Dot.AY releases debut self titled album

Glitched out Australian chiptune artist, and also guest contributor to this site Dot.AY has finally settled down and saw fit to release his first full length album. Going with the self titled Dot.AY, the album drops eleven tracks of glitched up retro'd out tunes. From the dance infected POQO to the punk rock sounds of Education the album covers a fair amount of sonic territory.

My personal favorite of them being the ever building track Physical Time. Starting with a wall of sound before finding a laser filled path through a maze of distortion, chips, and even some samples. The song picks up it's pace into a whirling dance number before breaking down into the glitchy void it came from.

Head over to and pick up the new release today, for free download. Also don't forget to keep your eye on Game Boy Australia for the latest of chiptune news from the Southern Hemisphere.

Chiptune musicians Dot.AY, 10K Free Men, and Little-Scale featured on Australian TV show Good Game

This past week, Good Game, a television show on ABC (Australian Broadcasting Company) featured the growing chiptune scene in Australia. The segment is a little over 5 minutes and includes interviews with good pal and occasional contributor to this site Dot.AY along with other amazing musician and Gameboy Australia cohort 10K Free Men and Their Families. Also included is another awesome musician known as Little-Scale. The interview discusses the ideas about chiptunes, and a bit from each artist about what it means to them, how they make it, and how they got into chiptunes.

The segment is pretty well done and is definitely a win for chiptunes, especially in Australlia! My congratulations go out to my friends who got interviewed, not to mention the awesome Australian chiptune scene at large that sometimes gets lost in the shuffle on the world scene. They are definitely some of the most accomplished and enthusiastic musicians I have heard and glad they had this opportunity to spread the word on chiptunes. Sadly the video isn't embeddable, but is available to download or view online at this link to the segment.

PS. Also congrats to Gameboy Australia for celebrating their first birthday! Definitely a site to check out whether you live in Australia or not!

Dot.AY and Ten Thousand Freemen and Their Families interview with GameSetWatch

There was an article recently from GameSetWatch which had an interview with two great Australian Chiptune Artists, and grand chiptune artists in general, Alex Yabsley AKA Dot.AY and Thomas Gilmore AKA Ten Thousand Freemen & Their Families.

It's a really interesting read about these two fine artists, as well as a look at how the crusade for chiptunes is going in the oft-overlooked land of Australia. In the interview they do poke a bit of fun at us Americans, I would be offended but that would make me fall right into their trap of being a "dead serious American."

The article, by Drew Taylor, can be read at

Game Boy Australia officially announced!

I know this website, as it is based in the US, tend to have a US slant on things. That's why we have our good pal GameWave Joe (which I just now decided to nickname him) to help cover things from a more UK perspective. BUT, what if you reside in neither Europe nor the Americas? Well looks like the one and only Dot.AY has stepped up to resolve those problems for one continent! I introduce to you Game Boy Australia! Here is Dot.AY to explain the premise of his site.

Our idea is to unite Australasian chiptuners through events, releases and information because we were sick of complaining about how all the chiptune scenes seem to be in the northern hemisphere. So basically we want to create a scene and a fan base here in Australia so eventually demand for other international artists to tour to here will begin to occur.

So head over and check out Dot.AY and friends awesome blog. They already ahve some great info and news about chiptunes. Not to mention they just announced their Australian Tour, so for you folks in the southern hemisphere needing more chiptunes, here's your chance!

Here Comes a New Challenger album release date set

Looks like we will have over 30 artists collaborating on over 20 songs! Some of those artists are featured below in our epic flash trailer brought to us by Doctor Octoroc. Click "Play" below to watch the preview and learn the release date!

If you would like to post this flash on your website, myspace, etc, and I can't imagine why you wouldn't, then grab the Flash code below!

Dot.AY interview with Pixelh8

Guess what folks! we have a surprise interview from Dot.AY, in where he talks to famed chiptune artist and good friend Pixelh8! Why is it a surprise interview? Why because I went on and on about the 5 interviews (two of which are still coming) Dot.AY was submitting to our site, then just a few weeks ago, him and pixelh8 tell me about this sixth interview! So Alex AKA Dot.AY sent it over, and now you may all enjoy!

Pixel H8 Interview

1. What equipment do you use to create your music?
-Does this differ between live and composing context?

Very much so at the moment, I use the actual machines to compose with, and
often at the moment although it will soon change I am using a sampler live,
as it would be nearly impossible to play all of the instruments at once, but
with my new live set up yeah the original consoles and computers will be
there with me on stage.

