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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <html> <head> <meta http-equiv="content-type" content="text/html; charset=UTF-8"> <title>Order Of The Shadow Wolf CyBeRzInE</title> </head> <body vlink="#551A8B" text="#000000" link="#99ff55" bgcolor="#000000" alink="#EE0000"> <div style="margin:0 auto; text-align:left; width:700px;"> <font color="#33ff33"><small><font face="Courier"><br> <font color="#ffffff"><br> <br> <br> <br> <br> <br> <br> _ _ _ __ <br> ___| |__ __ _ __| | _____ __ __ _____ | |/ _| <br> / __| '_ \ / _` |/ _` |/ _ \ \ /\ / / \ \ /\ / / _ \| | |_ o o <br> <font color="#66dddd">\__ \ | | | (_| | (_| | (_) \ V V / \ V V / (_) | | _| </font>. . . <br> <font color="#66aaaa">|___/_| |_|\__,_|\__,_|\___/ \_/\_/ \_/\_/ \___/|_|_| </font> o<br> . . . . . . . . . <br> . . _ . . _ . . _____ . .<br> ___ _ _| |__ ___ _ __ ___(_)_ __ ___ |___ |<br> . o / __| | | | '_ \ / _ \ '__|_ / | '_ \ / _ \ / / . .<br> <font color="#66aaaa"> | (__| |_| | |_) | __/ | / /| | | | | __/ / / </font> <br> . . <font color="#667777">\___|\__, |_.__/ \___|_| /___|_|_| |_|\___| /_/</font> . . . <br> <font color="#667777"> |___/ </font> <br> <font color="#66ff99"> <font color="#33aaff">'chomping our arch enemies into nourishment</font></font><font color="#33aaff">' </font><br> . . . . . . . . . <br> . o o o o o <br> . . . . m m . </font><br> <font color="#ffffff">. . . . . , a h ,</font><br> <font color="#ffffff"> . . . . o . j .</font><br> <font color="#ffffff"> . . . </font> <font color="#bbbbbb"> m <font color="#99ffff"> /\</font></font><br> <font color="#ffffff"> o . </font> <font color="#ffffff"> . </font> <font color="#33ffff"> ________/ \</font><br> <font color="#ffffff">___________ </font> <font color="#ffffff"> . . . . </font> <font color="#88ffff"> / \ </font><br> <font color="#ffffff">___________\ </font> <font color="#ffffff"> . </font> <font color="#88ffff"> _______/ ___ \</font><br> <font color="#ffffff">__ __ __ |</font> <font color="#ffffff">. . . </font> <font color="#77ffff"> /_/ \</font><br> <font color="#ffff00">__||__||__|</font><font color="#ffffff">|</font> <font color="#ffffff"> /\ </font> <font color="#66ffff">\____________ \</font><br> <font color="#ffff00">__ __ __ </font><font color="#999999">|</font> <font color="#ffffff"> /\ / \ . /\ </font> <font color="#ffffff"> \<font color="#ff0000">/\</font>/\/\/\</font><font color="#66ffff">\ \ </font><br> <font color="#ffff00">__||__||__|</font><font color="#999999">|</font> <font color="#ffffff"> / \ /--__\ / \ </font> <font color="#ffffff">.</font> <font color="#66ffff">_______ | \</font><br> <font color="#ffff00">__ __ __ </font><font color="#999999">|</font> <font color="#ffffff"> /--__\</font><font color="#999999">____/</font> <font color="#ffffff">\ /__--\ </font> <font color="#55ffff"> / ______/</font> <font color="#ffaaff">\o/</font> <font color="#ff99ff"><font color="#66ffff">|</font> </font> <font color="#55ffff"> \</font><br> <font color="#ffff00">__||__||__|</font><font color="#999999">|</font><font color="#aaaaaa">__/</font> <font color="#ffffff"> ____ ____ </font> <font color="#aaaaaa"> \ /</font> <font color="#ffffff">____</font><font color="#aaaaaa">\</font><font color="#ffffff">_ </font> <font color="#33ffff">/ /__/\</font><font color="#ffaaff">\ </font> <font color="#ffffff">/<font color="#ff0000">\/</font>\<font color="#ff0000">/\</font>/</font><font color="#33ffff">/ \</font><br> <font color="#ffff00">__ __ __ </font><font color="#999999">|</font> <font color="#ffffff">/ \ / \</font> <font color="#aaaaaa">\/ </font> <font color="#ffffff">/ </font> <font color="#22ffff">/ __/</font><font color="#ffaaff">/o\</font> <font color="#22ffff">\ </font> <font color="#ff0000">| . </font> <font color="#22ffff"> \</font><br> <font color="#ffff00">__||__||__|</font><font color="#999999">|</font> \____/ \____/ <font color="#ffffff">/_______</font> <font color="#22ffff">/ /</font> <font color="#ffaaff">\</font> <font color="#22ffff">/ \</font><br> <font color="#ffff00">_________ </font> <font color="#999999">| </font> <font color="#ffffff">.</font> <font color="#996633">|| || </font> <font color="#993300"> ||_| |_|</font><font color="#22ffff">\ \ /\/\/\\/\/\/\ \/\/\/\</font><br> <font color="#ffff00"> | | | | |</font> <font color="#999999">| </font> <font color="#996633">|| ||</font> <font color="#ffffff"> O O </font> <font color="#993300">| ___ </font><font color="#11ffff">\ \ <font color="#3377ff"> /</font> \</font><br> <font color="#ffff00">_|_|_|_|_|</font><font color="#999999">_|</font>______<font color="#996633">||</font>_____<font color="#996633">||</font>___<font color="#996633">|</font>___<font color="#996633">|</font>___<font color="#993300">|___|___|</font> <font color="00ffff">\ \<font color="#3377ff">___/ </font>_____------- / \</font><br> <font color="00ffff">\ // ___<font color="00ffff"> </font> \ \ \</font><br> <font color="#ffaaff">o _ o/ \o/ <font color="#ffffff">. </font></font><font color="#ffffff"> </font> <font color="00eeee">\ // / \ <font color="00eeee">_</font> \/</font><br> <font color="#ffaaff">_/\ \ _/\ | o__ <font color="#ff99ff">o_</font></font><font color="#ff99ff">_</font> <font color="00dddd">\<font color="#3377ff">/\/</font><font color="00dddd"> </font>/ \ \</font><font color="#ffaaff">_ /</font><font color="00dddd">/_/ \</font><br> <font color="#ffaaff"> /\ /\_ // _/\ \ _/\ \ </font> <font color="00aaaa"> /_/ \/</font> <font color="#ffaaff">o\</font> <font color="00aaaa">\</font><br> <font color="#ffffff">.</font> <font color="#ffaaff"> \ \ \ ' /\ /\_ __ / <font color="00aaaa"> \/\/\/\/\</font><br> <font color="#ffffff">. .</font> \ \ \ </font> <font color="#ffaaff">o-- </font> <br> <font color="#ff0000">____---- ___ </font> <br> <br> 24 December 2018<br> <font color="#ffffff"><font color="#66ff99"><br> welcome to the 7th issue of the SHADOW WOLF CYBERZINE!!!<br> It was quite a daunting task put the final things together for this issue <br> being on tour in Asia in a haze of extreMe sleep deprivation and Chinese state <br> controlled censured internet - anyways we barely made it before christmas eve!<br> <br> Thanks everyone for sending in articles - we got some fun stuff, lots of<br> interviews, DIY guides, ASCII art, studiotips and music stuff!<br> Also a competition in the form of an ASCII game - with GRANDE prizes to be<br> won!</font><br> </font><br> CONTENTS:<br> <br> 1. Interview with Michelle Mercure<br> 2. Hack your own multitrack tape recorder<br> 3. Studio Tips With Shawn Rudiman<br> 4. WEME Records<br> 5. A Brief conversation with Jon McCallum<br> 6. Legowelt Tokyo DJ MIX<br> 7. Terry Riley's Lifespan soundtrack & Other Trivia<br> 8. The return of U-TRAX records<br> 9. Peter Slaghuis Disco Breaks II<br> 10. Build your own field recording dome<br> 11. Electribe II modes of music<br> 12. Betonkust & Palmbomen II - Parrallel B<br> 14. Intergalactic FM TOP XX<br> 15. August Is An Angel<br> 16. Video Advice<br> 17. Advanced Urban Scaveging<br> 18. The Living Room's Room Service<br> 19. Synthesizers For Toddlers<br> 20. Essential Trip Music<br> 21. Stumbling Into A Psychic Soup<br> 22. Shadows Over ComputerStad ASCII GAME competition<br> <br> Enjoy,<br> <br> S.hAdOwWoLf cYbErPuNk<br> <br> <br> =================================================================================<br> <br> <font color="#ffffff">The Art Of Sound with </font> <br> <font color="#ffffff"> _ _ _ <br> _ __ ___ (_) ___| |__ ___| | ___ _ __ ___ ___ _ __ ___ _ _ _ __ ___ <font color="#ffffdd"><br> | '_ ` _ \| |/ __| '_ \ / _ \ |/ _ \ | '_ ` _ \ / _ \ '__/ __| | | | '__/ _ \</font></font><font color="#ffffdd"><br> </font><font color="#aaf333">| | | | | | | (__| | | | __/ | __/ | | | | | | __/ | | (__| |_| | | | __/</font><br> <font color="#66ff99">|_| |_| |_|_|\___|_| |_|\___|_|\___| |_| |_| |_|\___|_| \___|\__,_|_| \___|<br> <br> <font color="#aaf333"> ___ ___<br> /\/\/\/ / \_ / \<br> ________________________________ / \ | ( ) || ( ) | <br> || Roland J U N O 60 || \/\/\\ \ \___/ \___/ <br> ||_______________________________|| \^, ^ \\ | _ ____ |<br> || |..| . | _ _ ..| _ |23| ....|| \ _ \ / |o | -- |o |<br> ||' | |' ''| | | | | | |--| ....