_I Love Chipmusic_

To Explain The Lull (Again)

Sat, 03 Apr 2010 11:18:32 -0400

When I started this blog, I was encouraged to host all source files on a personal server in the off chance that something went wrong with wherever tumblr put them by default. Naturally, this plan backfired, I had server issues elsewhere, and now everything is gone. Frustrated by this loss and preoccupied with a great deal of traveling that has taken me up and down both coasts of the US, I’ve let this fall by the wayside.

Thankfully, something vaguely resembling free time has emerged this week. I aim to come up with a new hosting solution, rebuild what’s been lost, and get cracking on some new entries. Thank you all for your patience in this seriously annoying time.

Back from out of town

Tue, 09 Mar 2010 20:58:51 -0500

will get things up and running again soon.

“Evergreen” · Leenifrom Labyrinth [DL] NEW...

Sat, 27 Feb 2010 03:38:26 -0500

“Evergreen” · Leeni
from Labyrinth

[DL]

NEW “ilove” BLOG JOINS THE FOLD. From my good friend / former housemate Ben:

I now present what can be best described as a sister site to [I Love Rap & I Love Chipmusic], appropriately titled I Love Girl Music. All the songs I’ll be posting on this site will have female lead vocalists—because, for whatever reason, I seem to favor female vocalists. And just so we’re clear, when I say “girl music,” I don’t mean music for girls, so if you’re here in search of some Madonna b-side from the early eighties, not only will you likely be disappointed, but I also hope your favorite karaoke bar (and every other karaoke bar) burns to the ground with Cyndi Lauper trapped inside. Hooray!

Ben, today’s post is dedicated to you. Leeni [Seattle, WA] is one of the few chipmusicians to add vocals to her programming and on an even shorter sub-list of said musicians within the form that happen to be female. While some of her earlier material has a more lighthearted synthpop edge to it, I think she’s at her best when she skews a little darker with more heartbroken lyrics and the kind of muted production on display in this track. Although I wish her all the best in her personal life, here’s to hoping the music keeps wandering down a bleaker path.

As a bonus, you should also check out this track. I had a very hard time picking between the two for this entry. Both are excellent but, ultimately, I decided to go with the more restrained one.

“April Fools 2002 live set” · starPausefrom...

Fri, 26 Feb 2010 14:04:00 -0500

“April Fools 2002 live set” · starPause
from 20k9d

[DL]

via Chiptography

Looks like we’ve got our first artist double-dip here at IloveChipmusic. And while it shouldn’t come as a surprise that starPause would be the one, it actually was a surprise. Remember the mix CD I mentioned in my last post? The one starPause handed out after his 8static set last year? I misspoke. It wasn’t a collection of other artists’ tunes at all. It was a compilation of his own tracks from across the years of holding down the Midwest [Minneapolis] and (more recently) the West Coast [San Francisco] Chipmusic scenes. How could I have not recognized this? (<— I’m currently asking myself). I blame today’s featured recording.

My first listen-through was, admittedly, background noise to some activity I’ve now forgotten (probably cleaning my room). As a result, I didn’t really register specifics beyond the fact that “mix” sounded eclectic and promised greater rewards upon future, more dedicated, listens. Then I hit the last track on the disc. (::head exploding sequence::). I stopped whatever I was doing and rushed to see who was responsible for such wonders and was frustrated to find that there was no track (or artist or album for that matter) information on the entire disc. And so, “Track 13” would continue to haunt my iPod for months, anonymously wearing out the “Repeat Item” function and guaranteeing that I never listened to anything else off the release. I find that happens to me a lot.

Anyway, my personal mystery has finally been solved. What you’re actually listening to is a selection from starPause’s first live performance with LSDJ (::more head exploding sequences::) back in 2002 at a Minneapolis cafe called Hard Times. At the time, Jordan was performing as Reconstructing Richard (click here for a nice archive of the stuff he released under this name on Kikapu) and organizing :|kREW — a Game Boy noise group.

If you like what you hear, be sure to follow the album link at the top for a free download of the entire collection. I’ve got the whole thing (with proper track names) now but I_still_can’t get past this one track. I’m not sure I have the time to do this one justice with words. The individual pieces seem discordant at first and their arrangement isn’t what most would consider conventional but when they start melting together, it’s hypnotic. It’s the kind of sound that only seems at home in a world animated by the Brothers Quay. Just listen to this song and watch this clip without audio. Perfect, right?

