused it by cramming three (really 2.5) concerts into one month and it had forgotten to ruin my relationship. Maybe there never was a curse. Sure, sometimes I get a small tingling at the back of my neck when I’m about to attend a show, but all I know is that I’m free.

Wild Flag Drum Kit

March: Jetpack Blues, Sunset Hues [Fukubukuro 2010]
Jan 4th, 2011 by Dan

I saw Anamanaguchi live for the first time in March and it was everything I could have hoped for on a night that was damn near a disaster.

Min and I assembled in Baltimore in front of a tiny club we’d never seen before. Sonar isn’t that far from the harbor. It’s a tiny club about the size you’d expect a band like Anamanaguchi and its 8-Bit Alliance traveling partners would be able to draw. Small and intimate. Scarily intimate, actually. I calmed myself by remembering that it’s rare for people other than myself to show up on time for a rock show.

No big deal. Grabbed a beer. Chatted with Min about stuff, including this girl I’d been out on a date with last week, Samantha, until the show started.

For all my love of the 8-bit music of my youth, I can’t say I’ve ever really been into chiptune music. It’s too much of a one-note gig, if you ask me. Why center your musical concept around a single gimmick? Wouldn’t it be better to integrate it with a legit rock band to turn it all up to eleven?

Most of the bands that night failed to capture Min and I for precisely that reason. How into it can you get at a show where the only thing the artist is doing is pushing buttons on his/her laptop or Game Boy? We were in the middle of being thoroughly unimpressed with the opening acts when I noticed that I had a voicemail from Samantha. This was bad.

Here’s the thing about budding relationships. There are norms that are set in their infancy. In this particular one we did most of our planning and communicating via text. Switching to phone calls could be good or bad, but the fact that I’d had our second date reneged on the week before meant that this could only be troubling news.

Really, how troubling could it honestly be? I’d known the girl for all of three weeks and really only been on one date, right? I mean, that’s what I told myself when I heard the voicemail that only confirmed what I already knew. I was a nice guy who did everything right, of course, but she wasn’t interested in dating me right now, which is really just about the nicest and worst things you could say in this situation because it means it’s out of my control.

So I stepped outside, called Samantha, had the embarrassing and slightly awkward conversation and went back in to see Min and tell him the bad news. Listening to mediocre music while telling myself and Min that it didn’t really matter when it clearly did was starting to prove too much for me. I couldn’t drink too much, because I had to drive, and I really didn’t want to be at Sonar listening to music either.

I’m glad I stuck it out that night. After three openers, Pete Berkman finally stepped on stage wearing a shirt emblazoned with a cat’s face and started engaging the audience with jokes and charisma that had been absent for most of the night. The set began and they rocked so hard my worries started to melt away. In between songs I even ran up to the stage and high-fived Pete.

After the set I took Min home and drove back down to my apartment. It had been a rough night, but I was able to smile just a bit because Anamanaguchi helped me forget about everything with an hour of white hot rock and roll.

Anamanaguchi

Lo-Tech Anamanaguchi in Toronto Courtesy La Blogotheque [ER/F]
Aug 28th, 2010 by Dan

Anamanaguchi | A Take Away Show | Airbrushed from La Blogotheque on Vimeo.

I love these guys so much.

Anamanaguchi Continues To Rock [Feedback]
Jul 14th, 2010 by Dan

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Did you know that Anamanaguchi was handling the soundtrack to the upcoming PSN Scott Pilgrim vs. The World video game? Now you do.

You might also be interested to know that they’ve posted the music to World 1-1. You can listen to it here.

I don’t know how these guys do it, but this song is miles beyond their already fantastic Dawn Metropolis. Keep it up guys, this is gonna be a day 1 purchase for me.

My Favorite Bands/Albums/Musical Concepts of the 2000s [Feedback]
Dec 14th, 2009 by Dan

It’s really been tough coming up with the music that has most resonated with me in the 2000s. Wanting to represent the entire decade is tough, since I don’t really find the music that I used to listen to before I went to college all that good. Once I had more money and exposure beyond the mainstream acts I was familiar with in high school, I feel my tastes really changed up some. This list is definitely not representative of the actual best bands of the decade, they’re just bands that had a strong effect on me and my musical development.