|| \___ /\\ | ---- |<br> ||-------------------------------|| ___| |___ |oo[ ][ ] |<br> || o ||||||||||||||||||||||||||||| / \'*' / \ |__________| <br> <font color="#66ff99"> ||||- ||||||||||||||||||||||||||||| / \__/ \<br> <font color="#77ffdd"> ||____|||||||||||||||||||||||||||||</font><br> </font></font> </font> <br> <font color="#88d311"> /\</font> <font color="#55a200">/\</font><br> <font color="#ffffff"> <font color="#aaf333"> /\</font> <font color="#88d311">\</font> <font color="#55a200">\</font> <font color="#227200">\</font> <font color="#88d311">/\</font> <font color="#55a200">/\</font><br> <font color="#88d311">/\</font> <font color="#55a200">/\ </font> <font color="#aaf333">/ \</font> <font color="#88d311">\ </font> <font color="#55a200">\</font> <font color="#227200">\ </font><font color="#115500">\</font> /\ <font color="#88d311">\</font> <font color="#55a200">\</font> <font color="#227200">\</font> <font color="#88d311">/\</font> <font color="#55a200">/\ </font><br> <font color="#77a200"> <font color="#55a200"> _______ </font></font> <font color="#aaf333">/\</font> <font color="#88d311">\</font> <font color="#55a200">\</font> <font color="#227200">\</font> <font color="#aaf333">/ \</font> <font color="#88d311">\</font> <font color="#55a200">\</font><font color="#227200"> \</font> <font color="#115500">\</font> <font color="#005500">\</font>/ \ <font color="#88d311">\</font> <font color="#55a200">\</font> <font color="#227200">\</font> <font color="#005500">\ .</font> <font color="#aaf333">/\</font> <font color="#88d311"> \</font> <font color="#55a200"> \_</font><font color="#227200">\</font><font color="#55a200">___</font><br> <font color="#99e311"> <font color="#88d311">__________</font> </font> <font color="#aaf333">/ \ </font><font color="#88d311"> \___</font><font color="#aaf333"> / \ </font> <font color="#88d311">\</font> <font color="#55a200">\</font> <font color="#227200">\</font> / \ <font color="#88d311">\__<font color="#55a200">\</font></font> <font color="#227200">\</font> <font color="#005500">\</font> <font color="#aaf333">/ \</font> <font color="#88d311"> \______</font><br> <font color="#aaf333">______________/ \_____/ \ </font> <font color="#88d311">\ </font> <font color="#55a200">\</font> / \___ </font></font></small></font><font color="#33ff33"><small><font face="Courier"><font color="#ffffff"><font color="#88d311">\ </font></font></font></small></font><font color="#33ff33"><small><font face="Courier"><font color="#ffffff"> <font color="#aaf333">/ \______ </font> \ <font color="#88d311">\</font> <font color="#aaf333">/ </font></font><font color="#aaf333"> \ </font><font color="#88d311">\</font> / <br> <font color="#aaf333">\ <font color="#88d311">\</font> / \ /<br> \ / \/<br> </font><font color="#99ff00"><font color="#ff9933"><font color="#aaf333">\/<br> </font><br> <font color="#aaf333">The North Sea Institute for the Overmind had the pleasure of catching up with <br> minimal synthesist and experimental electronic music pioneer Michele Mercure. <br> <br> Mercure is truly an all-around artist: composer, explorer of sound, visual <br> artist, and film producer. Among several scores for theatre, dance, television,<br> and film, she scored four feature films: Shades of Black (1993), Christmas <br> Dinner (1996), Home (2009), and <font color="#99e311">The </font>Last Horsemen of New York (2018). Her <br> music is interspersed with bold industrial drums, ambient soundscapes, jazzy<br> guitar riffs, eerie voice samples and field recordings, sharp synth melodies <br> and pure minimal wave sounds. Her music is experimental, cinematographic, and<br> boundless. It inspires feelings of wonder. As she prepares for upcoming live <br> performances in the U.S.A. and Europe, Michele shared some insight into her <br> beginnings in music production, her time spent in The Netherlands in the late <br> seventies, her unique recording and sampling techniques and ever-evolving <br> studio gear, cassette tape trading in the 80's, as well as current <br> and future projects. <br> <br> Last month, a curated collection of 19 of Mercure's early compositions from<br> four previously self-released albums: Rogue and Mint (1983), A Cast of Shadows <br> (1984),Dreams Without Dreamers (1985), and Dreamplay (1990) were released on <br> RVUNG Intl'ssister label Freedom to Spend as an anthological retrospective<br> double-LP. Mercure's cult album Eye Chant (1986) was recently re-released in <br> 2017 on the label.<br> <br> 'Electricity runs through everything' 'The computer plays some of it, then I <br> play some of it' - Excerpt from 'An electronumentary' featuring Michele <br> Mercure, Directed by Mary Haverstick (2018)</font></font><font color="#aaf333"><br> </font><br> ____<br> <br> <font color="#ddff99">You are described as a synthesist, experimental musician, and you are also a<br> film producer. Are those adjectives accurate, how would you further describe <br> yourself?</font><br> <br> I describe myself in a variety of ways depending on the day. I think that I <br> am anartist that works with sounds, and much of my sound work is musical, not <br> all of,it, some of it environmental and experiential and ambient. I write <br> electronic music, but I don't just write electronic music, I also play guitar,<br> so some of my music is also guitar based. I like the experimental realm. <br> Sometimes, with various types of music, everything is in a box, everything has<br> to be 4/4, as far as time signatures go. I like to stretch that out a bit, I <br> don't like to keep my work in a box that way. I do like to experiment with all<br> aspects of what I am doing, whether it is time signatures or sounds or <br> textures, all that kind of stuff. Telling a story is important. And, the <br> music can be the kind of music where maybe each person hears a different <br> story, but there is a vibe and an emotion, and a flavour to it, that people <br> can resonate to.<br> <br> <font color="#ddff99"> When you say 'environmental' – do you mean field recordings?</font><br> <br> I do work with field recording. I love playing around with that. I like <br> environmental stuff. And I put little bits and pieces of that in my work. <br> I used to make complete environmental recordings but I don't do that so much <br> anymore. Now, I blend a lot different things together to create my story.<br> <br> <br> <font color="#ddff99">I notice you used a lot of samples in your early work – as we have heard on <br> the compilation Beside Herself – can you tell us more about that?</font><br> <br> Yes I love sampling. Sampling now is a little different than what sampling <br> used to be. Sampling used to be a little more difficult. If I think about it,<br> I consider the loops that I made before I had a sampler, that was pretty much <br> sampling, except that you were recording a piece of sound onto tape, and you <br> were are looping it, and using it much the way people use samples now and use<br> loops now. I love creating beats, creating ambiences with loops and with <br> samples. There is so much you can do. You can make it go backwards, you can <br> work it out, you can slow it down, you can speed it up, you can do crazy <br> things with it. It is pretty much a sound that you've mined from the world <br> and now you are using it in something that you are creating. It is very much<br> like an artist creating a painting, except I am working with sound.<br> <br> <font color="#ddff99"> Where do you get most of your samples?</font><br> <br> Everywhere. I get them from outside my front door. I get them from sounds at <br> the playground, sounds anywhere, sounds of crickets in the middle of the<br> night, creating sounds by banging on things. Sounds are everywhere. It is <br> just a part of your world, it is a part of your environment, you can get <br> your sound from everywhere.<br> <br> <font color="#ddff99"> Does that mean you walk around with a field recorded anywhere you go?</font><br> <br> I do that. Sometimes I use my iphone. I do have a field recorder that I use <br> quite a bit. I have to think what it is.. it is a Sony, it is a really nice <br> stereo recorder...I use that quite a bit.<br> <br> <font color="#ddff99">You mentioned that sampling back then used to be quite different than it is <br> now. It was more material and tactile, involved more cutting. Can you tell <br> us more about that?</font><br> <br> When I did the loops, yes. I had a couple of reel-to-reels that I would use. <br> Back then, I would take reel-to-reel tape, quarter inch tape, and I would<br> record my sound, then I would physically make a loop out of it. Then I would<br> just play the loop through the recorders. Sometimes the loops would stretch <br> from here to the back wall, and back again. That is really long, you get a <br> couple of those going, and add some echo, you've got some crazy stuff <br> happening. And now, I use a sampler. After that, I got an Ensonic mirage<br> sampler – I loved that sampler. You couldn't do really long loops with it, <br> but it had a quality, its an 8-bit sampler, so it kind of crushed everything, <br> and had some artifacts. It had this very interesting warm quality that I <br> absolutely loved. It stopped working, I ended up selling it. Now Iam kicking<br> myself. I should have kept that thing. Now I use a variety of things for loops. <br> I work with Ableton live and Pro Tools audio work stations. I work with both <br> of them depending on what I am doing. I also have a loop station that I use <br> for some live stuff, and for triggering those sounds. So between all of that, <br> I feel that I have every tool imaginable. But I am always looking for more!