Delays Are Inevitable But Still Disappointing.

Fri, 26 Feb 2010 12:49:45 -0500

I know I should be writing multiple posts in one sitting and queuing them up to self-publish every 24 hours but, some days, it’s hard to even crank out just one in the midst of everything else that’s going on. Sorry kids. More posts coming your way.

“mkr huf bst” · starPausefrom AKID...

Tue, 23 Feb 2010 02:59:00 -0500

“mkr huf bst” · starPause
from AKID EP

[DL]

Today’s post coincides with a very special announcement: starPause has joined our little tumblr ring of “ilove”s. It is with great pleasure that I link you to:

“I Love Copyleft”

a sound blog by k9d covering musica libre from the creative commons, net audio labels & more! on a schedules of one new tune at least every sunday. if you share in this love & would enjoy to cover another week day: please make touch!

If the mix CD he handed out after his 8static set last year is any indication, Jordan has an incredible talent for finding quality free stuff from pretty much any genre. Consider his tumblr to be the best thing that’s happened to your New Music playlist this week.

As for the track featured in today’s post: Generally speaking (and I’m simplifying here because I’m short on time), it doesn’t take a lot of effort to write something on a chip platform to garner praise for being “raAwWwW” or “drrrty.” — the building blocks are inherently harsh to begin with. It does, however, require a careful ear to achieve these same ends and do so with eloquence. starPause is able to strike that rare balance between a perfectly harmonious sound palette and a sophisticated composition with deadly accuracy.

EDIT: He is also a complete beast on-stage.

Starpause @ 8static in Philadelphia, 07.18.09 from 2 Player Productions on Vimeo.

“Kepler’s Star Catalog” · Starscreamfrom...

Sat, 20 Feb 2010 23:59:00 -0500

“Kepler’s Star Catalog” · Starscream
from Future, And It Doesn’t Work

[DL]

Here’s another post I almost missed before midnight. Truth be told, I’m actually pulling an all-nighter because I’m in the process of remixing this very track (shh) so it’s all I’ve been listening to for the past day or two. This and The Boats, odd as that might sound. It’s a shame I have to keep this brief because I really would like to write more about these guys. In my opinion, Starscream is on a very short list of bands pushing the Chipmusic movement forward in a really positive and healthy way. By pairing chip sounds with genres that the majority of Chipmusicians tend to steer clear of, they challenge the common perception of the form by outsiders and insiders alike. Not necessarily giving their peers permission to venture down less-traveled roads but reminding them that they can (and should).

Of all the tracks on this release, I feel Kepler has the strongest emotional core (the other 4 come in a very, very close 2nd, 3rd, 4th, and 5th). It’s tough to pick. You should definitely click through the album link and download the whole thing if you haven’t already done so. It’s one of my favorites from the past year.

Video: failotron (full set)

Sat, 20 Feb 2010 14:20:00 -0500

Missed another entry yesterday because I passed out earlier than I expected to after a long day. I’ll make an audio post later but, for now, please enjoy this video of a full set from the wonderful failotron (see this post to refresh your memory). There’s a new song in there that he finished just before the show.

failotron ‘Low-Bit Ostinato’ set @ Millenáris 18/02/2010 from low bit ostinato on Vimeo.

“Flora/Fauna” · Anamanaguchifrom Power...

Fri, 19 Feb 2010 03:00:10 -0500

“Flora/Fauna” · Anamanaguchi
from Power Supply

[DL]

I’ve got less than a minute to get this in before midnight. I picked this one because they never play it and it’s really, really good. Even my friends who have no patience for Chip have enjoyed this one.

“retroattivo (jonkie screw)” · The Hardlinerreleased...

Wed, 17 Feb 2010 13:36:00 -0500

“retroattivo (jonkie screw)” · The Hardliner
released on HEXAWE.net

[DL]

Alright so I’ve missed two consecutive entries now (work) and I’ll be damned if today is the third day. I’m going to try and make 3 posts today to catch up but, if I can’t, at least you’ll have this song to chew on.

===

I think this may qualify as the first “remix” (using the word lightly since this is more like a reboot) I’ve posted here. The original tune is actually a Doskpop (think self-aware, cheesy-but-epic 1980’s Italo Disco) classic from The Hardliner. You can listen to that by clicking here.