I’ll start with a band who I was introduced to my sophomore year of high school, Lucky Boys Confusion.

Lucky Boys Confusion

Notable Albums: Throwing the Game (2001) and Commitment (2003)

This one came to me courtesy of my friend Kristin who brought a burnt copy of Throwing the Game up to Tampa with her for a summer visit my sophomore year of high school (2002). The band isn’t anything too special that’s about to revolutionize music or anything, they’re just a solid rock band from Chicago with a great sound. My favorite songs by the band are “Not About Debra”, a Latin-infused song about a girl in the wrong relationship, “Do You Miss Me? [Killians]”, an upbeat cover of the freestyle classic by the same name (sans the [Killians]) by Jocelyn Enriquez, “Sunday Afternoon”, a nice reggae-type break from the usual uptempo beats that LBC is known for.

The band never really saw much mainstream success. “Hey Driver” was their most popular song and actually made it into some video games, movies, and got some airtime, but they broke up only moderately more famous than they were when they were first signed.

Five Iron Frenzy

Notable Album: The End is Near/Here (2003)

As a primarily ’90s act, I was hesitant to include FIF in my list of my favorite music of the aughts, but their musical swan song had a major effect on my musical development, so I couldn’t rightly leave them out. Beyond just the CD, Five Iron Frenzy’s farewell tour, Winners Never Quit, was the first time I recognized that a live show was well worth attending. Before that I’d seen music live a few times and listened to a live CD here or there, but found them to be sub par. I was annoyed that the songs varied from the usual pace and intricacies of the album version and seemed to have lower quality. It all changed that night.

The small, intimate club atmosphere put me up close with fans for the first time (my previous concerts had been mega-stadium deals) with a band playing an emotional final tour. I also learned the best part about a live show: the new ways in which a band mixes up their music. I got to listen to the amazing FIF Medley (also on The End is Here), which, aside from it luckily being on a CD, I probably would never hear again. Ever since that night in Orlando, concerts became a part of my musical experience and the effect that FIF had on me is apparent when you realize how much of my music is upbeat, uptempo, and filled with brass sections. They may not be the best band on this list, but they’re one of the most important ones.

Rx Bandits

Notable Albums: The Resignation (2003), …And the Battle Begun (2006), Mandala (2009)

I didn’t realize what I got when my friend Daniela gave me a copy of The Resignation for Christmas back in 2004. We listened to it and she brilliantly pinpointed “Mastering the List” as my favorite track on the CD, but I didn’t get just how good the CD was for two years, a testament to how music tastes can drastically change over short periods of time. When I finally started listening in earnest in 2006, I think the best adjective to describe the experience was revelatory.

Of all the bands on this list, I think I’ve gone on and on about the Bandits the most on this blog and for good reason. They are talented, their music is rich and full, their lyrics are pretty solid, if not a little too hippie, and their dedication to an organic sound seems unparalleled in today’s overproduced soundscape. If there’s one album on this post that you choose to listen to, it should be …And the Battle Begun. It’s my favorite album of all time (as of 2009) and I don’t think there’s a single stinker on the whole disc.

Their best songs are “Mastering the List”, “Never Slept So Soundly”, “Decrescendo”, “In Her Drawer”, “Only for the Night” (my favorite on the list), “Tainted Wheat”, “White Lies”, and “Mientras la Veo Soñar.”

If there was one criticism I’d have for the band, it’s that they got rid of their horn section between …And the Battle Begun and Mandala. It doesn’t mean there’s no more brass in their newer work, it just means that it’s no longer a regular part of the band. Shame that they’re losing it, but they claim it has allowed them to open up and improve their song complexity.