<br> <br> <br> <font color="#ddff99"> How did you first get into music production?</font><br> <br> It was a step at a time. So I really started out when I was a kid being <br> a guitar player. That was – and still is to some extent – my primary <br> instrument. Sometimes I record my parts on guitar and then use Ableton to <br> translate them into midi and then process them that way. But I digress. <br> I started out as a guitar player and also as a visual artist, painting and <br> that kind of stuff. When moving to Harrisburg, Pennsylvania, I got involved <br> with an artist community of painters and theatre people – not musicians. <br> I became interested in sound as art, at that time. Just being involved with <br> artists who were doing some traditional but especially experimental art, <br> experimental theatre. And I became interested in sound as art. And I started <br> experimenting with tape recorders, cassette recorders, and recording things <br> on cassette, mixing them together. I got some guitar foot pedals, and I <br> thought, how can I mess around with this. That is how I got started, really <br> using sound as my palette; instead of painting a picture, I am painting an <br> environment of sound. One thing led to another and I started to become kind <br> of a geek when it came to gear. So I would get effects, usually used, you <br> know being a starving artist, you have to kind of get what you can. That was <br> how I started as well, just with effects, and with cassette recorders, and <br> with reel-to-reels, sometimes I would borrow things, sometimes I would rent <br> things, to just keep producing and keep experimenting. It is really wonderful <br> when you are that age – which I was about 18 at the time – you don't really<br> know anything. You don't know what the rules are – there are no rules. So<br> you just experiment, you just create, and you get the feedback from your <br> friends, people listen, that's great, and you keep going. It is really a <br> great time. It is really a great time now. But as you get older, some people<br> get their crutches and their ways they have to do things, so it's really <br> good if you can stay open to the process.<br> <br> <font color="#ddff99"> Do you have tips or tricks when you are looking for inspiration?</font><br> <br> Like all artists, I think, you have times where you are not feeling quite <br> as inspired, so you have to "trick" yourself. I move the studio around. <br> Sometimes I completely flip it around. Sometimes I put it in a different <br> room. Sometimes, I have my studio here, but I live somewhere else, so <br> sometimes I take all my stuff home. Also, I listen to what other people <br> are doing, and you can get a lot of inspiration from other people, and <br> what they are doing, trying to figure out how they did something, how did <br> they got a certain sounds. It's not going to be exactly the same. You will <br> figure out your way of doing it, but in doing that, you can come up with a <br> whole new process. Sometimes it is as simple as getting a new synthesizer, <br> getting a new guitar. I have five or six guitars, and they all make me play<br> differently. When I play differently, I am inspired to do different things. <br> It is the same thing with synthesizers. That make you play differently, make<br> you do things differently. Sometimes just getting new toys is all you need. <br> There are so many things. Maybe if you are working on something and normally <br> you work on drums first, work on a different thing first – work on a<br> texture, work on your sound. Sometimes your sound can inspire what the rest<br> of the piece is going to be.<br> <font color="#ddff99"><br> I read in an interview that you spent time in The Netherlands, that had <br> inspired you in your music; can you tell us a bit more about that?</font><br> <br> That was probably in the late 1970's, I spent just a little over six months <br> there. I was in Eindhoven. I was already doing music at that time, but I was<br> exposed to things like – there was another person doing electronic music that <br> I met, while I was there, and then there was listening to Radio Free Europe. <br> I don't know what it is like now, because I haven't listened to Radio free <br> Europe in many years, but at the time, I was hearing music that you'd never <br> hear in the United States, and it was from all over the world but it was <br> really some great stuff and I could spend hours listening to that and getting <br> all sorts of ideas, and hearing bands I'd never heard and that just opened my <br> mind up to all the things that I could be doing, and all the things that my <br> music can be. I had been livingin Harrisburg already, I had been living there<br> for probably about a year, and I was already involved in the kind of artist <br> community, it was a very small community. I was already doing my sound <br> experiments. When I went to The Netherlands, I saw that people had been doing<br> this for a while! And it was just wonderful to see and I really felt like that <br> was where actually I belonged. I loved the Netherlands, it was just wonderful.<br> <br> <font color="#ddff99">Eindhoven is the birthplace of the cassettetape and CD player. Could you<br> feel that ethos?</font><br> <br> One of the many things I loved about Eindhoven and The Netherlands in <br> general is that I had a couple record stores that I would go to regularly <br> there and they got to know me and it got to this point where I could go in <br> and I could say, surprise me – I wanted to hear something I'd never heard <br> before. They knew that I was from the United States. It was partly what they<br> gave me to listen to, all of these things, that's how I heard Conrad <br> Schnitzler for the first time, was that I went to this record store and I <br> said: I want to hear something I had never heard before, this is the stuff <br> I am into, but don't put me in that box because I like to hear all kinds of<br> things. It was one of those stores that got me into Conrad Schnitzler and it <br> also brought me to Kate Bush, so there is the spectrum.<br> <font color="#ddff99"><br> I read that your first four albums which became the compilation Beside Herself, <br> you self-released and self-distributed them, how did that happen, how did you <br> get them out into the world?</font><br> <br> When I came back from The Netherlands, I started writing and producing and <br> recording more work. At the same time, I discovered that there were other <br> people who were doing electronic music and experimental music and I found that<br> out because I somehow got a copy of a magazine at the time called – I think it<br> went through a variety of names – there was Tape-Op and then there was Option<br> magazine, and in those magazines there was always a section at the end where <br> they would review people's tapes that were sent in and I realized people are <br> recording their music, they are putting it out, they were getting them reviewed. <br> They would even put our name and address so that people could contact you in <br> they wanted a copy of the tape. There was a lot of trading tapes going on. <br> That's how I met a lot of people that were doing what I was doing.<br> <br> <font color="#ddff99"> Can you tell us more about trading tapes?</font><br> <br> For instance, first I found out that other people were producing their music <br> and making a record basically on cassette tape and they were self-distributing <br> it. So that was the first thing I discovered. Then I made my first tape. In <br> one of the magazines, probably Tape-op, I saw that Eurock Distribution was <br> doing some distribution of some people's electronic music on cassette. I <br> contacted them and they agreed to distribute my tape. That's the distribution <br> aspect. But then when you send your tapes to place like Tape-op magazine or <br> Option magazine and it gets reviewed they put your name and address at the end<br> of the review, and other people, if they find your review interesting, they <br> would contact you and say hey! I'm doing this music too, do you want to trade <br> tapes with me? Then, we would trade tapes back and forth and it is kind of how <br> I would meet other people that were doing the same kind of thing I was doing. <br> This was snail mail, everything takes forever to get anywhere. Its not like <br> the Internet, where you are copying files to dropbox. I love the immediacy of<br> the internet I have to say, I love that you and we can have a conversation <br> and you are half way across the world.<br> <br> <font color="#ddff99">I am very curious about what you are working on nowadays and what you have been <br> working on. Can you tell us more about your film scoring?