Traveling back in time a little to November 3rd, 2007: It was the first time we (2 Player Productions) were given the honor of curating and hosting an installment of New York’s legendary Chipmusic performance series, Pulsewave. It was also the first night the event began with a half hour open-mic session (now the norm at current shows). What could have ended up being a colossal, room-emptying failure was actually an astonishing success. Although I remember everyone who played, two tracks remain burned into my memory to this day: Natty’s (he was Auto-da-fé back then) “Hadean Days” and Jonkie’s down-tempo Piggy Tracker rendition featured in today’s post.

It was (and still is) hard to make sense of my strong gut reaction. With one Blip Festival and nearly two years of Chipmusic behind me, I had heard people craft dark, powerful, and evocative pieces on chip platforms before but this one had the added weight of purpose. It was impossible to shake the image of a sunglass-wearing, motorcycle-riding, anti-hero in Paul Verehoven’s 1980s Detroit, cruising beneath the streetlamps towards some final, shotgun-based confrontation in which he’ll be vastly outnumbered and might not live to see the end of it.

Something along the lines of this poster, but not in Japan.

“Nautilus” · The Depreciation Guildfrom...

Mon, 15 Feb 2010 02:58:00 -0500

“Nautilus” · The Depreciation Guild
from Nautilus

[DL]

I almost missed another post so I’ll try and keep this short in hopes of making it in before midnight. Long before Pitchfork rated The Depreciation Guild’s [New York City] “debut,” In Her Gentle Jaws a 7.3, there was Nautilus — a hypnotizing blend of lush, shoegazey guitars and a forlorn, almost depressed, Famicom.

There’s a reason you don’t hear a lot of Chip + Shoegaze (note: I’m merely using the term as shorthand for a much more complex soundscape): I would imagine it’s_really_easy to screw up. Thankfully for those of you listening out there, I’ve left your ears in capable hands. You’ll want to lie down and close your eyes for this one.

I should also acknowledge that an updated version of this track does make an appearance on the aforementioned, more widely recognized, In Her Gentle Jaws (which is a beautiful release as well — one of the few pieces of Chipmusic I own on vinyl). Is it more cleanly produced? Yes, of course — the recording/mixing circumstances surrounding the two are incomparable. But is it better? No. Not to me anyway.

This is another one of those topics that deserves a longer discussion than I’m able/willing to have here but making something sound “better” by production standards doesn’t always translate to a better experience for the listener. Sometimes, like in the case of “Nautilus,” a song’s intended warmth and intimacy are betrayed by sounding too clean. A set of decorative crystal wine glasses may be appropriate for a rare vintage on a special occasion but you wouldn’t drink your tea out of them on an overcast morning would you? Same thing.

For me, this track is all about lying in bed in the middle of a day where you have a lot to do but don’t feel like dealing with any of it. Escapism at its best. Enjoy.

“The Year 2999” · Hidden Village from Star...

Sat, 13 Feb 2010 22:28:00 -0500

“The Year 2999” · Hidden Village
from Star Maker

[DL]

Here’s a little gem from another one of Chipmusic’s most prolific artists (see Alex Mauer two posts ago), little-scale [Adelaide, Australia], in collaboration with the multi-talented Cloud Sparrow (who also happens to be his girlfriend. Awesome). As far as I know (and anyone out there can feel free to correct me in the Comments section) this is Cloud Sparrow’s first Chip outing so there isn’t much I can write regarding her history within the form.

As for little-scale, what can I say that hasn’t already been said a hundred times by countless others?

(hah, I’ve been stuck at this spot, writing and erasing for nearly 20 minutes now…)

Just listen to the track, ok? The guy was named TCTD Artist of the Year by his peers for good reason.

Edit: Because little-scale practically exhales music, it was impossible to pick one definitive track to represent him. I decided to go with the Hidden Village side project because the experience of listening to this release was still fresh in my mind from yesterday’s morning walk — one of those rare moments where it starts raining heavily even though the sun is shining brightly. Somehow, it all seemed fitting.

“In The Warm Mad Night” · Firebrand Boy from Oh Deer...

