The definition of chipmusic was becoming a matter of hardware. In the letter, the history of chipmusic starts in the late 1970s with the introduction of soundchips. Such historiographies were getting popular in the early 2000s, but were not used before. It was only the second testament of chipmusic. In the 1990s ‘chipmusic’ refered to sample-based Amiga/PC-music with small filesizes, and in the 1980s the term was generally not used. The transformation of chipmusic in the early 2000s can be seen as a so-called defensive discourse of orthodoxy against McLaren and other ‘threats to the tribe’. It is an (un)conscious strategy to distance yourself from something, and so you develop anti-rhetorics. We are Not like You. You create a connection with the thing you want to step away from.
What if the way we define chipmusic today is an anti-reaction to daddy McLaren? We are still trying to explain that we are not hacking videogames, and that chipmusic did not start with Gameboys. But from a cultural perspective, maybe that’s what chipmusic is (mostly) about anyway. It’s the connection with Gameboys and videogames that made it so pop-popular, right? But that’s unholy according to the second testament of chipmusic, and the Book of PSG. Anyway, the point I’m trying to make is that had it not been for McLarenoids chipmusic might have been less about hardware and authenticity and more about becoming a musical war machine?