</font><br> <br> I have written music for four feature films. I do music for the projects that <br> we do here, some commercial projects, I've done music for dance and theatre <br> and that kind of thing. It's a little different from my electronica, although <br> some of that is always in there, my sounds. But I am writing music for other <br> people, so you have to work within the confines of what you are writing for <br> demands. I love that aspect too. As a matter of a fact, that's kind of my heart <br> right now. I love writing music for film. Creating that aspect of emotion that <br> you see on the screen. I really love that. Right now what I am doing is, for <br> several years now, I have been involved in a research project that has to do <br> with spying during the cold war. I am creating a whole body of work around <br> the concept and art of spying. It's kind of a concept record.<br> <br> <font color="#ddff99">You are working on a concept album? What motivated you to delve into this <br> topic?</font><br> <br> Yes, absolutely. I have a number of pieces for it. I don't know when it will <br> be done or how long it will be, but I have been working on that. It is a topic <br> that we've been researching loosely for maybe a project down the road for a <br> documentary or something. I just got involved – you never know what it going <br> to inspire you. Some of the stories I was reading just inspired me to explore <br> that, you know there are these things called numbers stations, I don't know <br> if you are familiar with that, they are these shortwave radio stations that <br> spies use for communication and there are all these codes and if you know <br> where to look on short wave radio, you can find these things. So there is <br> the recording of shortwave radio sounds, that is only one aspect of it though. <br> I am just fascinated about that stuff. <br> <br> <font color="#ddff99">It seems that you enjoy being commissioned, you mentioned that enjoy writing <br> for performances. Do you have parameters, or do you have carte blanche?</font><br> <br> It really depends on the project. I love commissions. I love the collaboration, <br> I like the collaborative spirit. Some of my projects, I usually come up with <br> ideas, it has to be a project that I resonate with. I will come up with ideas <br> of what I want to do, kind of a palette of sounds I want to use to create and <br> a director will say yes I like it, or can we go more in this direction, and <br> that kind of thing. Usually I have a lot of leeway and of course when you are collaborating or working on a film, you have to be open to other people's ideas <br> and opinions, and that can often make you do things that you might not normally<br> do and that is actually a good thing. Usually when I get a critique like that, <br> it usually makes the music better. So, I am open. I very much enjoy that type<br> of collaborative work.<br> <br> <font color="#ddff99">If you could collaborate on music with anyone, deceased or alive, who would <br> it be?</font><br> <br> There are people that I absolutely love and adore, and I don't know if I would <br> like to collaborate with them, necessarily. There are people that I just think <br> are fantastic. I have to think about it. One person that I can think of – I <br> think you want to know that you will are going to add your voice, and that it <br> will also come through, for instance, I love Thomas Newman. He is a composer, <br> he did The Adjustment Bureau, American Beauty, and Little Children, he is just phenomenal. I think he would be someone with whom it would fascinating to <br> collaborate with. And also I think that I could find my voice and that it would <br> be an interesting collaboration, or that I like to think it would be a good collaboration. I hope that doesn't sound pretentious! It would be really cool <br> thing.<br> <br> <font color="#ddff99"> Can you tell us what is in your studio at the moment?</font><br> <br> It is really stripped down. I am working primarily in Ableton live for music. <br> I just love that program. There is so much you can do with it and so many <br> different ways you can work with it. It is a stable program, I can layer<br> effects and I know it's not going to crash. It is kind of my brain at the <br> moment, if you will, of what I am doing right now. Within Ableton live I also<br> use my APC 40 as a controller, I also use a push as a controller, and for <br> me it's a lot of controllers. I have a Komplete Control A49, those are <br> basically the three things that control my Ableton. Then, I do have a <br> Roland Gaia. I really like Roland synthesizers. I like other types of synths<br> too, but I like the architecture and I like the sound that Roland gets. <br> So I think it is important to, at least for me, to use not just one type <br> of synth, but to have a couple of very different things in your arsenal <br> because the architecture of how sound is made creates the quality – like <br> for instance a Korg doesn't sound anything like a Roland, to me, and so I <br> like having different tools that I can use and mix together. <br> But at the moment I am using a Roland Gaia. I am also using a Korg sampling <br> digital delay that I really love, that is really old school, it is 8-bit. <br> I love it because I can get long 4 second delays with it. So you can do a lot <br> of interesting things. I have a loop station, and I have my guitars. <br> So that's really what I am using right now. Plus a lot of soft synths.<br> <font color="#999999"><br> ________________________________________________________________<br> | ______ |<br> || | | <font color="#ffffff">-</font> <font color="#ffff00"> - - - - </font> |<br> || |<font color="#ffffff">ensoniq</font> = <font color="#ffffff">-</font> <font color="#ffff00"> - - - - </font> <font color="#ffff00"> M i r a g e</font> |<br> || |<font color="#ff0000">_________</font>| <font color="#ffffff">-</font> <font color="#ffff00">- - -</font> <font color="#ff0000">________________________________ </font> |<br> ||______|<font color="#ffffff"> ____________________________________________________ </font> |<br> | --==-- <font color="#ffffff">|||||||||||||||||||||||||||||||||||||||||||||||||||||| </font> |<br> | - - <font color="#ffffff">|||||||||||||||||||||||||||||||||||||||||||||||||||||| </font> |<br> | | | | |<font color="#ffffff">| | | | | | | | | | | | | | | | | | | | | | | | | | ||</font> |<br> |________<font color="#ffffff">|_|_|_|_|_|_|_|_|_|_|_|_|_|_|_|_|_|_|_|_|_|_|_|_|_|_||</font>__|<br> </font><br> <font color="#ddff99">You mentioned that you are preparing for some live performances. Where are <br> you performing and what type of live performance?<br> </font><br> I just started prepping for scheduled performances in New York in Barcelona <br> nd perhaps Montreal. There has been talked of a tour of the UK in September. <br> There is Rewire (In The Hague), but I don't know what is happening though. I <br> had an offer from Rewire (In The Hague ed.) and I said yes! but then I didn't <br> hear anything from them again. The record label emailed and emailed again, <br> but no response. I am not sure what happened.<br> <br> I have a general set list – I am doing three old pieces and the rest is new, <br> and I am doing some improvisational stuff, so it's a combination of things. <br> I am hoping that I can get a visual aspect together as well. It's a tall <br> order because my first show is in February, end of February. But I'd like to <br> see what I can do. I am going to be mixing old and new aspects, even with the <br> visuals. A lot of people do a similar thing, with their visuals, but I want to <br> try to do something a little different. Hopefully I can pull it off, if I <br> can't it may just be music, but I think it may be interesting if it is both. <br> Sometimes, when you're performing electronic music, people can't always tell <br> what you are doing, and it would be a lot more interesting if people had <br> something else to focus on another than me pressing buttons and playing, <br> and not exactly knowing what's going on.<br> <br> <font color="#ddff99"> Would this visual aspect also be your own work?</font><br> <br> I think it would be our own work. There may be some things in the public <br> domain that I can loop. There are ways to play loops with the keyboard, and <br> that would be interesting to me, to mess around with that. Since it has always<br> made me a little nervous to have the computer be the brain that is controlling everything, and so, I want to make sure that it is something that is really <br> doable and is stable. That is something that used to plague me all the time <br> when I would play live in the 80's, I would have to say to the audience at the<br> start of the show, "ok, it might crash, and if it does I will start the piece <br> all over again". It used to be quite anxiety provoking.