David Wise is back! Let’s Look Back at Games He Worked On

 

davidwiseSaxophonIn some really exciting news regarding E3, Nintendo announced that fan favorite composer David Wise has returned to his roots and is now composing the music for the also announced Donkey Kong Country Returns Tropical Freeze. For those who are not following me at the moment, David Wise is the chap that created the music for the Donkey Kong Country trilogy of games back in the Super Nintendo era. He joined Rareware back in 1985, with him being the only composer until the arrival of Robin Beanland, Graeme Norgate, and of course, Grant Kirkhope. All those memorable tunes in the Donkey Kong Country games were created by this fellow; Jungle Hijinx, Aquatic Ambience, Stickerbrush Symphony and, my personal favorite, Forest Frenzy.

 

Donkey Kong Country – Forest Frenzy | David Wise

That being said, the last Donkey Kong Country game he composed was released in 1996 and, other than the ports of the DKC series to the Game Boy Advance, he hasn’t been doing much more Donkey Kong work. So, what has David Wise been up to in the period between the DKC trilogy and his upcoming soundtrack for Tropical Freeze? People say he doesn’t really get enough work but, actually, he has had plenty of work; it just hasn’t reached the popularity levels that Donkey Kong did. This piece of writing, however, is going to shed some light onto what he has been working on before his glorious return to the Donkey Kong franchise.

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Life as A Freelance Video Game Musician: Part 1: What It Takes

beatscribe007ySQURWe’re starting a little series on here that takes a look at what it’s like to be an indie video game composer, offering tips for the business side of things as well as insight into the process of designing music and sound for video games.

Years ago, the prospects for an indie game composer – especially one influenced by chiptune and classic gaming tunes – were slim. If you weren’t an uber-talented genius with the right connections, it was not a viable way to make a living. While it’s still not the easiest lifestyle, I can say it is possible. Read on to find out exactly what it takes and feel free to add any questions you have to the comments.

I have spent the last year and a half supporting my family on freelance endeavors in the gaming world. Right off the bat, I want to say that I don’t consider myself the top-of-the-line expert in the world or production and sound design. I have a background of playing in ska bands as a kid and just being nuts about game music since the NES came out. I’ve never worked on an AAA game, I don’t have an agent or a $50,000 home studio. That being said, however, thanks to the explosion in video game design and advances like the iOS market, I can make a decent living doing what I love.

This series will answer questions like, “what’s the bare minimum you need to get started?”, “how do you find clients?” and other things like that. Feel free to post in the comments any topics you have questions on. I plan to consult with other indie musicians for feedback as well.

Part I: What It Takes

Flexibility

If you’re thinking of having a go at making music for a living, there are some things you need to make sure you are aware of. First off, you probably will have to make types of music you don’t know or particularly like from time to time. For example, if all you do is dubstep or chiptune, you’re narrowing down the type of clients and the type of games you’re music applies to. Be prepared to emulate everything from classic orchestral tunes to hard-driving electronic and industrial music. You can’t be picky, this is how you make your living, you might be making nothing but little kids game music for months. You have to be able to make it your own and find some fun in the process if its not the music of your choice.

Continue reading Life as A Freelance Video Game Musician: Part 1: What It Takes

“Warrior-Poets” – A Review of Chipmusic Heroes II: Reditum

Chipmusic Heroes II: Reditum

Bolstered by the success of their first release and back for a second helping, global chiptune collaboration group Chipmusic Heroes has released their second album, three months to the day since their self-titled debut. Reditum picks up where the debut left off and goes even bigger and louder. Thirteen different artists from countries as far-flung as Norway, the Netherlands, Canada, the U.S., the U.K., Russia, Israel, and New Zealand are represented here. With one exception, every contributor to the debut returns, as well as adding new blood like Octobox, Aimm, and Super Robotic Encounters.

The opener, “Side By Side,” sets the tone followed throughout the album, striking a balance of sounding like video game music without actually being that. This album showcases a range of chip as diverse as the contributing artists, though there are definite high points.

Kartmaze‘s nine-minute romp “Across the Nebula” gets my vote for best track, and that has surprisingly little to do with my obsession with lengthy songs. This track has a very story-like feel to it, as though the listener is flying through space visiting different planets, where the music shifts every so often to sound like it was inspired by video games as diverse as Castlevania, 2D-era Final Fantasy, Contra, and Metroid.

Several other tracks deserve specific attention as well. Grimmy‘s aptly-named “Arcade Nights” opens with a build that makes you feel like you’ve stepped into Flynn’s Arcade before kicking into something I would best describe as 80’s synth revival, like the Hotline Miami soundtrack with chip tossed in. “Pixelated Sunshine” by Freq is a joy, a jaunty and bouncy little tune that somehow evokes both old Mario tunes and old rap beats. “Worker Ants” by Same Type Attack Bonus sounds like someone attempting, with success, to give MegaMan a boss stage theme of his own. Finally, Mr. Lenix & Thunder Fox‘s collab track “Frustration,” complete with random angry soundbites sprinkled in, shamelessly throws what sounds to me like an elevator track into a chipstep song. And it works! It’s like “Welcome to Rapture, enjoy your wubs.”

Something that doesn’t stick out right away and – yet strikes me as incredible after giving the album a couple listens – is that this group is all fairly new talent. To name just a few examples: none of these artists have been on soundcloud more than a year, __twc is a mere sixteen years old, and Octobox is a newly-minted Calarts grad.

Overall, the album is solid from cover to cover, with every track worth listening to and offering something fun and enjoyable. The video game influence on Reditum is very prevalent, with most of its tracks sounding very much at home alongside arcade and 8/16-bit era music. But as I said above, this album never sounds derivative or uninspired, which I think is its greatest strength, and why I would highly recommend it. This is a great starting point for anyone thinking to themselves “Just what the blazes is chiptune anyway?” or any long-time listeners looking for a reminder of what got them into this in the first place.

 

Danwich is terrified of The Man and does his best to minimize his online presence.  But you can reach him through his email or his radio show’s page.

Anamanaguchi live on Late Night Jimmy Fallon

It is with great pride I post this embed code. Anamanaguchi the four-piece chiptune rock band from Brooklyn played a featured set on Late Night with Jimmy Fallon. These hard-working dudes recently became Kickstarter’s most successful band and deserve all the success they’ve seen. I recently got to see them in Philadelphia with the show they put on with 8static, it was awesome. Check out the video below

Check out a version with better audio on Kotaku.

A blog for video game and chiptune music, retro gaming, and live events. Created by Dj CUTMAN.