There’s been another discussion at 8bc about what chipmusic is. It seems to me that there are more people talking about genre than technodeterminism compared to a few years ago. There are thoughts about what building blocks make it sound chip (Sound chip here means: proper chipstyle, sounding-like chipstyle, soundchip). That could be due to the new perspectives that come with non-techno-purism. If you don’t use soundchips and trackers you need to be aware about what you’re doing in order to make it sound chip. When you’re using soundchips and trackers, you don’t have to worry about those things. (form vs medium)
It is interesting, because the technodeterminst view has tended to build this defensive discourse during the 2000s. “If you make chipmusic that’s not coming from a soundchip, we don’t want you around here boy!”. In the 90s it was about filesize instead, because a lot (if not most) chipmusic in the 1990s was sample-based on Amiga or PC. But still, if we say that the Paula chip of the Amiga is a soundchip, it is possible to stick with the soundchip-determinst definition of chipmusic. (A bit like pretending that the Gameboy has a soundchip)
Anything made with the internal sounds of the Amiga then, is chipmusic, e.g. Amigacore, Osdorp Posse, Bruno. Which finally brings us to the reason of this post. Up Rough has posted mastered MP3-versions of four Amiga MOD-classics by Mortimer Twang (Lukas Nystrand): Agima Blues (515kb), All Times by Music (588kb), Burning Chrome (350kb), Moonmaster (390kb). Calling this chipmusic is a bit useless, because the music form is quite far from quantized geek bleep museek. This has more to do with hip hop, jazz, and drum n’ bass. If you put Mortimer’s music into a mix, you no longer have to put your brain into tracker-data-analysis-mode when you hear it. Just listen to the music. Sometimes music is just music, nowhaddayouknow.