The Audiosurf Comments section abounds with people praising the tracks or, at the very least, the rides. I was a little harsh this week, so allow me to point out that people do in fact enjoy this stuff. I’m not sure I agree with him, but I have to give props to Sven Goobar’s assessment of “Convicted.” he writes, “This music is like…Twinkies…it’s really awful but sometimes you like to eat it anyway.” I salute anyone who can channel Twinkies for an effective analogy.
#CHIPMUNK IN SPANISH PRO#
If you don’t, don’t feel bad.Īll songs were played on the Pro difficulty (no I haven’t graduated to Elite, even after all this time) using the Eraser character. If you like it, let it be a gateway drug. “Beautiful Girls” demonstrates the most variety of the three tracks, so play this song if you want to give any of this stuff a chance. I might even say that I really enjoyed the underwater-ish section toward the end, but it is quickly killed and left for dead at the corner of Chipmunk and Bass, so I won’t. If this were the only Mákina song I’d ever heard and ever had to hear, I might say things like “If you took out the warbling chipmunks, this would make killer boss music” or “Sure, the bass is a little heavy, but the other noises chomp and grind with such ferocity that I don’t care.” I might say those things.
If only it embraced its melody more, if only it cultivated that tiny seed of chiptune. I beg it to slow down, to let me catch my breath, to give my ear drums a break from its bass drums. His eagerness (poorly masked with a blasé “It’s alright, I’ll survive without you calling” inflection) drives her away, just as the rhythmic juggernaut of “Call Me Back” repels me. Wait, there’s the connection! The more times the guy calls, the less interested the girl becomes. All I can say is that I’m less and less fond of Mákina there more I hear of it. I want to say there’s a metaphor here for how I feel about this music, but it’s probably long and protracted and of little use to this post.
Scattered throughout “Call Me Back” is audio of a man leaving messages on some girl’s voicemail, saying that he loves her and then asking her to call him back. Playful shifts into epic guitar licks give the song a grander scope than a mere strobe-lit rave on the Iberian. It’s a shame the song’s two loudest qualities are the ones I like the least.
The uneven rhythm tugs in two separate directions. One upside of the oppressive percussion: every syncopated note (of which there are millions) is highlighted. Add in the chipmunks and it begins to resemble high level Whack-a-Mole play. The swift yet heavy quarter note pulse sounds like a cartoonishly-muscular man banging fervently upon a cartoonishly large drum.
wav files) and heavy drumming on every single beat. Its two main features are chipmunk voices (and by that I mean sped up human speech not wildlife. “Convicted” taught me a lot about Mákina. Oh, and he/she/they have some music over on Jamendo. I don’t know anything about him/her/them, except that the name is fun to say. This week’s practitioner of Mákina is Prana Yama. It also gets play at Spanish clubs with names like Chocolate and Chasis – at least that’s what Wikipedia popular Internet sources tell me. Another week, another musical subgenre I didn’t know exist.Īccording to Wikipedia popular Internet sources, Mákina is a Spanish version of Britain’s UK Hardcore, a specific category of rave music.
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