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46:39 if it counts https://ptesquad.bandcamp.com/album/you … ry-of-mine

If not here's this 18:48 LGPT jam I wrote a while back https://cooshinator.bandcamp.com/track/yo-yo-yo
and this 17:53 LSDj piece I wrote a while back as well https://cooshinator.bandcamp.com/track/ … d-666-full

For some reason I really like to write long songs lol, most of them fall somewhere between 6-10 minutes

Meet me at the tether-ball court after gym class, shrimp (ง •̀_•́)ง

Just so y'all know I'm not saying there's anything wrong with 3-3 in general, I've written more than a few songs that switch to 3-3 when I need to use 32nd notes. But defaulting to 3-3 when you could totally pull off the same thing in 6-6 with maybe a few clever r, d, & g commands is a major waste of chains which is a big problem if you're writing music with a decent amount of variety. I know Vince Kaichan uses 3-3 and I've heard that he often has to spread his songs over 2 or 3 song files which sounds kinda dreadful.

First of all, ew why do you use 3-3 groove that's almost as bad as using 7F for your empty chains.

Second, something I often do and something I think that song does is use noise instruments that take a tick or two to register. When the hi-hat switches to quarter notes, you can hear that they sort of have a "flam" effect because they start out with a lower pitch and a tick later switch to a more open pitch (which might be hard to pull off in 3-3). This keeps the hi-hat locked into the groove while making it feel like it's a bit behind, and also it makes for a more interesting hi-hat in general

Third, mixing and sound design are everything. He's using fairly punchy/abrupt kick and noise instruments, and all the other parts are mixed down a little to give the beat room to sing. Punchier percussion isn't always better, but it often gives you the freedom to make better use of dynamics, and stuff that makes good use of dynamics is usually more groovy.

Fourth, I think the background arps help more than you might think. Arps have this weird thing where, if you use them fast and rhythmically like that song, they make sense while you're listening, because the brain realizes they're supposed to be one chord. But you also hear certain important notes triggering just after or before the song's subdivisions, so they have this weird effect in making the groove sound a little more "stuttered".

Finally, I think the song is composed well enough and with enough variation in rhythm to give the groove enough to play with so that it never falls stagnant. It's easy to hear a rhythmical loop in lsdj and think "oh, this will never go anywhere", but if you write around it well enough and mix things up from time to time, I'm sure you'll find yourself liking it a little more. And cool tip: try writing music with the volume turned pretty low. If you can get it sounding groovy while it's quiet, it'll sound even groovier when it's loud.

Holy shit this exactly how I've felt for such a long time; that element is something I've been trying to put in my tunes ever since I started writing music. I've found similar feeling some other music, especially in some jazz fusion & disco stuff, although to a smaller degree. A lot of 70s/80s japanese music has a huge jazz fusion/disco influence and I feel like a lot of their music since then has really indulged in that feeling that only comes out in bits and pieces of those genres.

Some non-japanese music that I think shows a little bit of what you're talking about, if only a little:
https://www.youtube.com/watch?v=877krQkGhf8
https://www.youtube.com/watch?v=lmxvXIWNEGo
https://www.youtube.com/watch?v=dvpk1wL_zC8
https://www.youtube.com/watch?v=3U52sP25ynE
https://www.youtube.com/watch?v=1Gi3EsgQn10

And of course some japanese stuff:
https://www.youtube.com/watch?v=Fp6WDaj1tmk
https://www.youtube.com/watch?v=Tiy3lTIUTbQ
https://www.youtube.com/watch?v=BXs0VuDWp7I
https://www.youtube.com/watch?v=NssflPmHGqM
https://www.youtube.com/watch?v=RPxe3CKUpw8

Also I was totally planning on covering "Rai-Rai Boy" sometime in the near future

this is way dope!

DOPE!

hella twee, my man. I thought this kind of chiptune died back in 2010