Fri, 12 Feb 2010 00:30:00 -0500

“In The Warm Mad Night” · Firebrand Boy
from Oh Deer EP

[DL]

There’s a pretty epic, long-standing thread over at 8bitcollective (89 pages long now, I believe?) where one artist would challenge another artist to write a specific kind of tune within 48 hours of accepting. Upon completing his or her track, that person would then go on to challenge another, and so on…

As expected, some were challenged to write dance megamixes about “Unicorns and Dragons vs Chuck Norris and David Bowie (as the Goblin King, of course) [while] LOLcats danced in the background” (<—no joke, and for Chip-titan Random, no less), but, every once in a while, a musician was charged with a task that yielded some pretty stunning results. Of this select group, “In The Warm Mad Night” is one of my favorites.

Firebrand Boy [Glasgow, Scotland] had been challenged by Balún [a New York-based group I’ll definitely be posting about soon] to write a song about “an imaginary road-trip that ends unexpectedly.” Generally speaking, Firebrand Boy has a pretty light-hearted, Pop-y sound so anytime he does anything remotely drawn out, pensive, and somber, I’m all over it because I think he always does a brilliant job of it.

Actually, this whole release is probably my top pick out of his entire catalog. It plays like a long drive across open country during an infinite, cloudless dusk — one with no sunset preceding it and no night to follow (despite the title of the posted track). Actually, “In The Warm Mad Night” may have been a more fitting title for the whole package now that I think about it.

In any case, this is another one of those tracks (like failotron’s “Hullamzoret Two” a few posts back) that carries a massive emotional payload I find myself almost unable to bear.

“Hotel Keitel” · Alex Mauer from 9999 [DL] Remember...

Wed, 10 Feb 2010 20:39:00 -0500

“Hotel Keitel” · Alex Mauer
from 9999

[DL]

Remember when I said I was busy this week? Yeah, this is going to be a short one. Basically, I think Alex Mauer [Philadelphia, PA] is a genius and, lucky for us, prolific. I will definitely post (and write more) about him in future entries. For now, enjoy this short (but sweet) little number and think of Harvey Keitel playing a grizzled detective in a neo-noir crime film. He’s only just returned to his hotel for a smoke and a drink to mull over the unexpected turn of events that thrust the movie into its third act.

“Sleep” · Tree Wave from Cabana EP [DL] Tree Wave...

Tue, 09 Feb 2010 16:23:00 -0500

“Sleep” · Tree Wave
from Cabana EP

[DL]

Tree Wave [Dallas, Texas] is the brainchild of artist/programmer Paul Slocum. If you know anything about this project you probably know some combination of the following:

1. “zomg, female vocalist!1!!” (<—the perfectly cast Lauren Gray)
2. “he’s making music with a dot-matrix printer!”
3. “they’re the My Bloody Valentine of Chip!”

And while it’s easier to sell most people on Tree Wave with these superficial observations, the appeal, for me, goes a little bit deeper. Paul is my favorite kind of Chipmusician — one who a) probably wouldn’t refer to himself as such and b) treats his platforms as instruments instead of gimmicks. You can hear it in the music. I mean, what Atari or Commodore 64 game sounds like this? Not too many, I’d wager. And yet, there he is, using those very consoles on stage.

There’s a much longer discussion to be had here but I’m pretty short on time this week thanks to some major work deadlines. If I had to sum it up as concisely as possible given the time currently available to me, I’d say this: Just because something is written on a gaming platform or is meant to sound as though it was (via software/plug-ins) doesn’t automatically devalue or segregate it from “real” music. There are some great musicians out there who have simply chosen these tools as their means of expression. Chipmusic, strange as this may sound, should be both remarkable and unremarkable at the same time. Remarkable in the same way that we are amazed by what a cellist can accomplish with a bow and some strings and Unremarkable in the sense that we don’t dissect and analyze their choice to use a cello.

In an ideal world, I would love to go to a concert where there’s just one performer on the lineup (out of two or three others) that’s playing Chipmusic and no one in the audience is giving his or her NES a second look and the words “Mario” and “rave” never enter the post-show discourse. If Tree Wave (and other projects like it) keep doing what they’re doing, I believe we can get closer to realizing that ideal. Maybe there will even be a day when I can (happily) dissolve this blog because the concept of lumping all these tracks together as one genre is no longer relevant. Until then, I’ll keep sharing the songs that got me to focus on the music instead of the method.

Also, you should really consider purchasing this album. “Sleep” and “May Banners” are publicly available as free downloads and I had a really tough time choosing which song to feature at the top of this post. In other words: everything they do is great. I leave you with this video of Paul performing “May Banners” at Blip Festival 2007 (without Lauren, sadly). I didn’t know this at first but the lyrics are a tweaked version of the English translation to Rimbaud’s 1872 poem, “Bannières de Mai”

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

“Sjutton” · Coova and Bud Melvinfrom...