I do and have been using the game boy synth a lot live though not just for
notes but to add special effects and crowd participation.

2. Can you outline your compositional process?
- Does the technology used affect this?

Yes for my 2nd album every note on it I have made from scratch I have
programmed the NES, the Gameboy, Sega Game Gear, ZX Spectrum & Commodore 64
and about 10 other machines to make real time synths so I can make it make
the sounds I want, if you were painting a picture you wouldn't ask someone
else to choose your colors would you? When I finished the Game Boy synth it
was so useful you could just throw on a beat and jam along to it, and I was
able to come up with loads of stuff almost instantly.

3. Do you post-produce, mix and master your own recordings?

Yes, but there are no effects like phaser or reverb etc on my recordings as
the original machines were not capable of it for the most part so I have
left them out to make it even more authentic. I did use reverb on one track
on my first album and I have regretted it ever since as it doesn't feel
right, but I have learnt that lesson.

4. What is your musical and technical background?
-Please include what music other than chiptunes, if any, you have been
involved in?

I am a classically trained musician having studied music theory and I have
an appreciation of all music, favorite being modern concert music like Cage,
Ligeti, Penderecki, Schoenberg mixed with Sly & The Family Stone & Marvin
Gaye. On the technichal side I am self taught from just opening up machines
as well as finding technichal documents on the internet.
My other alias's are Hidden Fortress (Electronica), The Autum Cult (Ambient)
& Matthew C Applegate (Modern Concert) all are very different in the style
of music they are known for.

5. Why do you think you compose chiptunes?
- Do you feel particular loyalty to the chiptune community?

I like chiptunes for their nostalgia, it always brings back happy memories,
I also like pushing machines to their limit, I love taking something
intended for one use and using it as a musical instrument. I am loyal to the

6. Do you feel there is a 'generation gap' between the demo/mod scene and
new artists who don't program/hack?
- If you agree, what does this mean for the future of the scene?

I think we can all get along, we all love the chips, but yeah in any
generation gap there will be confrontations, i.e. I really dislike people
who sample entire theme tunes for games put a drum beat behind it and claim
it's theirs and even worse claim it's chiptunes. It's not chiptune, it's
lame and I think that laziness is true of all music not just chiptune. I
think eventually people will get bored of the tetris theme tune with
different beats and start looking eleswhere to more original chiptune

7. Do you compose with the gameboy portably in public/irregular
-How do you find surroundings effect composition?

Yeah I have my gameboy synth and a minidisc player and I make up riffs as I
travel around, having something portable and musical is a must when doing
long journeys. I don't think it effects it much but it is a very useful set

8. What in your opinion makes a good chiptune?

Fun it should be fun, it's a simple rule, but I like it.

9. any further comments

Make music, make friends & have fun.

Pixelh8/ Matthew C Applegate

This interview was performed by Alex Yabsley (Dot.AY) on 08/08/2007.

Dot.AY interview with BitShifter

Finally we are getting around to our third in a five part series of interviews performed by Australian chiptune artist Dot.AY. Check these links to read up on prior interviews with 8 Bit Weapon and Sm0hm. This time Dot.AY spends some time with famed chiptunist BitShifter. Read up and found out about more of what makes BitShifter tick.

1. What equipment do you use to create your music?
-Does this differ between live and composing context?

I'm using the first generation Nintendo Game Boy (commonly called the "Classic" version), running one of two home-brew Game Boy musicmaking programs, either Nanoloop (developed by Oliver Wittchow) or Little Sound Dj (developed by Johan Kotlinski). The setup is basically the same during both composition and performance, a Game Boy running either a Nanoloop or an LSDj cartridge. Although occasionally I'll use two Game Boys running Nanoloop in live performance, synchronized via a GameLink cable.

