“Roman is as Roman Does” is the first official video off of Themselves‘ Crowns Down. It’s an odd mix of animation, hip hop, and cupcakes.

Also on worth noting is this live but arty video of Oversleeping, another track off of their new album. Dose kills it, but it’s always to watch Jel’s MPC wizardry in action.

Themselves – “Oversleeping” in Utah from anticon. on Vimeo.

Jason did an awesome job on these transcriptions, but I should mention you’ll need a capo (I’m on my way to Lark in the Morning for mine now). He also included the bpms for each track so that “someone can sync a metronome add drums or whatever if they have an interest. “, so get remixing! If you’d like to hear more of Jason’s music, check out his band Echoes From Mars.

Ratatat and Despot are currently touring the US. During each day of the tour, the duo will write, record, and perform a new song that will eventually be released on a free album when the tour is finished. During their recent San Francisco show, they asked Aesop Rock to appear on their daily track. Aes documented his experience and posted it on youtube. Check it out above. The tour only lasts for 6 more days, so hopefully we’ll see the album appear in a week or so.

Inspired by John Cage’s composition of silence, I have created a few musical re-interpretations for you to download:
4′33″ iPhone ringtone (inspired by @sfslim)
4′33″ Drown Radio’s Bangin’ Remix
Cage VS Rock (a mashup of 4′33″ with A.R.’s “Lucy”)

And here are some related pieces culled from the internets… If you have any you’d like to share, please post them in the comments below:
John Cage Vs. Pineal Gland Zirbeldruese “4:33 Erotic Emergency” by Catcubed
4′33″ of the return on BART from Paule Anglim by ifyouseeclay (more here)

Based on my google hits, I see several folks stumbling on DrownRadio.com in search of Bomarr’s newest installation to the Wild X-Mas mixtape series. Sadly, last years volume was the last in the series, but fear not; videogame musician and bead sprite artist Doctor Octoroc has released 8-bit Jesus, a chiptune tribute to christmas songs. The album is currently available as a zip file or individual mp3s, but I get the impression that this is a work in progress, so check back later for more muzacs.

Looking back, I probably wouldn’t have bought Xoc’s newest album, The Beginning of the End, if it had cost one dollar more. Not that I wasn’t interested… GameMusic4All’s description of the Sacramento based musician who performs live versions of video game sound tracks sounded enticing, but without as much as a single preview track, my decision to buy the limited edition 3” CD was ultimately based on it’s price. At $6 with shipping, it was just too good of a deal.

A few days later, the CD arrived, and after a quick household search for something that I could I could play the 3” CD, on I was finally able to see what’s Xoc’s music was about. I was totally won over in the first 5 seconds with the theme to Contra (one of my favorite video games) being played on a Casio SK-1 (one of my favorite instruments). There are 100 video game songs on The Beginning of the End, averaging about 7 seconds each and played on different combinations of toy pianos, distorted guitars, accordions, and drums.

I interviewed Xoc about the inspiration and the process of creating this unique album. Read it after the bump:

The description from your label’s site describes The Beginning of the End as an album 4 years in the making. Can you break down that process for us? Did the album become a full time job at some point, or was it assembled over a spread out series creative bursts?

The short songs became sort of a sub-hobby. By that I mean that there were all sorts of recording projects going on, but then I always did a few short songs every once in a while, and filed them away. When it looked like it was getting near the finish line, I started doing it full-time. There are a couple of songs in there that are four years old, but the way the medley is arranged, it’s a pretty even mix between new and old. Hopefully no one can tell!

The album features a wide array of instruments, ranging from theremin and toy keyboards, to drums and electric guitar. I get the feeling you come from a guitar/metal background, I was hoping you could talk a bit about your musical roots.

The drums were my first instrument. I’ve never thought of myself as a guitarist or bassist or accordionist. I feel like a drummer who’s misbehaving and stealing all the other guys’ instruments to be silly.

I’m actually not a very metal guy! I play in KnifeThruHead – that’s sort of grind/punk/comedy (knifethruhead.com!), and I do my own solo stuff as Recreational Episiotomy (recreationalepisiotomy.com!). But when it comes down to it, I don’t listen to a whole lot of harder stuff. I was a huge Anthrax fan growing up, however.

When you pick a video game track to cover, do you transcribe it carefully and plan out your version or do you just grab the nearest instrument you can find and hit record?

Covering something that’s easily deciphered will always take priority for me! Nintendo music is always so much easier to figure out, as compared to Genesis stuff. I have actually sought out MIDI covers of songs that I couldn’t get a handle on, because I can deconstruct it and discover things I couldn’t on my own. I’m not too good with just the ear.

