TSOS managed to LOAD “*”,8,1 and RUN an interview with UK artist LukHash. We PEEKED and POKED his code to debug and figure out what makes him tick.

Synthwave is a huge Venn diagram, and we believe since chiptune is in there and artists like LukHash also incorporate waves, we’d embrace him and let the bits fly!

Declaration

TSOS: How would you describe your sound? Chiptune? Chipwave? Synthwave? Synthtune? Something that’s not quite punched into a specific genre?

I describe my sound as chiptune, as much of what I create is built around real hardware like the Commodore 64 SID chip, or heavily inspired by it and other classic systems. That hardware-based approach is a big part of my sound.

At the same time, I do not limit myself to one genre. My music naturally sits between chiptune and synthwave, blending those elements with modern electronic production, including drum and bass and other styles. Chiptune is the foundation, but synthwave plays an equally important role in shaping the overall sound. Chipwave is a good shout, and I have also played around with calling it Cyberchip, but in the end it could fit under all the names you’ve mentioned. 

I see it as a modern evolution of chiptune rather than something separate. For me, it is about staying true to the roots of that sound while pushing it into a more contemporary space, making it both authentic and accessible to a wider audience.

Kernel

TSOS: Your weapon of choice is the Commodore 64 SID chip yes? What drew you to creating music with this iconic piece of hardware?

It really comes from my early experiences with the Commodore 64. It was my first computer, so the SID sound was something I grew up with and naturally connected to. One of the key moments for me was hearing the Battleships theme by Mark Cooksey. I remember my dad sitting me down in front of the screen and saying “listen to this” and that track completely changed how I saw computer music.

What drew me to the SID chip later on was its character. It is very limited on paper, but at the same time incredibly expressive. You only have three channels to work with, so every sound and melody has to really count, and I enjoy that challenge.

There is also something very unique about the sound itself. It is instantly recognisable, but still flexible enough to create very different styles within that 8-bit space and to blend naturally with more contemporary sounds. That was really my starting point, bringing it into more rock and electronic-influenced music, which later evolved into the synthwave and retro-futuristic sound.

It still inspires me today, both when I use the actual hardware and when I build tracks around that sound in a modern production setup.

Compiler

TSOS: Tell us what DAW you use and perhaps any of your favourite VSTs. Inquiring producers want to know!

Now you are making me feel old! I must be one of the early users of FL Studio. I have been using Image-Line’s DAW for well over 20 years and feel like I almost grew up with it.

In terms of VSTs, I have used a wide range over the years, from stock plugins to Massive, Serum, Avenger, and BA-1, where I officially released my own sound pack, as well as the Chipsounds suite from Plogue, along with a few others depending on the track.

On the Commodore 64 side, working with real SID hardware, I mainly use a tool called SID Wizard 1.9, which I hook up via MIDI and integrate into my FL Studio workflow.

Main Loop

TSOS: How do you go about starting a song? Does it hit you in the shower? While driving to work? Do you start with a beat, or the melody?

I hate it when an idea hits in the shower and I have to keep repeating it in my head until I get to the studio, hoping I do not forget it!

But in all seriousness, it really depends. A lot of my ideas come from real-life situations and emotions. Sometimes that turns into something lighter and more upbeat, like a classic 8-bit or 16-bit inspired track such as Pixel Crush, and other times it goes into deeper or darker territory, like We Are Stardust or Code Veronica. There are also tracks that come purely from nostalgia and childhood memories, like Galaxy.

A big part of my inspiration comes from retro games and their soundtracks, especially systems like the C64, NES, Amiga and PS1, so really anything from the 80s to the early 2000s. Sometimes I also get inspired by completely different genres. I might hear a track and start thinking how that kind of idea or feeling would translate into a synthwave or chiptune context, not as a cover, but as something entirely new built around that vibe.

In terms of workflow, it can start from anything, whether it is a specific chord progression, a melody, a sound, or just a general mood I want to capture.

Variable

TSOS: Do you have any favourite TV shows or movies you can keep rewatching endlessly?

Unfortunately, I do not really get much time to watch TV these days. However, my favourite films since I was a kid are Back to the Future Part II and Gremlins. I still love both!

In terms of shows, I really enjoyed Black Mirror. It is probably the only series where I have always eagerly awaited new episodes.

Root

TSOS: You’ve got the nostalgia wrapped up in your music. Does the demoscene play any part in this?

Yes, definitely. The demoscene played a big part for me, especially across platforms like the Commodore 64 and Amiga. Growing up, a lot of the music I was exposed to came not just from games, but also from intros and demos, and later on some of my own work ended up being used in keygens, which was a really cool full-circle moment. That whole sound and style naturally became part of my musical DNA.

I have always been inspired by how much people were able to achieve within such tight technical limitations. That appreciation stayed with me, especially when working with real hardware like the SID chip. At the same time, when I work in a modern DAW, I do not limit myself in the same way, which allows me to take those sounds and push them further.

A lot of the nostalgia in my music comes from that era and the whole demoscene culture around it. It is something I try to preserve and keep alive by bringing it into a more contemporary context and making it more accessible.

Fork

TSOS: You’ve had cool collaborations with the likes of Shirobon, etc. Are there any future collabs planned or any you would love to have?

Yes, over the years I have had the opportunity to work on some really great collaborations with artists like Shirobon, Waveshaper, Meredith Bull, Caspro, Neon Nox, Kimera Morrell, Cassetter, and TLF. It has always been a pleasure working with such talented people.

I have to admit I am not really a collaboration-focused artist, as I tend to enjoy working on my own ideas, but I am always open to the right project when it comes along.

I do not have anything specific lined up at the moment in terms of working with other artists, but there are some exciting projects in the works that I cannot share details about just yet. I am sure there will be more collaborations in the future.

Increment

TSOS: What’s your favourite C64 game and why is it Impossible Mission (and if not, explain why and what yours is)?

Ha ha, it definitely has one of the best game intros ever created, that is for sure! Being able to hear your computer speak for the first time was on a completely different level. And that lift sound is permanently engraved in my brain as well!

But if I had to pick my favourite, it would probably be The Great Giana Sisters. That game had a huge impact on me. It was also the second game I ever loaded on my first computer. Musically, the intro theme by Chris Huelsbeck is still one of my all-time favourite C64 tracks and something I have gone back to many times over the years. It is a great title overall, and it definitely played a big part in shaping my love for 8-bit sound and chiptune.

For…Next

TSOS: What’s in the pipeline for LukHash?

Recently I have been involved in some very exciting projects in the video game space, which I cannot talk about just yet as they are under NDA, but I am really looking forward to being able to share it with my listeners when the time comes.

Alongside that, I have been working on new music consistently, releasing singles, which I hope will naturally lead into another album in the near future.

More broadly, I just want to keep releasing new music and spreading chiptune and 8-bit music to a wider audience, showing its beauty and bringing new listeners in. At the same time, I want to help keep the scene alive and make that hardware-based sound, rooted in systems like the Commodore 64, more accessible to people who might not usually be into it.

Find LukHash music here:

Spotify
Bandcamp
Youtube