2. Can you outline your compositional process?
- Does the technology used affect this?

The composition process is usually pretty spontaneous, it's rare for me to pick up the Game Boy with a preconceived notion of what I want the end result to be, although that occasionally happens. The process usually involves a combination of deliberate composition and exploration / exploitation of happy accidents -- for instance, entering a short melody or sequence of sounds, and then altering sound parameters to introduce an element of chance, changing the sound & behaviour of the notes in ways that can have unpredictable results. So it's pretty exploratory, in a lot of ways it's like collaborating with the program and hardware, there's a bit of back-and-forth between the device and the operator. So in that sense, the creative process is influenced and mediated by the technology. The hardware and software present certain creative avenues, and steers the user this way or that way -- like any musicmaking environment or instrument will. The two different programs I'm using each promote a slightly different musicmaking approach too, at least in my experience. LSDj is note-based, utilizing traditional note designations (C, C-sharp, D, D-sharp, etc.), and I find that most of the tracks I do in that program end up being more melodic, pop tracks. Nanoloop's interface is abstract and almost entirely graphical, using no traditional reference points for sound or pitch parameters. In my experience this is really liberating, it sort of triggers a different way of conceptualising and approaching music creatively. This allows me to sidestep the traditional methods of approaching music that I've always been entrenched in, and makes the whole experience much more about exploring sound, rather than melody. So those tracks end up sounding more abstract, and based around texture and rhythm, rather than overt melody. Both programs are versatile enough to serve in both roles (melodic vs. abstract), but as a musician it's been really interesting to see how the programs' different conceptual models lead to different creative results.

3. Do you post-produce, mix and master your own recordings?

I do, to the extent that I have any real qualifications to use any of those terms. So far I'm doing very little by way of post-production -- no outboard mixing (all adjustments of the individual channel levels are done within the Game Boy as part of the composition process), and my "mastering technique" is pretty amateurish and heavy-handed. But yes, I'm doing all of that myself.

4. What is your musical and technical background?
-Please include what music other than chiptunes, if any, you have been involved in?

It's mostly characterized by total pursuit of impulse and total disregard for discipline or practice. I took a few years of piano lessons when I was young, but that didn't last long. I picked up guitar in high school, mainly learning the instrument by playing along to various Beatles and hair-metal albums. I've been involved in a bunch of bands ever since, mostly in an ostensibly noisy, punky, melodic vein. I was a pretty avid hometaper / cassette four-tracker for a long time, which is a bit of a conceptual parallel to the Game Boy project in that I discovered that creatively, I work best when working under technical constraints and limitations.

5. Why do you think you compose chiptunes instead of some other form of music?
- Do you feel particular loyalty to the chiptune community?

I do feel a loyalty to the community, but making chiptunes has never been to the exclusion of also making other kinds of music. I still work with other types of music, so it's never really been a matter of exclusively choosing to make one type of music over another.

6. Do you feel there is a 'generation gap' between the demo/mod scene and new artists who don't program/hack?
- If you agree, what does this mean for the future of the scene?

It's a good question, but speaking as someone who was only distantly aware of the demoscene, and who has never done any hardware hacking, I don't really feel any particular gap. I definitely respect demosceners and hardware hackers though and secretly wish I could command that kind of cred.

7. Do you compose with the gameboy portably in public/irregular surroundings?
-How do you find surroundings effect composition?

I definitely make use of the Game Boy's portability. I do a lot of composing on subways, airplanes, park benches, toilets, and so on. The surroundings never really affect the process though -- it's a really immersive and inconspicuous activity, so I basically get absorbed in what I'm doing and my awareness of my surroundings is limited to just trying not to miss my subway stop.

8. What in your opinion makes a good chiptune?

I couldn't really say. I'm constantly amazed by the breadth of styles and the new ideas I hear in peoples' tracks, stuff that you could never predict and even if you could, you probably wouldn't think it would be a viable idea. So I couldn't cite anything specific. If anything, I'd say I really respond to anything that's fully-realized in terms of concept or artistic convictions. So one of Bud Melvin's left-field Game-Boy-and-banjo tracks, or one of Overthruster's evolving, generative pieces, or Trash Can Man's meticulous powerpop masterpieces -- the only real common attribute being that there's basically an obvious single-minded purpose at work, which comes through in the final product.

About the Artist: Bit Shifter aka Joshua Davis is a powerhouse in the Chiptune scene. His Gameboy music is hard frenetic and incredibly dance friendly as is his live show. Having performed over one hundred shows all over the world, being involved in large netlabel and having his name on many high quality chiptune releases it is no wonder he is a well-known legend within this genre.