Although the instrumentation is fantastic, what really blew me away about The Beginning of the End is your production. I know it’s no easy task to assemble such a diverse group of songs and styles into one cohesive medley, but you really pulled it off. What sort of tools do you use for recording and how did you get the whole album to sound so fluid? If you use a program, is there anyway we can get a screen shot of what the final product looked like before you mixed it all down?

Thanks! The arrangement of all the songs was really tough, since I didn’t start out with the medley idea. If/when I do another batch of them, I’m going to try and plan things out ahead of time, I think… or would that take away from the sound of it? Maybe mixing up the production style/quality is what makes it good… I don’t know.

A screen shot of the final product wouldn’t look very exciting, since each song was mixed down and rendered a separate ahead of time. It just looks like a staircase. (If you’d really like to see what I was doing to arrange this stuff – http://www.xocmusic.com/xoc_beginningoftheend_medleychart.html)

The first time I had seen your work was the incredible NESpaul in 2004 (via BoingBoing). Does the NESpaul make an appearance on this album?

It might! Ha ha. It’s hard to tell, there’s a lot of stuff in there. If it does, it’s only for something very simple, since the NES Paul is extraordinarily difficult to keep in tune.

I’ve heard that you were working on an updated version of the NESpaul, using nicer guitar parts. How is that coming along? Are there any other Xoc retrofit projects in the works?

I’m not actively working on a new one – I’ll leave it to someone with a greater knowledge of guitar construction. I’m not the first to attempt such a thing; I remember seeing Genesis guitars and basses, and I think a SNES guitar.

Your musical influences are obviously rooted deeply in retro gaming. Do you play any newer games, or are you loyal only to games from the 80s and 90s?

The last console I bought was a Gamecube, and I recently played through Doom 3. But honestly, that’s as current as I go. I’m not a gamer in the strictest sense.

For retro gaming; console or emulator?

I have to use an NES emulator, since I turned my Nintendo into a guitar!  Yeah, emulators all the way.  I’m more of an arcade fan, so to have every one of my favorites in MAME is something pretty special – it’s completely worth the trade-off of a joystick to a keyboard.

With the exception of the Crystal Castles medley, you have more Castlevania songs on your album than any other games. Would it be safe to say Castlevania is one of your favorite games (or at least favorite game soundtracks)?

It’s more of a favorite soundtrack – at least for the first NES one and the Gameboy game.  I never played beyond those.  But the music is pure artistry. If I had to pick a favorite game franchise, it would probably be Metroid.

Aside from being a game music historian, you’re also highly knowledgeable on many other aspects of gaming culture in the 80’s. I loved your write up on the obscure 80’s film Video Game: The Movie complete with news about the movie’s release and the video game that came out based the movie and the game’s soundtrack… And then to top it all off, you even covered the entire video game’s soundtrack. Was the sound track to Video Game: The Movie something that really impressed you musically, or was the idea of using real instruments to perform the music from a video game about a movie about video games just too cool to pass up?

I’m not sure whether this will be good news or bad to you, but that project was 100% original fiction – the movie, the game, the music, everything.  I just wanted to make sure you knew that.

That was for a contest to create a fictional game and soundtrack.  I started writing archetypal game music (a Mario-style song, a Metroid-style song, etc.), and the story of a game that ripped off other games was the best way I could think to tie it all together.  All the stuff about the movie was just window dressing.  And I have to confess, I’m not that knowledgeable – that story was the product of a LOT of Wikipedia browsing!

Oh my Joss, Video Game: The Movie was all a joke? I feel like such a fool. It was so wonderfully detailed though, I was totally convinced… and it’s not totally inconceivable either, given the era. So the arrangements for the “game” soundtrack are all original? What did you build the “NES” versions in then?

I tried to make it as believable as possible, so I take it to be a high compliment that you were convinced!

All the songs are original; I recorded all the songs with instruments first, and then for some reason I thought it would be funny to create semi-credible 8-bit versions.  But I’ve never been able to figure out any NES tracker programs, and I don’t use MIDI for anything either, so I just sampled NES sounds, and assembled the entire thing step-recording style in Acid.  [see screenshot of "Hometownton USA"] I tried to keep it credible, in the sense that the number of voices doesn’t exceed what would be possible on a real Nintendo.  But there was a forum, I can’t remember which, where some real chiptune artists figured out that I was doing it that way – they could just tell it wasn’t tracked.  I’m a chiptune poser!