Mon, 08 Feb 2010 15:00:00 -0500

“Sjutton” · Coova and Bud Melvin
from “She’s the DJ, He’s the Rapper”

[DL]

Before I get started: Take a look to your left. There are now links to subscribe to the ILC podcast. \o/

===

Today’s track is one of my favorites from 2009.

Bud Melvin [Rio Rancho, New Mexico] met Coova [Tokyo, Japan] back in 2006 after they both played the very first Blip Festival in New York City. As the story goes, plans to team up and write material together began to take form almost immediately.

Bud Melvin // Blip Festival 2006: The Videos from 2 Player Productions on Vimeo.

Coova // Blip Festival 2006: The Videos from 2 Player Productions on Vimeo.

The thought of two of Chipmusic’s most unique voices collaborating on a project together probably would have made my head explode had I known about it at the time so I’m really glad they kept the concept a secret for the next few years.

Beyond the surprise factor, I’m especially thankful for the time it gave them to mature their individual sounds. Comparing those two videos to what you’re hearing now is like the difference between a balsamic vinegar that’s been aged 12 years and one that’s been aged for 20 — really good to begin with but completely transcendent once you allow the flavors to concentrate for just a little bit longer.

Since I have no insight into their writing process, I can only comment on the chronology of the four tracks as they appear on the release. For me, the two styles sort of dance around each other for the first three tracks with varying degrees of satisfaction. Sometimes I feel like I’m listening to Coova track with Bud Melvin accents, other times it’s vice-versa. These aren’t bad things, mind you, I love them both — it’s just not there yet. The album description on 8bitpeoples describes it beautifully:

This is the EP you might have once heard, far-off in the static between two AM radio stations.

With that analogy in mind, the radio dial finally settles on the exact center point between the two when “Sjutton” begins to quietly, gracefully bubble to the surface. Any static there may have been is completely replaced by a perfect synthesis of what I like best about each artist’s style. The bar for epic Chipmusic collaborations is pretty much out of reach at this point, thanks to these two.*

*Although the Condom (Covox + Random) performance at Blip 09 is a serious contender. That story, however, will have to wait for another day.

Pro Tip: “Sjutton” is the Swedish word for “seventeen.”

“Diane” · Dakota Clarkuploaded to...

Sun, 07 Feb 2010 13:46:00 -0500

“Diane” · Dakota Clark
uploaded to 8bitcollective

[DL]

Hailing from Puyallup, Washington, Dakota Clark is probably better known within the Chipmusic community as Oven Rake. Most of his work (dark and churning, driven by heavy beats that wouldn’t be out of place in a sweaty basement full of bobbing heads) had passed in and out of my radar simply because it wasn’t what I felt like listening to at the time. Then I heard “Swimming Pool.”

Maybe “heard” isn’t the right word. Saw. I hit play and I could see it. It was exactly the way Harris Savides would photograph someone floating face up in an illuminated pool at night in a Gus Van Sant film. The song represented a complete departure from everything else I had heard by him prior to that (though, having gone back and listened to them again, I can definitely hear the seeds of this newer material buried in there) and I crossed my fingers, hoping there was more to come. I was not disappointed.

Two more equally rich ambient tracks, “Diane” and “We Only Kiss When You Are Drunk” (great title), eventually emerged and I would go on to use all three of these in various film projects. When I emailed Oven Rake about how he’d like to be credited, he asked that I use his given name — drawing a clear line of separation between two diametrically opposed projects.

I’d like to think that (and this is just my interpretation as one listener) the Oven Rake material was meant to fit in seamlessly with all the other Chipmusic he had absorbed over the years and that the newer stuff represents a more genuine expression of who Dakota Clark, the musician, actually is, regardless of what instrument he used to make it. It’s a natural process and I can totally relate to it myself. You open up your tracking program for the first time and it’s just easier and more instantly gratifying to write something dance-y (the dreaded Unce-Unce-Unce…). But eventually, you stick with it long enough and your own voice begins to take shape.

For me, right now, nothing represents Dakota’s voice more purely than “Diane.” Where “Swimming Pool” established one clear, cinematic shot in my mind, “Diane” depicts a whole, heartbreaking scene. I’ll leave the specifics out of it for now so as not to color your interpretation of it but hearing this leaves me feeling like I need a drink and a long nap.