Green Day

Notable Album: American Idiot (2004)

Another band that hails primarily from the previous decade, but whose 2004 release marked a huge turning point for the band. Yeah, Dookie is probably their most famous album, but American Idiot went and upped their pop relevance to eleven. The rock opera heralded in the “new” Green Day and turned the band into something far beyond its punk rock roots singing about weed and bumming around. For me, it was a great concept album whose lyrics seemed bold (I’m pretty sure they were early on the Bush backlash train) and far deeper than “Longview.” I don’t listen to the album much today, since I played it out my freshman year, but I’ll still let “Give Me Novacaine” or “Extraordinary Girl” play any time they come up on shuffle.

Relient K

Notable Album: Mmhmm (2004)

When I think of my freshman year at Cornell, American Idiot and Mmhmm are the soundtrack that plays in the background. I listened to both CDs many times on my way too and from the townhouses and the engineering quad, not to mention through my computer’s speakers. Mmhmm represents the transition from Relient K from a slightly niche, Christian music band to a more popular, mainstream act with its understated message (it seems that they returned to their more obvious Christian references with Five Score and Seven Years Ago) and their sound had matured to the best I’d heard since their debut album.

The album is full of some great songs, but my personal favorites are “High of 75”, because it cheered me up in the miserable Ithaca weather, “My Girl’s Ex-Boyfriend”, because I love sappy love songs, and “Which To Bury, Us or the Hatchet?”, because it resonated with my seriously rocky and messed up relationship at the time. Beyond that, the rest of the album is also great, but I can’t just list all the tracks now, can I?

The Zutons

Notable Albums: Who Killed…… The Zutons? (2004), You Can Do Anything (2008)

This one comes straight from my old high school friend Michelle. A fan of the quirky, indie scene, she recommended that I check out this band of Liverpudlians and I was not disappointed. You almost can’t go wrong with me if you’ve got brass or a saxophone in your band and The Zutons have one saxophonist adding her own distinct flavor to their already distinct rock grooves. Their music is unique and just great to listen to, especially when you get Abi Harding’s voice harmonizing with Dave McCabe’s on a lot of their numbers and the band’s sound has improved greatly from Who Killed on to You Can Do Anything. Their best songs, “Pressure Point”, “Havana Gang Brawl”, “Valerie”, “You Could Make The Four Walls Cry”, “Put A Little Aside”, and “Freak” are all so different, but all so much fun to listen to, even if they’ll probably never get any airtime stateside.

OK Go

Notable Album: Oh No (2005)

There’s a reason the phrase “sophomore slump” is part of the vernacular and it’s not often that a band not only releases a far superior second album, but does so with a significant change in sound. At a live show I saw them play at Cornell, OK Go outright stated that they were going for a safe, pop sound on their first album to try and appeal to the masses. Listening to it yields some decent tracks, but otherwise, I’d be inclined to agree. It’s cautious and it probably got them a record deal, but it’s not great. In three years, they turned around, completely matured their sound, and launched one of my favorite albums of the decade, Oh No. Almost everyone has heard “Here It Goes Again” or seen the treadmill video and I think you’d be hard pressed to find a person who would rather listen to “Get Over It.” They got that much better.

While I’m mentioning the videos, it’s also worth mentioning that Oh No also represents a creative turn for the band with it’s quirky, interesting, low-budget, high awesomeness music videos. “Do What You Want” has a more typical look, but “Here It Goes Again” and “A Million Ways” have hilariously awesome and indie videos a tradition they’ve melded with budget to create their newest video for “WTF”, which you already know I love. I don’t think that the viral video approach to music videos will take over the industry, but I don’t think you can say that they didn’t start something big with their Youtube-released video.

The whole album is pretty solid, but I’d also like to point out “Oh Lately It’s So Quiet” and “Let It Rain” as great tracks (beyond the ones I’ve already mentioned). They’re two of the slower, more contemplative ones, but they just feel right to listen to.