I noticed that most of your videogame music is surprisingly devoid of blippy sounds, yet your track “Rubles from Heaven” for II’s Heartcode compilation [free download!] is a glitchy chiptuney masterpiece. I love the organic renditions of video game music you’ve done on your albums, but are you planning on doing more electro tracks? Maybe even an entire album’s worth?

It would have to be a hybrid with real instruments thrown in.  I can’t see doing a lot of pure 8-bit stuff without a solid concept behind it.  “Rubles From Heaven” (thanks for digging it, by the way) was sorta like an experiment, to see if I could pull it off!

Another problem is the sheer amount of mouse work that step recording requires.  (Which explains why the third volume of Xoc & Heavy Friends hasn’t been finished yet…)  I have tendonitis in my right arm, so stuff like that is pretty slow going.

Are there any plans of playing The Beginning of the End live? When can we expect a show in San Francisco?

I’ve never performed any of the Xoc stuff live, no.  The closest I came to that was playing Super Mario Bros. on banjo with Las Pesadillas when we opened up for The Advantage. 

I’ve always been interested in forming a band, but I feel like it should be something really unique in order to succeed.  Even if it were easy to reproduce these recordings live, I think I’d want something more distinctive.  Lately, there’s been some talk about forming a band to play SMW live, albeit with different orchestration.  I would have to be the drummer – I couldn’t handle any of the other instruments in a live setting!

If it ever happens, playing in SF is a 100% lock.    For one thing, it’s only 90 minutes from here, but it’s also my favorite city.  If I ever relocate myself, it’ll be to somewhere in the Bay.

The 100 original CD copies are now sold out, but The Beginning of the End is now available for download from Concatnation for $5. TBOTE includes the 18 minute/100 song medley as well as each song as it’s own separate mp3. It’s well worth the measly five bucks, you cheapskate.

2008 has been a good year for dorkumentaries. Along with the dvd release of King of Kong, we’ve also seen the premiere of not one, but two docs about nerdcore hip hop (Nerdcore for Life & Nerdcore Rising). If you just can’t get enough retro gaming and quirky music, be sure to check out Blip Festival: Reformat the Planet, a documentary that focuses on the first annual Blip Fest, a four day chiptune extravaganza in NYC. The documentary covers the history of New York’s chiptune scene, as well as plenty of live footage and interviews with video game musicians from all over the world. The film has many great moments, but one of my favorite parts was hearing Glomag (Chris Burke) comparing chip music’s usage of Gameboys and other gaming devices to the musical re-appropriation of turntables in hip hop.

For the next few days, you can watch Reformat the Planet in it’s entirety for free, courtesy of Pitchfork.tv [link]. The film is really well put together and very interesting. I’m hoping they’ll release a soundtrack sometime, but you can currently grab tons of free chip music (including the film’s title track) from the fantastic 8BitPeoples website. You can also see a interview with the film’s director and live Glomag footage on Epic Fu.

On a similar note, Nerdcore Rising has recently released their film’s soundtrack which features music from the film and tons of live MC Frontalot performances. The cd is available on their site and will also be available at PAX.

Each episode of Tank Riot features a new interesting topic that is thoroughly and entertainingly discussed for about 40 minutes. The boys at TR have a great sense of humor and a good perspective on history, but I love that they take any chance they get to diss on Edison. If you like this episode, be sure to subscribe to them on iTunes and check out some of their older podcasts (like Douglas Adams and Tesla!).

How to Speak Hip, the comedy album by Del Close & John Brent, has recently been posted in it’s entirety on Skyelab Music (via). Currently, they only have a flash player, so you can’t download the tracks, but a quick torrent search may provide you with a downloadable copy.

How to Speak Hip is a classic “how to” album that mocks both the “beatnik” scene and the 1950’s “square” crowd. Although you might not have realized it, you’ve probably heard bits and snippets of this album before. I’ve been heavily sampling segments of the album for a long time, in fact you may recognize quite a bit of this album as part of my Drown Pirate Radio podcasts.

I first heard skits off of How To Speak Hip when I was 15. I had delved deep to the beatnik culture of the 50’s, and came across some compilation tapes that featured parts of this album. I remember digging on lines like when the square reporter says “… in other words I’m saying that I am hip.”  and the hipster authority responds with “Dig yourself baby, you’ve got a way to go.” I’m so glad to find this album in it’s entirety now, up until yesterday I had never heard the whole thing, even though I’ve been so affected by the parts I had heard for the last 15 years.

Monzy has posted his newest song on YouTube, check it out here, or download the video (wmv or mov)Can’t get enough? Download the .mp3 here. This is Monzy’s first music video since his classic nerd track “Kill Dash 9“.