I recently had the pleasure of hearing this track live (and providing the projected visuals for it…!) a few days ago at the first dataPort (a monthly Chip/lo-fi/experimental series in Portland, OR) and got really excited when he started laying in some accents with an Omnichord (one of my favorite instruments). Definitely keep your eyes on this guy. I have a feeling some really interesting stuff is on the way.

Oven Rake @ dataPort 02.03.10 - Portland, OR [excerpts] from 2 Player Productions on Vimeo.

“hullamzoret two” · failotronfrom The Narvals of...

Sat, 06 Feb 2010 14:46:00 -0500

“hullamzoret two” · failotron
from The Narvals of Shame

[DL]

In Chipmusic, there’s a tendency to get fixated upon the means of production over the end result of those means. It’s not uncommon to hear a track praised simply because the listener “can’t believe [the artist] is getting those sounds out of a Game Boy / NES / C64 / Atari / whatever,” irrespective of its compositional merits.
I admit to being in that camp when I first got into this scene but sound design, while cool and potentially impressive, isn’t everything. And for new initiates, it can only sustain interest in the medium for so long. Eventually, you have to evaluate the final product on the same terms as the rest of the music you listen to. For me, that comes down to how evocative of a particular emotion the piece is. In my book, few do a better job of tugging at my ear’s heartstrings than failotron [Budapest, Hungary].

===

My introduction to failotron was the first “hullamzoret” (it’s part of a 20-minute piece that’s still in the works) off Pause’s brilliant Sea of Ice compilation (2009). Owens liked it so much it wound up in the end credits of our 3-part documentary about the PS3 title, “Infamous.” Ever a creature of habit, he let Failotron have the final say again with “hullamzoret two” at the end of a recent episode of our new show, Penny Arcade: The Series. But perhaps he’s on to something. Maybe failotron’s music is the only appropriate way to mourn and/or celebrate the end of all things.

(that emo enough for you, Áron?)

EDIT: ~~failotron.org is down at the moment but if you like what you hear~~, artist link at the top changed to failotron’s Myspace. You should also check out his non-chip project, Henry Winstanley. Fans of The Album Leaf’s earlier stuff will feel right at home. I’m eagerly looking forward to “hullamzoret” three and four, if only to use them for more end credits. Spoiler Alert: We’re also in the process of collaborating on a music video so be on the lookout for that later this year.

Pro Tip: This song really hits the sweet spot at 2:08 so don’t let the slow build fool you.

“One” · 6955from Fez Demos EP [DL] This is my first...

Fri, 05 Feb 2010 06:49:00 -0500

“One” · 6955
from Fez Demos EP

[DL]

This is my first entry so a little explanation is required.

===

My friend Dave over at I Love Rap put out an open call for companion blogs to cover other genres/forms in a similar fashion (one track a day + notes) so I took the bait and decided to share my love of Chipmusic with you.

Chipmusic explained here.

If you’re already a fan of the form, don’t expect to hear too much that you haven’t already heard — this site exists for the benefit of those who, for whatever reason, don’t listen to a lot of Chipmusic. Some write it off as a nostalgic gimmick, others balk at the rawness of the sounds, and the sheer volume of content one has to sift through to find the gold can be intimidating. I understand all of that. But in the past four years, I’ve been exposed to some incredible talents that deserve to have just a little more light shed upon them.

My objective is simple: Share the Chipmusic songs I like. If you like them too, great.

===

I decided to kick things off with this song from Toronto native 6955 because it’s about as far away as you can get from the four-on-the-floor dance beat so many outsiders associate with this type of music while still retaining a beautiful accessibility. I first heard this track performed live at Blip Festival 2007 and it inspired me to shoot and edit in ways that surprised me — ways that explain my feelings about this piece better than words ever could:

6955 // Blip Festival 2007: The Videos from 2 Player Productions on Vimeo.

As the EP title suggests, “One” is but a taste of what gamers can expect to hear in the soundtrack for the upcoming (early-mid 2010) Xbox Live Arcade release, “Fez” (produced by Polytron, an indie game development studio co-founded by 6955 himself). Click here to download the rest of the Fez demos. It’s also worth noting that the game itself looks really fun and may be one of the prettiest additions to the elite club of Perspective-Bending Platformers.

Fez ‘GDC 08’ gameplay