Fall Out Boy

Notable Albums: From Under the Cork Tree (2005), Folie à Deux (2008)

Yeah, they’re not the greatest band in history, but they’ve got some seriously catchy songs that I can’t help but enjoy. If their songs don’t make your toes tap, I’d seriously question whether or not you have a soul. FOB finally managed to break mainstream with their sophomore album, a CD filled with a neat take on pop and rock that’s just complex and different enough to pique my interests and just safe enough to be ok with the average Joe. Since then FOB continues to push into strange boundaries with its music borrowing from tons of genres and recording some solid tracks. I may not agree with their single selection (:cough: “This Ain’t a Scene, It’s an Arms Race” SUCKS :cough:), but I’d say that 80-90% of their albums are filled with great tracks.

My favorites: “The Take Over, the Breaks Over”, “Hum Hallelujah”, “A Little Less Sixteen Candles, a Little More “Touch Me””, “7 Minutes in Heaven (Atavan Halen)”, “She’s My Winona”, “Headfirst Slide into Cooperstown on a Bad Bet”, and “20 Dollar Nose Bleed”.

Matisyahu

Notable Album: Live at Stubb’s (2005)

I had the chance to see Matisyahu my freshman year at Cornell, but I had no idea who he was. The posters were up one day advertising a Hasidic Jew singing reggae and so I chuckled and went on with my day. Little did I know that a year later I’d hear a track from his live album in my ex’s brother Bobby’s car and fall in love with his brand of religious reggae. That’s the catch, of course, if Jewish-themed music offends you, Matisyahu is not for you. Then again, aside from allusions to scripture, isn’t reggae really all about peace and love? Matisyahu’s music may be about the Old Testament God, but its a celebration of love, life, and peace that will undoubtedly make you smile. My favorite songs by Matisyahu are “King Without a Crown”, “Aish Tamid”, and “Chop ‘Em Down”

Wolfmother

Notable Album: Wolfmother (2006)

Ever feel like the days of classic rock are gone? You must not be listening to Wolfmother. We’re talking straight up 1970s, Satan’s music here. From their ridiculous throwback album covers to the solid guitar solos, these guys clearly never gave up on the past and they want to bring it to the youth of today. They sound so classic that I didn’t notice for months after playing their songs in Guitar Hero II and Rock Band that the year was post 2000. If you’re ever craving a true hard rock sound, look these guys up. They’ll rock your socks off.

Best songs: “Woman”, “Joker & the Thief”

Incubus

Notable Album: Light Grenades (2006)

I know what you’re thinking. Incubus, really? Yes, really. Light Grenades was a solid album. Their best work in the decade, really. I happen to really love “Dig”, “Light Grenades”, “Anna Molly”, and “Paper Shoes”. It’s my list, leave me alone.

Streetlight Manifesto

Notable Albums: Keasbey Nights (2006), Somewhere in the Between (2007)

Probably my favorite ska act and one with kind of an ugly history. If you’ve ever heard of Catch-22, you’ve probably heard their most famous album, Keasbey Nights (1998) and the vocals of Tomas Kalnoky. At some point Kalnoky and the rest of the members had a major falling out and the band mostly split up. Kalnoky started up Streetlight Manifesto and the band gained notoriety quickly while Catch-22 morphed into a new band, but still played Kalnoky’s old songs from Keasbey Nights. Things were pretty dicey and ugly for a time too, because the bands traded lyrical jabs on their subsequent albums and, eventually, it seems that Kalnoky decided it was worth re-recording one of the seminal albums of third-wave ska, hence the Streetlight Manifesto edition of Keasbey Nights. As the owner of both editions of the album, let’s just say that the extra time and money made an already good album great. Kalnoky’s music work in Streetlight is sharp, the horns are solid and the guitars are great, creating a sound that you can’t help jamming to. Their best work comes out in “Riding the Fourth Wave”, “Keasbey Nights”, “Would You Be Impressed”, and “Somewhere in the Between”. Ska can be hit and miss, I know that most people don’t like it, but you’ve gotta check these guys out, they’ve refined the genre to its best.