<br> <br> <font color="#ddff99">Thank you so much for sharing your insights with us, we truly hope to see you <br> in The Hague and in Europe soon!</font><br> <br> By Z.Zerfall<br> </font><br> <br> =================================================================================<br> <font color="#33aaff"> _ _ <br> | |__ __ _ ___| | __ _ _ ___ _ _ _ __ _____ ___ __ <br> <font color="#55ddff">| '_ \ / _` |/ __| |/ / | | | |/ _ \| | | | '__| / _ \ \ /\ / / '_ \ </font><br> <font color="#77eeff">| | | | (_| | (__| < | |_| | (_) | |_| | | | (_) \ V V /| | | | <br> </font><font color="#ddffff">|_| |_|\__,_|\___|_|\_\ \__, |\___/ \__,_|_| \___/ \_/\_/ |_| |_| <br> |___/ </font><br> _ _ _ _ _ _ <br> _ __ ___ _ _| | |_(_) |_ _ __ __ _ ___| | __ | |_ __ _ _ __ ___ <br> <font color="#55ddff">| '_ ` _ \| | | | | __| | __| '__/ _` |/ __| |/ / | __/ _` | '_ \ / _ \</font><br> <font color="#77eeff">| | | | | | |_| | | |_| | |_| | | (_| | (__| < | || (_| | |_) | __/</font><br> <font color="#ddffff">|_| |_| |_|\__,_|_|\__|_|\__|_| \__,_|\___|_|\_\ \__\__,_| .__/ \___|<br> |_| </font> <br> _ <br> _ __ ___ ___ ___ _ __ __| | ___ _ __ <br> <font color="#55ddff">| '__/ _ \/ __/ _ \| '__/ _` |/ _ \ '__|</font> <br> <font color="#77eeff">| | | __/ (_| (_) | | | (_| | __/ | </font> /\ <br> <font color="#ddffff">|_| \___|\___\___/|_| \__,_|\___|_| </font> /\ / \ <br> / \ / \ /\<br> _______________________ ___/ \___ / \ / \__<br> | | ____ | | \ / \ / <br> | O | |o o| =====| O |_____ \/ \ /<br> | | |____| - - -| | \____ \/<br> ----| - - - - o o |---- ___\___________<br> ----------------------- //_//_//_//_//_/\<br> / o o o o o o // \<br> / o o o o o o // /<br> / o o o o o o // /<br> / / / / / / / // /<br> / = / = = / = // /<br> / / = / / = / // /<br> --------------- /<br> \_______________\/<br> <br> Turn any crap cassetterecorder/boombox into a multitrack tape recorder!<br> <br> An extreme form of overdubbing/multitracking with old crappy cassetterecorders/<br> boomboxes etc., probably good for noise and more experimental stuff: Simply <br> put of piece of thick tape on, or just remove, the erase head of the machine.<br> <br> The erase head is the part of the recorder that clears the tape before it <br> records new audio on it. If this is taped off or removed the original sound <br> of the cassettetape will not be deleted and you will hear a mix of the <br> original and new recording. Now this opens up a lot of freaky oppertunities <br> - if you have one of those endless loop tapes <br> (https://tapeline.info/v2/endless-loop-tapes.html) you can make an infinite<br> layered soundscape. Something that will create a cosmic hyperflux of magnetic<br> particles.<br> <br> Its pretty easy to find the erase head - it is the first ‘head’ the tape goes <br> past before the recording head when the recording button is pressed. <br> <br> It is usually a white plasticy thing on cheaper cassettedecks. You don’t even<br> have to open up the cassetterecorder just open up the loading door and you <br> will see it. You probably have to press the record button and hold down the<br> mechanism that detects the cassettetape inside the tape recorder so the <br> erase head gets elevated.<br> <br> If you tape it off be sure the tape is levelled and flat not too<br> thick else the cassettetape-tape can’t run smoothly over it.</font><br> <font color="#3366ff"> ______________</font><br> <font color="#3366ff"> \ \</font><br> <font color="#3366ff"> \ \ </font> <font color="#996633"> ------_______________________________----- </font> <br> <font color="#3366ff">\ _____________\ </font> <font color="#ffffff"> ___ </font> <font color="#999999"> ______</font><br> <font color="#33ffff"> / / /</font> <font color="#ffffff"> _- -_ </font> <font color="#999999"> / \</font><br> <font color="#33ffff"> / . . / /</font> <font color="#ffffff"> | |</font> <font color="#999999"> | |</font><br> <font color="#33ffff"> / || || / / </font> <font color="#ffffff"> | | <font color="#999999"> </font></font><font color="#999999"> | |</font><br> <font color="#33ffff">/</font> <font color="#ffffff">.</font> <font color="#999999">.</font> <font color="#33ffff"> / / / </font> <font color="#ffffff"> | J023L | </font> <font color="#999999">| |</font><br> <font color="#33ffff">/___</font><font color="#ffffff">//</font><font color="#33ffff">__</font><font color="#999999">//</font><font color="#33ffff">___/ / /</font> <br> <font color="#33ffff"> / /</font><br> <font color="#ffffff">__ __ ___ </font> <font color="#33ffff"> /</font> <font color="#33aaff"> /|\ /|\</font><br> <font color="#ff0000">--</font><font color="#ffffff">/ / / / / // </font><font color="#33ffff"> /</font> <font color="#33aaff"> erase head _| |___ recording head</font><br> <font color="#ff0000">--</font> <font color="#999999">-- -- -- "</font> <font color="#33ffff">/</font> <font color="#33aaff"> tape off or remove </font><br> <font color="#33aaff"> this one</font><br> <br> <br> <font color="#33aaff"><a href="https://www.youtube.com/watch?v=shyGIwfPN5Q" target="_blank">Here</a> is a youtube movie of someone taking out the erase head in a simple<br> recorder.</font><br> <br> <font color="#33aaff">=================================================================================</font><br> <br> <font color="#ffdddd"> _ _ _ _ _ _ _ _ <br> ___| |_ _ _ __| (_) ___ | |_(_)_ __ ___ __ _(_) |_| |__ <br> <font color="#ffbbbb">/ __| __| | | |/ _` | |/ _ \ | __| | '_ \/ __| \ \ /\ / / | __| '_ \ <br> <font color="#ff8888">\__ \ |_| |_| | (_| | | (_) | | |_| | |_) \__ \ \ V V /| | |_| | | | </font></font><br> <font color="#ff3333">|___/\__|\__,_|\__,_|_|\___/ \__|_| .__/|___/ \_/\_/ |_|\__|_| |_| <br> |_| </font> <br> _ _ _ <br> ___| |__ __ ___ ___ __ _ __ _ _ __| (_)_ __ ___ __ _ _ __ <br> <font color="#ffbbbb">/ __| '_ \ / _` \ \ /\ / / '_ \ | '__| | | |/ _` | | '_ ` _ \ / _` | '_ \ </font><br> <font color="#ff8888">\__ \ | | | (_| |\ V V /| | | | | | | |_| | (_| | | | | | | | (_| | | | |</font><br> <font color="#ff3333">|___/_| |_|\__,_| \_/\_/ |_| |_| |_| \__,_|\__,_|_|_| |_| |_|\__,_|_| |_|</font></font><font color="#ff3333"><br> </font><font color="#ffdddd"><br> ________________________ ______<br> \\ - - - - - - - - - \\__________ ___/______|<br> \\ - - - - - - --- - - \\ - - - - \ |o o |<br> \\ \\\\\\\\\\\\\\\\\\\\ \\ o o o o \ | ( |<br> \\_\\\\\\\\\\\\\\\\\\\\_\\_\\\\\\\_\ _|______|_<br> ___________________ __________________ / \<br> \\ - - - - - - - - \ \ - - - - - \ \ \\ / S R \<br> \\ \ \\ \ \ \ \ \ o o o o o o\ \ \\/ ______,---- \<br> \\\\\\\\\\\\\\\\\\\\\ \ \\\\\\\\\\\\ \ \\ / <br> \\\\\\\\\\\\\\\\\\\\\ \ \\\\\\\\\\\\_\_\\ <br> <br> <font color="#ffaa99"><font color="#ffaadd">This time we let Pittsburg producer Shawn Rudiman do all the tips!<br> If you are unfamiliar with him, he is a badass US techno producer and<br> gear head making records since techno year zero. Lets go SHAWN:<br> </font><font color="#dd88bb"><br> Some pointers to help keep your ship functional, sane and with a working <br> hyperdrive: <br> <br> 1: always have 3/4" artist labeling tape around for your desk, cables, and<br> any thing that needs to be labeled that you dont want to permanently write <br> on. <br> <br> 2: always have a fresh pack of yor favourite shapie or sharpie type <br> pen-marker for the tape. <br> <br> 3: (optional) if you're possibly ocd like me, keep an exacto or razor knife <br> aroud to cut the tape to strips and sizes you need with super square corners<br> and straight edges. <br> <br> 4: purchase a super soft, 2" paintbrush. why? yu can ever so lightly mist it <br> with windex or whatever cleaner is your choice in the studio to clean and <br> get between vaster spaces of knobs-sliders etc. (mix desks, large synths with<br> too many knobs to take off etc) and yu can then keep them free of the regular<br> odd dust, and shit that may drive you nuts. <br> <br> 5: keep a soft old tshirt around <br> that been cut into small pieces. use it for machines lcd screens with a tad <br> of windex. if youre like me in any way, i hate hate hate to see dust on lcd <br> screens and it makes me crazy. so this is the best way ive found to do it. <br> > never use it for anything else. no spilled soda, coffee, beer or crumbs.<br> it has a singular purpose. <br> <br> 6 : LABEL EVERY CABLE ON EVERY END. minus modular patch cables and things<br> like that etc. sanity goes way up then. 7:arrange things that require the<br> most intense on board programming and have the least friendly user interfaces<br> as close to you and comfy as you can. if you want to use it, make it easy. <br> not hard. ..and balance it with its averrge use amount too. <br> dont waste precious real estate on things that youll use occasionally. <br> give it to the go to machines and regular every day use machines. <br> no matter how "uncool" people say they are. <br> <br> 8: all drinks go away from any and all power and are always only away <br> from rolling chairs, and arms, hands. this never works i know. but try and<br> follow it to avoid hating yourself for things that are avoidable. <br> <br> 9: dont pile things up physically. keep your workflow arranged to feel good.