This interview was performed by Alex Yabsley (Dot.AY) on 04/27/2007.
(live photo credit: Jamie Bruno)

Dot.AY interview with Sm0hm

We just posted our second in a five part series of chiptune interviews by Dot.AY, who seems to be establishing himself as a premiere journalist in the chiptune community. This time the interview is with Swedish gameboy artist Sm0hm (formerly Småm) in where they discuss gameboy preference, the swedish chiptune scene and more. Read on for the informative Sm0hm interview.-------

Alex: What gear do you use to compose your music? (software and hardware)

Sm0hm: I always use Game Boys, but tend to play around with most stuff I find, like sequencers, trackers and some music games like Electroplankton and Gupey, but when I do serious composing, that I release it's Game Boy. On Game Boy I use the tracker Little Sound Dj and the step sequencer I do most of my music with Little Sound Dj

A: cool so do you have various gameboys? do you do any of the fancy MIDI sync-ing etc. or just solo gameboy per track?

S: I have four Game Boys, but I usually just use one. I have synced two game boys on some tunes, but I think that the charm of this kind of composing is the limits. It's really fun and cool to see how much you can push it. I don’t have any midi syncing devices, and I don't need one at the moment, but we'll see what happens in the future

A: Just on a side note which gameboy sound do you prefer?

S: I prefer the Dot matrix aka Greyboy. The sound is undoubtedly the best

A: OK so have you done any of the Pro-Sound Mod stuff for colour gameboys?

S: No, I'm pretty lost when it comes to stuff like that. The only thing I've done with my Game Boys so far is exchanging some of the back shells.. But I'm going to try to do the mod sometime

A: So did you make music before the Game Boy and LSDJ?

S: Not really. If you call mixing in Ejay and Garageband making music, so sure. But I would say no. I've been interested in music long before, but never really making anything. I've always dreamed of a portable music maker like LSDj. actually, I've always dreamed for it to be on the game boy console dunno why really.

A: I assume from Garageband and Ejay etc you knew about some music theory (scales etc) that you now apply to the Game Boy? or not?

S: When I started with LSDj I had absolutely no knowledge what-so-ever haha! When I used garageband and stuff like that I just dragged loops you know

A: Yeah right, cool that’s awesome, so has using LSDJ broadened your musical knowledge? Not just in a music theory sense but knowing what sounds good through trial and error etc?

S: Yes, very. You learn alot by making music yourself. Of course, there's much I don't HAVE to know, so in musical theory I guess I'm pretty lost. But now I can more easily hear the errors and faults in music and point out what they should do. My pitch hearing is perfect according to a test. Dunno if that have something to do with LSDj, but I guess that would be the most logical.

A: That’s awesome, Do you play live?

S: Yes, I've done it once.. Really twice, but you can't really count the last time, it was in my living room playing for some of my close friends haha! The neighbours called us the next day and asked if it was us that played the loud music. The first and only time I (really) have played live was at a New Year’s Eve party. It was a very fun experience.

A: So that was just Game Boy, were you playing back songs or using LSDJ's live function?

S: just playing songs and acting like I’m really doing something! :D, that's pretty much the live standard, but I'm planning to do more advanced live stuff in the future

A: Yeah that’s what I gathered but I mean it’s a gameboy on stage for most people that’s cool enough.

S: yeah, true =), no one will guess that you can squeeze out amazing melodies and rhythms from an old video game

A: How big is the chiptune scene in Sweden?

S: people say that the chip scene is the biggest in Sweden, and I think that can have something to do with us all being addicted to video games. For instance, if you play a game like counterstrike or WoW, and say "Is there any Swedes here" you get spams of "yes". Though it's still not many that have heard of the term chip music, but many have encountered it.

A: Do you feel there is a kind of generation gap between the demo, mod scene programmers and people like you making music on Game Boy but without technical programming knowledge?

S: in a way, yes... I know many modders and demo sceners that laugh at my ignorance, but we're still the same in heart, really. This kind of music is there because the artist thinks it fun, there's no money involved, just strict fun and games. I think that's the line you can draw trough the demo, mod sceners and chiptunists like me, we're all doing it for fun.

A: You mentioned earlier that it’s great playing with the limitations but is that what makes it fun or is it the idea of making game music? I think it’s the sound, maybe? I don't really know but it is fun.

S: If I’m going to talk about everything that's fun with chip music I’m going to be stuck here all day! But, I just mentioned the limitations, because that it one of the most noticeable features when you compose for this format, except the sound of course. Yes, the sound is great fun too, to see how much you can do with it.

A: What chip artists do you listen to?

S: Woa, alot.. But the ones I have listened to most is Bit Shifter, Nullsleep, Quarta330, Xinon, USK, Role Model, Goto80, Trash80 and many, many more. but Bit shifter, Quarta and Role model are closest to my heart =)

A: What non-chip music do you listen too?