The Fratellis

Notable Album: Costello Music (2006)

The UK makes the list again with Scottish rock band The Fratellis. Their music is so full of energy and that unique, intangible British music quality that I couldn’t help but fall in love with the band after playing their songs in Rock Band for the first time. “Henrietta”, “Chelsea Dagger”, and “Ole Black ‘n’ Blue Eyes” are my favorites from the disc, but there are plenty more where that came from with a mix of wild rock and slower, British-sounding songs to break up the beat and calm the heartbeat. A band definitely worth checking out.

Jarabe de Palo

Notable Album: Adelantando (2007)

I’ve listened to a lot of Spanish music in my lifetime. It’s a byproduct of my heritage, but most of what got airtime when I was a kid was salsa, merengue, the occasional bachata, and (nowadays) reggaeton. While they’re all plenty fun genres to listen to, there’s not a whole lot of innovation to be found in the strict confines of their musical definitions. Then Daniela went and introduced me to yet another great band, Jarabe de Palo. They’re not what you’d call typical Latin music, in fact because they’ve gone and formed a rock band and it’s actually not half bad. It’s actually pretty common to see other countries try and adopt American musical styles, but the results are usually pretty ghastly. Thankfully, Jarabe de Palo avoids this common shortcoming of foreign rock and is actually some pretty great music. His best tracks (that I know) are “Me gusta como eres”, “Dejame vivir”, and “Estamos prohibidos”.

Jonathan Coulton

Notable Albums: Where Tradition Meets Tomorrow (2004), Thing-a-Week 1-4 (2006)

In 2007 I played a game by Valve called Portal. Aside from being one of the best games in the history of gaming, it also featured one of the greatest songs in gaming at the end, “Still Alive”. That same Christmas, my ex-girlfriend’s brother (he makes a reappearance) showed me a youtube video of Coulton playing “RE: Your Brains”. Both were great, but in the hustle of the season, I failed to take notice of Coulton until about April or May of 2008. On a whim, I decided to check out Coulton’s work and bought his entire collection off of his website without listening to most of it. That day I took notice of the greatest Internet folk sensation to ever grace the web. Coulton’s music is mostly nerdy love songs and he himself has claimed that he needs to make an effort to write fewer melancholic love songs, but he’s also got songs about completely random things, like a tall tale about baseball’s first commissioner and how he dealt with the Black Sox Scandal, Kenesaw Mountain Landis (in a song appropriately titled “Kenesaw Mountain Landis”) or one about the trials and tribulations of being a clown (“Bozo’s Lament”). Perhaps his greatest undertaking was his Thing-a-Week challenge, where he took it upon himself to write and produce one song every week, which actually produced some of his most famous songs like “RE: Your Brains” and “Code Monkey”.

Other than the songs I’ve already mentioned, my favorites include “Screwed”, “Skullcrusher Mountain”, “Madelaine”, “Mandelbrot Set”, and “When You Go”, but I could list 10 or 20 more songs that are just as fantastic. Even better is that Coulton is all about Creative Commons and he understands the internet. He’s got an option to pay him some cash if you’ve already stolen his music and he’s more than happy to let you remix it or use it however you want, so long as you credit him. He’s truly a product of the Internet and a great musician to boot.

2007/2008 also brought two big concepts that changed the way I dealt with music and time. One thing, podcasting, is arguably not music, but it’s audio-related, so it’s worth mentioning. Before I had an iPod, I occasionally walked around campus with a CD player, but I mostly didn’t listen to much at all. After I got one and started getting podcasts, the way that information was relayed to me made a fundamental change and now I was learning about all of my hobbies and passions during my dead time walking around campus (and driving to work once I graduated). It’s pretty amazing to see that in a few short years which podcasts I’ve settled on and which ones I’ve moved on from as I struck a balance between too much (and a diminished ability to listen to anything but podcasts) and too little.