<br> figure out ways to make shelves, risers, mounts, stands and the physical <br> things you need to put machines exactly where you want them. think outside <br> of the musical world box. it will save you time and lots of money. dont be<br> afraid to try and build something, no matter how crude it feels to you. <br> right down to bricks and cynder blocks with stolen construction site wood :)<br> <br> 10: always try and enter the studio with only a good mindset. it will yield<br> better results. want to be there. it your sanctuary. its your refuge. make<br> it right in every way to fit you and your ideas. "<br> <br> By Shawn Rudiman</font></font><br> </font><br> =================================================================================<br> <font color="#ffffff"> ____ ___ ___ __________ ___ ___ _________<br> | | | | | | | ________|| -_ _- | |_______ |</font><br> <font color="#ddffdd">| | | | | | \ \_______ | _ --- _ | ______/ /</font><br> <font color="#99ffaa">| | | | | | | _______|| | -_ _- | | |______ |</font><br> <font color="#77ff99">| |/ ___ \| | / /_______ | | | | | | ______\ \<br> </font><font color="#55ff77">|______- -_____| |__________||_| |_| |_| |_________|<br> </font><br> WEME Records is a cool label from Brussels Belgium releasing many <br> of our favorite artists like Ceephax Acid Crew, Global Goon, DJ Stingray<br> (including my all time faveorite AQUATEAM II) an many many more!!!<br> <br> <font color="#ddffdd"> ___<br> / \<br> |= = =| |<br> ___ _-\___/-_ ___ _/ \_<br> <font color="#ddffaa"> / \_- | | -/ \ . / \ __ __</font></font><font color="#ddffaa"><br> |= = =| _| |_ |= = =| | | ||||||| | | | |<br> \___/ / \ \___/ | | |______ | | | | |</font><br> <font color="#aaff88"> \ / \ / | |___| |_____| |_| |__<br> _\ | = = = = | /_ _____| | | __________ --__<br> /_ \ / _\ . . __ | |__________|</font><br> <font color="#88ff55"> \__/ \_____/ \__/ / \ / \ /\ |__________|<br> / -_ || _- \ /\ / \ |__________| . . .<br> /X| -_ / \_- |X\ ____ | || | |__________|</font><br> <font color="#55ff33"> /X/ |= =| \X\ / \____________/\/\____/\____| . . <br> /XX| \__/ |XX\ . . . . . . . . . . . . . \__|____<br> /XX| |XX\ . . . . . . . . . . . . . . . . . . \<br> </font><br> <br> <br> An interview with WEME Record's creator Frederic Mergam, by our special <br> reporter BoeufStroganoff.<br> <br> If you happen to hang out in some pubs in Brussels on a dark winter night, <br> there is a great chance that you will hear the locals pronounce these super <br> simple sounds: "Oueeeeeeeaiiiis mais ...[add here whatever sentence]" The <br> first "ouais" should be a long sounds while the second "mais" should be much<br> shorter. Like in some weird forgotten tonal languages from South East Asia,<br> the tone and length of these two sounds are carefully chosen to vary the <br> meaning they convey. Sometimes used to interrupt someone, sometimes used to <br> emphasize a sentence, sometimes use to signify sarcasm,... And you can also <br> invert that simple sequence and say "Mais Oueeeeeeeaiiiis" which further <br> multiplies the amount of meanings you want to express. It's a delicate art <br> that only the francophone-inclined Belgians can master. Use it with French <br> people and they will give you a circumspect glance, while totally missing <br> the precise message being broadcast. The refined art of beer-induced <br> conversations with strangers and the mastery of tonal and guttural <br> technicalities are required to enjoy full-duplex communication between <br> Belgians (and show-off your fascinating sense of humor). If you do master <br> it, you will make new friends in that bizarre city, although there is <br> pretty good chance you won't remember anything the next day. <br> <br> So why talking about this? Well because it is the beginning of an <br> explanation to understand what WEME records is all about.<br> <br> The Year is 2004 and, after a first iteration as MéWé records ("Mais <br> Oueeeeeeeaiiiis") with one of his pal the year before, Frederic Mergam went<br> solo and created WEME records (Oueeeeeeeaiiiis Mais). This name-inversion <br> rebirth added another episode in the saga of cool, yet not-so-numerous <br> fine quality Belgian underground record labels. WeMe, if you will, is the <br> perfect antidote to the horrors of another Belgian creation : Tomorrowland <br> and its hordes of lobotomized so-called EDM artists. <br> <br> Back then, Fred released WEME001, some quality fast-paced jungle by an <br> artist called Zorg. That first LP was fresh indeed and got critically <br> acclaimed by the gods of the underground. This success allowed Fred to <br> slam the doors wide open for what was next in the pipeline and now, after <br> almost 15 years, WEME established itself as a tasteful provider of fine <br> electronic music with releases by EOD/CN, DJ Stingray, MNLTH, Ceephax, <br> Cylob, Global Goon, and the likes. Fred also released some more personal <br> and ambitious projects, like scores by Ennio Morricone or unheard music <br> by the late eclectic french composer Francois de Roubaix. <br> <br> <font color="#00ff99">- Fred, Would you say that WEME's brain has two competing hemispheres, <br> one focused on releasing new quality electronic music and the other one <br> dedicated to great music from previous times ? </font><br> <br> I never asked myself that question... Music has no predefined place in <br> time. A genre is defined in relation to other genres, whether new or old <br> (and they have a meaning in the history of humanity). All genres and style <br> have their place in the history of music anyway, good or bad. It is obvious <br> that I have preferences for some, especially in the context of productions <br> for my label, which has a coherent editorial line. I listen to a lot of <br> music of different styles and mainly via radio. If I ended up stranded in<br> the production of so-called "electronic music", perhaps it is because it <br> is easier for me to communicate with one person rather than a group ;-)<br> But it is mainly my state-of mind and my moods that dictate my choices at <br> any particular moment.<br> <font color="#00ff99"><br> - Looking at your releases, two main connections rise above the rest in<br> importance : The British one and the Detroit one. Has it happened <br> randomly because of personal connections or is it something you wanted, <br> worked for, and made it happened ?<br> </font><br> I spoke of "communication with the artist". I think that the choice to <br> work mainly with anglophones come from my childhood and those dreams <br> and impressions that I had when I heard speak or sing in English. It <br> seemed like a language from another planet that I did not really <br> understand. My parents listened to French songs, and the English-<br> speaking world allowed me to escape from a dark daily life. Because I<br> didn't understand it I could only imagine and create stories. It's the<br> same feeling that I have with electronic music or movie scores : since<br> there are no or very few lyrics, I feel more free to build a screenplay <br> in my mind, but now in a much more positive surrounding.<br> <br> <font color="#00ff99">- So What about the Belgian scene ? Any news from Cedric Stevens aka <br> Acid Kirk ?</font><br> <br> I know very little about the current Belgian scene. It may be related <br> to my overloaded schedule (I have a full time job and two children)! <br> What may seem strange is that I did not even really know the scene at <br> the moment of its splendor in the 1990s ... I've always been curious <br> about so many things, so I never focus 100% on one topic. I get quickly<br> tired of things, and I like to explore several spaces. The Belgian <br> scene has surely been, is, or will be, essential in history, but my <br> Belgian non-chauvinistic side does not allow me to give it great <br> importance. And it's much better like that.<br> <br> Ced Acid Kirk is doing well, at least according to the latest news ... <br> His life is as much of an artwork as his records. These records are just <br> a trace of his path, like in the Little Thumb fairy tale. Bread crumbs <br> that he drops continuously to find his way around... We swore to work <br> again together: he was one of the main reason for the birth of WeMe.<br> <br> <font color="#00ff99">- I believe you released some of your own stuff under the name <br> "Fuck Uphner", is this a project you want to push further ? and who is <br> that Uphner ? some crazy psycho ex of yours ?