S: honestly, not much, but Daft Punk, Kraftwerk, some random house music and some Swedish reggae and ragga / hip hop can't hurt alot daft punk atm.

A: Do you play games much?

S: no, not much at all, but I used to be kinda addicted to video games as a child. I had a blue game boy pocket, my first console, that I played a lot on. I've always loved the sounds, I used to carry it around as a freestyler when I was a kid haha much N64 too much actually I’ve bought Gunpey for DS recently, it's a puzzle music game, has some chiptune elements in the sequencer, which was the main reason I bought it.. Though the game was addictive, and the sequencer was crap, so I’m now playing Gunpey like crazy.

A: Do you know about the Malcom McClaren 8bit article?

S: yes, I’ve read it, very interesting, he's playing at a festival called peace and love here in Sweden, I might go.

A: Oh really? What do you think about the whole opinion that chiptunes are a reaction against modern pop music?

S: actually, it depends.. I hate mainstream stuff and most pop music, so for me it's true in a way, but for others it may be different. I don't think it's a 'reaction' against pop music tho, I don't chip music exist for the single purpose of telling the world that we do not like pop music but I can see what he means by that, the comparison to punk. chip music often is a DIY, fuck you money craving label asshole, underground music style.

A: Do you compose with the Game Boy when you’re out and about? Do you think your surroundings affect the way you write songs?

S: I usually sit at home, but composing outside is very nice too. It does affect the way you write songs, I know many that must have good surroundings to write good music. I for one can't concentrate when there's other people around me, the only song I’ve composed when there's people around me is meet me in Cairo haha =). I always take my game boy with me though! You never know when you might want to compose some 8bit love 4bit actually...

About the Artist: Sm0hm is a Gameboy artist Simon Mattisson from Gothenburg, Sweden. For details on his regularly released new material check his Myspace.

This interview was performed by Alex Yabsley (Dot.AY).

Dot.AY Interviews 8 Bit Weapon

Great friend, musician, and writer, Dot.AY interviewed California musician 8 Bit Weapon a few months back. This is the first in a fantastic five part series of interviews Dot.Ay has done, and allowed us to host on our site. So check out the first of five interviews with this 8 Bit Weapon Interview and enjoy!-------

1. What equipment do you use to create your music?

2 PC's for sequencing and recording, some old 8-bit computers such as the Commodore Vic-20, Commodore 64, Commodore 128, Commodore Amiga 500, and the Apple II, as well as game consoles such as the Nintendo Entertainment System, Game Boy, Atari 2600, Intellivision synthesizer, acoustic drum kits, various vintage synths and drum machines.

2. Does this differ between live and composing context?

Yes, live gear is simplified. We (ComputeHer, MelBot, and myself) aren’t a huge act like the rolling stones, so we still get the standard/sub-standard 30 seconds to set up and tear down at gigs. For this reason we can only afford to bring the minimum, which is: C64, C128, Nintendo Gameboy classic, Yamaha DD5 drum trigger pads & Ensoniqe Mirage Sampler combo, and a Microkorg Vocoder. The music backing tracks is run off an old laptop. We usually bring our own mixer too, since most clubs we play are rock band oriented and want to EQ our c64 like a Gibson guitar. lol so we send them a stereo pair from our board and I mix the sounds during sound check. That is, if we get

3. Can you outline your compositional process?

I usually meditate for a moment and go to my safe place. Then I contact my spiritual animal guide, my guide is a duck. Then I shoot it and prepare it in a cherry glaze sauce and eat it. J/K! lol I start by programming a beat in the style of song I’m going after. For instance, if I'm going for a disco number, I throw down a 4 on the floor bass kick and some fun hats with a quirky vintage set. From there I almost always hit the ground running with a fresh bassline. Then I build a lead melody. Depending on how much I like the new melody, or if I think I can do a better one later in the song, determines if that segment is going to be the Chorus or just a verse. So if I decide it’s a chorus, then I try and do something with the same vibe, but toned down to become a verse. Once I have both a Chorus and a verse, I do my bridge. In the bridges I build (also known as a middle 8) I like to take the song somewhere new for a bit then bring it home again. I can then choose a formula for my songs overall structure. SO do I want to do "Intro" +"Chorus" +"Verse" +"Chorus" +"Verse" +"Bridge" +"Chorus" like my song "One Last Mission"? Or do I want to go "Intro" +"Verse"+"Chorus" +"Verse" +"Bridge" +"Chorus" like my song "Sk8 Bit" many options. I even do weird combos like my one of my new songs "FUNDAnalogue" that has "Intro"+"Chorus" +"Bridge" +"Chorus"!