The other major musical revolution of the decade was the rise of Guitar Hero and Rock Band. I first played Guitar Hero back in the summer of 2007 and I immediately fell in love. When word started to trickle in about Rock Band, I was initially skeptical, since I believed it to be a knockoff (I later learned that it was the true evolution of the series put forward by the true innovators behind the magic, Harmonix), but I eventually came around and pre-ordered the special edition for my xbox. That game meant a lot to me and it even changed some fundamental things about me. It’s also been one of the best ways for me to gain access to new music and has widened my musical tastes considerably.

Back to bands!

Anamanaguchi

Notable Album: Dawn Metropolis (2009)

I get why people might be skeptical about chiptunes. It’s 8-bit music coming out of retro sound chips and nine times out of ten, people use it to just remix video game music. Imagine my surprise when I read an article about Anamanaguchi on Kotaku by Leigh Alexander detailing how this Brooklyn band was making great strides. Their music is top notch and stands out from the crowd because they don’t just play a 1985 NES, they’ve also got a drummer, guitarist, and bassist thrown in there. The music may take its cues from some of the conventions set forth by the game composers of the 1980s, but their music is completely original and super catchy.

My favorites: “Jetpack Blues, Sunset Hues”, “Tempest, Teamwork, Triumph (at Sea)”

Sambomaster (サンボマスター)

Notable Albums: サンボマスターは君に語りかける (Sambomaster is Talking to You) (2005), 僕と君の全てをロックンロールと呼べ (Call everything that we (you and I) are ‘Rock n’ Roll’) (2006)

What’s an article on this blog without some sort of tim rogers mention? It was this year that I read “changing the world in japanese” on his blog LargePrimeNumbers, a treatise on rock music, Japan, and, most importantly, how Sambomaster was one of the most important bands playing in Japan. Listening to the track he had posted on that article, Romanized as “Sono Nukumori ni Yō ga Aru”, I saw precisely what he was saying and became an instant Sambomaster fan. From that sandpaper, gravely voice to the emotion that is so obviously apparent through the language barrier, Sambomaster’s music speaks to a deep part of me. The guitars are stellar and interesting, the drumlines are solid, and Takashi Yamaguchi’s vocals just resonate and feel so right.

My favorite story about the band is that I’d actually heard their music back in 2005 as the fifth opening to the Naruto anime. I had no idea what the band was called or what the song was, but when I heard it, I immediately called it my favorite opening of the series and filed it in the back of my mind. Imagine the joy that returned to me when I was reading about Sambomaster on tim’s site and I downloaded and listened to “Sono Nukumori ni Yō ga Aru”. As I recognized Yamaguchi’s distinct vocals and guitar style, I immediately began researching whether or not the same group was responsible. I was right and I’ve been smiling about the band ever since.

8-Bits Never Rocked So Hard: Anamanaguchi [Feedback]
Jun 2nd, 2009 by Dan

Kids are stupid. It’s really not their fault, how can they know anything about the important things in life without any real-life experience. Take my music-habits as a kid as a prime example. It’s not like I was listening to The Wiggles or anything so terrible, but among the real musical gems that I was listening to (The Beatles, The Rolling Stones) on Majic 102.7 (WMXJ) was some questionable material. Sure, Alvin & the Chipmunks singing country music (Urban Chipmunk, lovingly referred to as “a piece of shit” by Rolling Stone magazine), Bugs and Friends Sing the Beatles, and Kermit Unpigged may have featured music by legitimate artists or actual classics in their genres, but, did you notice that it’s all marketing trash?

That was what I spent most of my time listening to, laughing like an idiot and thinking they were the greatest thing ever. Little did I know that I was far closer to musical perfection than I realized by another way I wasted my time. Of course, I apply that phrase liberally, because we all know that spending hours playing video games certainly seems like a waste of time, but is 100% legit. The year was 199X and I was manning the controller to save the world from Dr. Wily’s Robot Masters as they threatened humanity in the year 200X. Did you know that, with an easy gap of a decade between when I last played Mega Man and back in January of this year I can still remember and point out tunes from that game? Wait, did Dan just go and say that the soundtrack to Mega Man 2 is equivalent to great rock music? Just roll with me on this one, I’m making a point (a correct one).