<br> </font><br> Fuck Uphner is just a name I use for publishing my own tracks, but I have<br> not been composing music for a long time. Let's say that my label is the <br> follow-up result of these compositions. WeMe is my artistic field now... <br> I could have called it Fuck Uphner Records. During my studies at the <br> Academy of Fine Arts in Brussels, there was this teacher of French <br> language called "Uffner." Because of its strictness, the students began<br> to tag "Fuck Uffner" on the benches. I always laughed at it. I didn't like<br> the double "f" so I changed it to "ph". Later I was selected in a demo <br> contest to do a live show, and I did not have a name at the time, <br> so "Fuck Uphner" became an obvious pick.<br> <br> <font color="#00ff99">- You recently released a compilation of remixes by the revered Heinrich <br> Muller (Gerald Donald) in collaboration with the Drexciyan Reseach Lab <br> blog. Can you tell us a bit more about how it happened ?</font><br> <br> This compilation had to exist. Heinrich Muller has always had a very <br> personal approach to remixes, which goes far beyond a simple <br> reinterpretation... My challenge was to take a step back in the choice <br> and order of the tracks. I'm not the blog follower type, it bores me too <br> quickly, except for "Drexciyan Reseach Lab " : I think his content is <br> always on point. It became clear that I had to ask him to help me for <br> this project, which he accepted.<br> <br> <font color="#00ff99">- You've mentioned being a perfectionist and taking time to do things. <br> Can you elaborate ?</font><br> <br> I produce records, and it has a cost: I have to sell them at a certain <br> price. When I sell a record to someone, that person invest financially in <br> my product. I am aware that money is important in our society and this <br> exchange is not without consequences. As I respect my clients and the fans <br> of the label, I have to be a perfectionist both in my choices, and throughout <br> the production process, which can take some extended amount of time. As said <br> earlier, I do not make a living out of the label, and I must constantly <br> hit the bullseye for what I choose to do, for the survival of the label, <br> but also for my own satisfaction and that of those who follow my projects.<br> I am hyper sensitive to the reception of each project, to feedback I get on <br> my artistic choices and on production quality. I'm always listening.<br> <font color="#00ff99"><br> - How is your relationship with artists you sign ? is there any artist/<br> project that you wanted to work on, but turned out too toxic for your taste ?</font><br> <br> It has always been a relationship of mutual trust with each other's <br> expectations.The artists give me the best of their soul and in exchange I do<br> everything to produce a release worthy of their effort. It's a duet job: I <br> would not exist if they did not exist, it's fundamental.<br> <br> This proximity creates very strong bonds of friendship, and we remain in <br> contact even if there is no current project, as with James Leyland Kirby <br> for example. There are projects that are either suspended, or that will <br> never succeed. This is due to the impact that life can have in some cases. <br> My thoughts are with Jodey Kendrick and Dave MNLTH, or Acid Kirk. But I <br> have never stopped a project in progress for other reasons.<br> <br> <font color="#00ff99">- What's the deal with the deification of assholes DJ like Aoki, Tiesto <br> and that maus ? is there really no way that more people would listen to <br> better music ? what do you think: is music taste in general a matter of <br> guts, marketing, education ? (if it is the latter, maybe we should be <br> very afraid of the state of the world...) </font><br> <br> I do not really have an opinion on the question, the world always has a <br> certain balance between different things... And that gives me the opportunity<br> to continue. I'm not fundamentally convinced that what I do is better than <br> what others do, that's not what drives me. I have two children, I do not <br> educate them against a system... but within a system that is constantly <br> mutating.<br> <br> <font color="#00ff99">- you have collaborated with other labels like Portland based Wil-Ru for <br> a CN/EOD album for example. Can you tell us a bit more about how this came <br> to be ?</font><br> <br> If there is one thing I am convinced of, it is that randomness does not <br> exist! Wil-Ru and WeMe could only work together. Eric Adrian Lee, who is <br> one of the two bosses of the label, is a wonderful guy. We have the same <br> passion for film soundtracks, the design of film poster, and covers for <br> film scores. And also the same appeal for Stian's work and sensitivity <br> (EOD / CN). Besides, Eric is very talented, he produces a lot of covers <br> for several different labels (like Death Waltz Recording, have a look <br> here http://ericadrianleedesign.tumblr.com )<br> It is always a huge pleasure to work with him, we are in sync to trip <br> together. Perfect calibration.<br> <br> <font color="#00ff99">- Do people still send loads of demo these days ?</font><br> <br> Much less than at the beginning of the label, maybe people think that <br> I am too selective ... It is true that I never answer to say if it is <br> good or not, or to direct them towards what they should do. If I knew what <br> the magic formula was, I would have used it for my own productions for a <br> long time ...<br> <br> <font color="#00ff99">- Good tracks have this thing about them, like, not too generous, keeping <br> you kinda tense and eager to listen to what's next, and there is this <br> magical moment when you tell yourself : "this is it, that track is dope <br> !" Can you tell us what is your process ? what makes a great WEME track ? <br> Is there a "WEME Sound" ?<br> </font><br> It surely depends on my sensitivity and my expectations. As I said, I love<br> film scores. With hindsight, I feel that I have produced only that: sounds <br> that generate images. As soon as I receive new sounds it must be radical <br> from the first listening: it is necessary that images take over the music, <br> and the technical aspects of it, for me to go ahead. And that encompasses <br> all styles of music.<br> <br> <font color="#00ff99"> - Can you tell us a bit more about what WEME will release in 2019 ?</font><br> <br> There are 2 EPs from the "ACID CASK" trilogy, WeMe052 and WeMe053 from <br> Ceephax. There is also a split EP from an artist from Belarus (WeMe056 / <br> WeMe313.21) which I received the demo 8 years ago! I just had to find the<br> right moment to put this EP in WeMe's story.<br> And then a new album project by Heinrich Mueller, WeMe313.19 that is<br> exceptionally beautiful!<br> There is also this incredible EP "Solomon Angelo" WeMe055, a demo that<br> has come out of nowhere ... I directly contacted the artist without <br> hesitations. The last track of this mix is part of the EP <br> https://soundcloud.com/dionysian-mysteries/sound-aesthetics-11-weme-records<br> And still other projects under construction of course: I'm always hungry!<br> <br> <br> <font color="#00ff99">Thanks Fred, cheers, and long live WEME !<br> <br> BoeufStragonoff<br> <br> Check out the music on WEME records on their webpage:<br> <a href="https://wemerecords.com" target="_blank">https://wemerecords.com</a><br> </font><br> =================================================================================<br> <br> <font color="#ff99ff"> _ _ __ <br> __ _ | |__ _ __(_) ___ / _| <br> / _` | | '_ \| '__| |/ _ \ |_ <br> <font color="#8899ff">| (_| | | |_) | | | | __/ _| </font> <br> <font color="#ddeeff"> \__,_| |_.__/|_| |_|\___|_| </font><br> <br> _ _ <br> ___ ___ _ ____ _____ _ __ ___ __ _| |_(_) ___ _ __ <br> / __/ _ \| '_ \ \ / / _ \ '__/ __|/ _` | __| |/ _ \| '_ \ <br> <font color="#8899ff">| (_| (_) | | | \ V / __/ | \__ \ (_| | |_| | (_) | | | | </font><br> <font color="#ddeeff"> \___\___/|_| |_|\_/ \___|_| |___/\__,_|\__|_|\___/|_| |_| </font><br> <br> _ _ _ <br> __ _(_) |_| |__ <br> \ \ /\ / / | __| '_ \ <br> <font color="#8899ff"> \ V V /| | |_| | | | </font><br> <font color="#ddeeff"> \_/\_/ |_|\__|_| |_| </font><br> <br> __ ___ _ _ <br> \ \ ___ _ _ _ __ ___ ___ / __\__ _| | |_ _ _ __ ___ <br> \ \/ _ \| '_ \ | '_ ` _ \ / __|/ / / _` | | | | | | '_ ` _ \ <br> <font color="#8899ff"> /\_/ / (_) | | | | | | | | | | (__/ /__| (_| | | | |_| | | | | | |</font><br> <font color="#ddeeff"> \___/ \___/|_| |_| |_| |_| |_|\___\____/\__,_|_|_|\__,_|_| |_| |_|</font></font><br> <br> ''---------------''<br> | o oo o o ooo |<br> | o o o oo |<br> | o = = = o o o|<br> | ______________ | <br> \\\\\///// |||| | | | | | || |<br> |______|___ |__||||||||||||||_| <br> |o o |\ //// ______<br> | / | _\__\<br> | / | /__/ _______<br> _____ _____________\_____/_________/ /<br> --| | -__- \ / _________<br> --------------/ \ -------<br> ________________________ \ \ ___________________<br> |:|TX81Z ____ _ _ _ _ _|:| \ \ <br> |_|____________________|_| \==[]====\ _________<br> / \<br> / /\ \ _______<br> / / \ \ _______ <br> \ \ \ \<br> ____________\ \___\ \_______________/\ ____<br> -- _\____\ \_____\__ \ \ _<br> --__ /______| |_______\ \ \<br> --___________________________________________\/<br> <br> <br> <font color="#ffcc33"><font color="#6666ee"><font color="#ff99ff">By HouseFire<br> <br> Those who are familiar with Jon McCallum's work are probably most familiar <br> with the Surf Nazis Must Die (1987) soundtrack-officially released on vinyl<br> on Strange Discs in August of 2014.