4. Does the technology used affect this?

Not at all.

5. Do you post-produce, mix and master your own recordings?

I mix and produce my own music, but I outsource my mastering.

6. What is your musical and technical background?

I took one semester of Piano in College in 1993. Then in 1994 I took fundamentals of music. I got an A in both. Then I taught myself everything else like Midi, Sequencing, trackers, various performance techniques, and recording and production techniques.

7. What music other than chip tunes, if any, have you been involved in?

I have done Rap music, Classical, Jazz, Techno, Drum n Bass, Trance, Punk, Rock, New Age, World music, IDM and others. I like to do whatever I feel like at the moment of inspiration. If you listen to any of my albums, not just the chiptune ones, you will hear many different styles on each of them.

8. Why do you think you compose chiptunes instead of some other form of music?

I have done the others forms, but I get the most pleasure out of Chiptunes, personally. Even really heavy dark chiptunes have a warm friendly vibe at the base of it, imo.

9. Do you feel particular loyalty to the chiptune community?

I do to the part of the scene, but not to chiptunes in general. The only people that have stood behind what I do, for the most part, are my friends from Friends like ComputeHer, FirestARTer, Poke aka The C-men, MelBot, and a few others are true friends for life. I do what I do because I love music, all of it, period.

10. Do you feel there is a 'generation gap' between the demo/mod scene and new artists who don't program/hack?

not at all. Just different levels of experience and style.

11. What in your opinion makes a good chiptune?

same as any music. Does it sound good or does it sound bad...that’s my high-tech equation. lol I think you just need a bit of structure, a key to play inside of, and that's it. Doesn't matter if you made a song with an Atari 2600 sound chip tied to your nipple while taking a shower with your finger in a power socket..if that sounds good to you, then it’s good. Doesn't matter what anyone else thinks.

Thank you.

My pleasure, you have asked some of the best questions I've ever been asked! -Seth :)

About the Artist: 8 Bit Weapon is Seth, ComputeHer, and MelBot. This trio has performed across two continents and have a number of high quality commercial releases. Often seen outside the Chip scene appearing at gaming conventions, the I Am 8bit art show and everywhere in between. They are currently on the Nerdcore 2007 International Tour.

This interview was performed by Alex Yabsley (Dot.AY).

Music EXP Compilation Update 2

This is not the official cover (maybe?), but some fantastic art done by none other then Steffo of My Parent's Favorite Music.

Have we got news for you! We just got a total of FOUR new bands on board for Music EXP. Most of these new bands announced are from outside of the US, which makes this quite the international compilation. From Norwich, UK we've got The Lost Levels, who's self-titled EP has been called "Dark side of the moon for the Nintendo generation." Next up, from Ontario, Canada is fantastic chiptune artist Lutin. The third band for this announcement is our pal, hailing all the way from Australia, Dot.AY. And finally, from within our US borders comes the chip stylings of Player Two. We are glad to have all of these folks on board. Be sure to check them out on their official sites.

So now, let's see the chart of bands now officially on the album!

Band count so far:
8 Bit Bandit
Alex Mauer
The Lost Levels
Player Two
Select Start
Spheres of Chaos
Super Nintechno
Temp Sound Solutions

Keep checking back, we have a ton more to announce on the compilation soon!

Back to the 8 bit

Alex Yabsley AKA Dot.AY wrote an incredible and in depth article about chiptunes and circuit bending entitled Back to the 8 bit A Study of Electronic Music Counter-culture, which we are glad to host here on GM4A. You can check out the article in the media section or by clicking here. Here's a brief intro of the article.

This paper examines technologies effect on musical cultures. Specifically focussing on two musical genres that rely on the use of old electronic gear to make music, Chiptunes and Circuit Bending. Through Internet field research within these cultures, based on ethnographic principles of ‘participant observation’ an in-depth analysis of all parts of these genres is made. This project also aims to test the validity and accessibility of these musical styles, and discusses this, revealing that many aspects of the genres lend them to be more accessible than other electronic art music forms. The paper concludes with the author’s own thoughts from the results of field research, on why these genres are in fact valid art forms, and that they are needed to progress the world of electronic music.

Definitely worth the read. And remember to give us your thoughts on it.