It’s been said that necessity breeds innovation and nowhere was necessity more evident than the 8-bit sound processors encased within the video game systems of old. Ok, it was more evident in the previous generation of sound processors, but I wasn’t alive then and I don’t really care. Necessity bred one of the most kickass soundtracks ever to grace the 8-bit era. Takashi Tateishi, Manami Matsumae, Yoshihiro Sakaguchi made the Nintendo sing. Sure, they’re not quite as iconic as the works of Koji Kondo or Nobuo Uematsu, but they were really catchy, hip, and cool tracks.

That spirit of innovation was a requirement during the days of the NES and SNES, but by the time the Playstation hit most developers had moved onto Red Book audio and if they weren’t shelling out for full orchestras they were using MIDI synthesizers and the like. The art of what would eventually come to be called chiptunes was no longer necessary. We were better for it, right?

Last year I remember listening to an episode of Retronauts and the subject of video game music came up. The hypothesis was posited that in-game music had actually declined in quality and had become somewhat same-y. Iconic tunes were a thing of the past. There are a lot of things that could really affect this, I mean, do we ever really think that new media we come across as better than what we discovered in the past? For most people the rose-colored glasses of nostalgia prevent new, quality media from being better than what we used to watch/listen to/read in our youth. Things just aren’t the same anymore. To tell you the truth, that argument doesn’t even really matter in the context of this post, so we’ll move on.

All I was trying to say is that we, the video game-consuming public, have strong feelings of nostalgia with respect to chiptunes. So much so that musicians began to voluntarily restrict themselves just to see what they could musically produce. The chiptunes scene was born, social networking allowed it to grow, and we’ve arrived at Anamanaguchi.

Let’s face it though, just how much can a genre of music that involves 8-bit chirps, bleeps, and bloops penetrate the mainstream? I love video games and video game music, so something that sounds like it is naturally going to be attractive to me. Anamanaguchi can’t get around the fact that there are 8-bit samples in their music, but what they can do is try to broaden their sound by adding in real drums, guitar and bass. It’s brilliant. Limiting yourself to 8-bit samples will keep the audience equally limited.

There are definitely two names mentioned far too often on this blog, but I’m going to still mention Leigh Alexander of Sexy Videogameland, Kotaku, and Gamasutra fame, because her SVGL and Kotaku articles are the ones that alerted me to this band rising in the Brooklyn indie music scene. Her article mentions that the band has been listed as an up-and-coming band and not just among other chiptunes (or bitpop) artists. They cite their influences as real rockers, not 8 Bit Weapon, and it shows.

Of course, it’s still on the awkward side to share with random individuals who you can’t be sure will jive with chippy music. I picked up the albums this weekend hot off of watching a video, but I balked at exposing my visiting friends to it and opted to play it quietly in the background, but all that did was let the occasional muddled chirp sound through. Definitely not what I wanted anyway, so I just put on some FOB when I got tired of quiet bitpop.

Once I had some privacy and the ability to listen in depth, I found a great punk sound that totally blew me away. There are two small albums available on Amazon.com: Dawn Metropolis and Power Supply EP, with the former being the more recent release. At their website, Anamanaguchi.com, you can listen to all of Dawn Metropolis and you can also check out an interpretive video that plays in the background of their shows at this site. The little videos show an interesting mini-epic that the music is trying to convey and are pretty cool and trippy.

The best tracks to check out on each album are:

Power Supply EP

– “Video Challenge”
– “Helix Nebula”
– “Air Base”

Dawn Metropolis

– “Jetpack Blues, Sunset Hues”
– “Tempest, Teamwork, Triumph (at Sea)”

There’s just a great sound to these discs and I think it would be a definite challenge to keep your toes from tapping to these beats.

Below are some videos, one of “Jetpack Blues, Sunset Hues” and another from Blip Festival 2007

Anamanaguchi – Jet Pack Blues, Sunset Hues from Dr. Limelight on Vimeo.

Anamanaguchi // Blip Festival 2007: The Videos from 2 Player Productions on Vimeo.

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