ATTENTION

So, the oldschool yet progressive Radiograffiti label wrote some nice things about me for their WKND JMZ. Since I’m not so good at doing that myself, and since I’ve started to play this song live again, I’ll paste their text here:

Despite being almost ten years old, GOTO80’s proto amigacore/chipmusic hybrid “Spill” still manages to sound as fresh as the day it was first saved to an obsolete storage medium.

Since 1993, the prolific GOTO80 mastermind Anders Carlsson has never been short on creative output. When he isn’t releasing open source albums, providing audio for technical demos via his Hack n’ Trade demoscene group or performing on Swedish television cloaked in lettuce, he’s archiving chipmusic’s history and rethinking music distribution. During his two decades of activity, it’s safe to assume GOTO80 has released his fair share of unclassifiable music.

Among this high level of output, the Digi-Dig online/physical package was released on Da ! Heard It Records back in 2006 to very high praise due to his trademark glitchy programming style and free form songwriting. Even in Internet years, the album has aged very well and still maintains solid momentum throughout, but there is one song in particular which transcends and continues to serve as the ultimate Friday night get-the-fuck-out-of-work anthem – “Spill”.

GOTO80’s break-neck lead programming & Amiga drum combo are completely unfiltered and fight for center stage here. “Spill” is one of those rare tracks which demand a long study in technique *and* prime location on your weekend playlist.

Some of you may have known about “Spill” from the 8BP050 double CD on 8bitpeoples or floating around dark corners of the Internet mislabeled as “Data Garden Rock”.
Regardless of origin, Spill is worthy of your new WKND JMZ, but you knew that already.
Download Digi-Dig at: http://www.daheardit-records.net/en/discography/dhr-02#release

Dragan Espenschied compares new forms of music distribution, and gives some praise to Custom8. Thanks! Since the text is only there for 24 hours, I’ve infringed it a bit and pasted it below.

The Finnish Wall Magazine interviewed me at the H2Ö-festival and it goes a little something like this!

Karen Collins has done tons of research on game and chipmusic. I published a chapter in her book From Pac Man to Pop Music many years ago. Now she’s making a documentary on game audio and looking for funding at Kickstarter.

It seems like this is the first documentary of its kind, and I think she’ll be able to do a great job. And it seems like I’m going to be interviewed for it too, along with all those titans of game music.

So support it on Kickstarter.

This video presentation of Olia Lialina’s Vernacular Web theory includes some snippets from Animal Romantics, aswell as from the current state of goto80.com. Both designed by Raquel Meyers. Also mentioned in the videos is the fact that goto80.com was listed at 1000$ pages in 2005. Ok yeäh!

The video was made by nomeat studio.

At the Finnish H2Ö-festival I was interviewed by the national public service news. And they included a little quote with me saying that there’s too much house and dubstep influence on chipmusic. Clearly a matter of national interest! Check the clip here while you can, around 9 minutes in.

Really great festival, don’t miss out next year! I only used Amiga and C64 this time, which I haven’t done for probably 10 years. Oh and btw, the same Finnish TV-channel will start hosting the teletext art museum MUTA in August.

There’s an interview at Ongaku where I reveal some of the thoughts and secrets with my latest album, Files in Space. The cassettes sold out quickly, but there’s more stuff coming soon. More about that later.

Meanwhile I prepare my new set for this weekend’s H2Ö in Turku, Finland. Lots and lots of Amiiiggaaa elekktrånikk foonkk!

I did two interviews recently, which made me think about old interviews I’ve made. Some quick searches made me realise how little of the old stuff is left out there in ze cyberspace. And here I thought that everything is accessible all the time on the internetz?! Hehe. Well, here’s some of the stuff I found:

Enough Records in May 2014. Music economy, netaudio, textmode and releases.

Illarterate, March 2014. Focus on text-mode graphics, especially teletext, and then talk about releases and stuff. And then that Wikipedia page..

Sentireascoltare, 2011. Well-researched interviews with me, 4mat and Pixelh8. In Italian. My answers here.

Plaza+, 2010. About chipmusic as genre & process, and how I relate to that. About immersion rather than appropriation. Some critical words on critical uses of technology.

Indiegames, 2010. With Raquel Meyers in Tokyo.

Scenesat radio, 2010. Mostly scene-related.

TCTD, June 2009 (part 2). History, demoscene, hardware, copyright, live performance…

Solipsistic nation radio, 2006.

Also some mentions:

HOLO 1, May 2014. This phat magazine have a feature on Raquel Meyers so lots of our work is shown and discussed. PETSCII, demos, teletext, motivations, etc.

Arnie Holder said: “For not-necessarily-music inspiration the work from Goto80, Nullsleep, Raquel Meyers, Jacob Remin, and all the projects and artists that surround them are the most fascinating art I’ve ever been exposed to. Cutting-edge got nothin’ on these peeps.”

A Swedish library magazine called Biblioteksbladet (since 1916, yo) mentioned my workshop on C64 music in its October issue. PDF It was in a tiny place called Eksjö, but managed to gather 25 youngsters to learn C64 defMON music!

Leonardo Electronic Almanac, Volume 19 Issue 3 featured an interview with Raquel Meyers about live visuals. She talked about some of the textmode performances and improvisations we’ve done together. Nice to see defMON and PETSCII in a place like that.

Boing Boing featured my post at Chipflip about hardcore chipmusic. That led to some new contacts to research 8-bit history with, which is always a good thing!

Chipflip was started in 2008 when I did research for a chapter on chipmusic for an academic book on video game music. The blog also has a timeline that contains mostly chipscene-related things but also art, demoscene, hacking, etc. Yeah, and it also works as a sort of music label.