<br> <br> This work seems to both carry and completely overshadow the film.<br> <a href="https://www.youtube.com/watch?v=sntGQtZD_RA&feature=youtu.be" target="_blank">https://youtu.be/sntGQtZD_RA </a><br> One is stolen away amid crashing waves and sparse, slamming rhythms with <br> heavenly synths, sparkling wistfully on the surface, while moodily churning <br> from melancholic depths, strange weather indeed. While the song<br> "Nobody Goes Home"shreds through the water with frantic guitar riffs in a <br> post-surf anthem of blood-soaked paranoia. <br> <a href="https://www.youtube.com/watch?v=thRsw2ilxTI&feature=youtu.be" target="_blank">https://youtu.be/thRsw2ilxTI</a><br> His various other soundtrack works include Miami Connection (1987) <br> (He also does the special effects in Miami Connection), Terror Eyes (1989),<br> and Soultaker (1990) in addition to working on several other films including<br> "LA Streetfighters" and "Phantasm 2". In this brief chat, we talk mostly <br> about some of the synthesizers that are characteristic in his soundtrack work.</font><br> </font><font color="#9999ff"><br> </font></font><font color="#9999ff"><font color="#99eeff">HF: Thank you so much! I am thinking of where to begin. What brings you to <br> Arkansas? </font><br> <font color="#ff99ff"><br> JM: I had friends who moved here and liked it when I came to visit. <br> I had gotten fed up with the whole big city thing. I actually had a lot of <br> music gear stolen in LA and that was part of the reason too.</font><br> <br> <font color="#99eeff">HF: It is beautiful there. I visited a poet who lives deep in the woods of <br> Fayetteville. She made the best meal with no electricity. <br> Your soundtrack work has a distinctive mood <br> and emotional quality that stands apart from others. What is this <br> quality most informed by? <br> Do you have a favorite composer? </font><br> <font color="#ff99ff"><br> JM: Probably Vangelis would be one of my favorites, but there are so many I <br> like.<br> Who is the poet? <br> Met quite a few artists and writers since being here.<br> </font><br> <font color="#99eeff">HF: C*Rose is her name</font><br> <br> <font color="#ff99ff">JM: Okay, may run into her at some point. </font><br> <br> <font color="#99eeff">HF: Yes, if you are ever deep in the forest and come across her haven. <br> Otherwise, I think she doesn't come down the mountain too often if she can <br> help it. </font><br> <br> <font color="#ff99ff">JM: Ha! I know a few people like that, I don't blame her. </font><br> <br> <font color="#99eeff">HF: I wanted to ask about what synthesizers were used in creating the iconic <br> soundtrack for Surf Nazis Must Die. <br> Also, did you write the music/ lyrics <br> for Dragon Sound in Miami Connection? <br> Lastly, are you currently working on any film or music projects and do you <br> give live performances of your work? <br> (I ask about Dragon Sound because I've had "Against The Ninja" in my head <br> for a few years now. Very catchy.)<br> </font><br> <font color="#ff99ff">JM: I wasn't musically trained but always liked music— especially soundtracks. <br> When I was in film school, I bought a synthesizer as I wanted to be able to <br> do my own music and sound effects for my short films instead of editing in <br> something already done. I was fascinated by what people like John Carpenter <br> were doing, sometimes simple but really effective— like using a high pitch <br> tone to carry a scene. Or the heartbeat in "Dawn of the Dead" or<br> "Midnight Express"- I decided on a Sequential Circuits Pro One as I couldn't <br> play and it had a 40 step note sequencer built in.<br> In the beginning, I was driving the neighbors insane. Suddenly, I found <br> myself doing my friends' short films also and two of them went on to make <br> features after college so I ended up doing those.<br> Angelo Janotti did the Dragon Sound songs, he was the only member of <br> Dragon Sound not in Y.K.Kim's Taekwando school. I did the special makeup <br> effects and handed the producer a tape of "Surf Nazis Must Die" so I ended <br> up scoring on that too.<br> On "Surf Nazis", I used the Pro One and mostly a Casio CZ-5000.<br> https://youtu.be/G-JAhvkRCfo<br> For a while, Casio were making programmable keyboards and they were great.<br> It had an 8-stage envelope amp and filter- which was unusual for the time.<br> Another reason I got it is that it had an 8-track sequencer and I only had<br> a Tascam 4-track <br> cassette to record to so I figured I wouldn't have to bounce tracks so much<br> if I built some up on the Casio first. <br> </font><br> <font color="#99eeff">HF: Very interesting! Yes, it makes total sense to use the sequencer, <br> Casio, and 4-track that way. Was that a Tascam 424? </font><br> <br> <font color="#ff99ff">JM: We ended up mixing in a professional mixing house-JDH Sound that<br> had done films like "Driving Miss Daisy" The mixers were really worried <br> that I was bringing music in on a cassette. We had a test mix a few weeks<br> before the final to check how the dialog, sound effects, and music were <br> coming. When the mixers played the music on the big speakers, they were <br> blown away and one of them said, "I'm buying you sushi lunch so you can <br> tell me how you did this on a cassette!"<br> </font><br> <font color="#99eeff">HF: That's great! Sushi lunch to confound them with your four-track <br> wizardry!<br> </font><br> <font color="#ff99ff">JM: It was a Tascam 244. It ran at double speed and had a built in DBX <br> so it sounded surprisingly good.</font><br> <br> <font color="#99eeff">HF: Yes, there is a DBX option on the back of the 424 which I must <br> always check after transporting it as it gets switched off. <br> </font><font color="#ff99ff"><br> JM: I bought a 324 some years ago so I could transfer all the old <br> masters. It has that option too. </font><br> <font color="#99eeff"><br> HF: That's quite the console! Thank you, by the way, for these detailed <br> responses. What is your current studio set-up?</font><br> <br> <font color="#ff99ff">JM: I mostly use a laptop now but still have the CZ- 5000 and some newer <br> Roland ones. </font><br> <br> <font color="#99eeff">HF: Very nice. Do you have recordings of your current works? You have given <br> graciously of your time today. It is an honor to speak with you. Is there <br> anything you'd like to add? Any good books? </font><br> <br> <font color="#ff99ff">JM: In Miami Connection I used a Korg DSS-1 which was neat as it was a <br> sampler but also had two types of synthesis. Also had a DDD-1 drum machine<br> and a Yamaha TX-81z. https://youtu.be/cKYlILIoDyc<br> Favorite book is Lonesome Dove.<br> I don't do much scoring anymore. There's a Miami Connection LP for the <br> background score in the works. <br> But it's hard to go and remix these for LP's and try to remember your <br> mindset 30 years back. <br> </font><font color="#99eeff"><br> HF: Wonderful! I will keep a lookout for the Miami Connection LP. <br> I was just listening to the TX-81z- fantastic synth. <br> Is that Lonesome Dove the western novel? I haven't read it but can imagine <br> Tommy Lee Jones and Robert Duvall from the tv show. </font><br> <br> <font color="#ff99ff">JM: Yes, that's Lonesome Dove, the western. The book was incredible. <br> I saw the mini-series later but it was nothing close to the book. <br> TX-81z was FM synthesis- like the DX-7 and hard to program but I finally <br> made some patches I used a lot, some ended up in the movie, "Soultaker". <br> It was handy as it could split into 4 different sounds at once- which I'd<br> sometimes sample as one big layered patch I could use on the DSS-1.<br> https://youtu.be/p9nxR-wUQBY</font><br> <br> <font color="#99eeff">HF: I'm haven't seen Soultaker (1990) <br> https://www.youtube.com/watch?v=RgpvXuCPpa0 but I'm looking at the synopsis<br> right now. Looks good! I thank you so much for your time today. </font><br> <br> <font color="#ff99ff">JM: You're welcome! </font></font><br> <br> <br> <font color="#009900"><font color="#ff99ff">=================================================================================<br> <font color="#ff99dd"><br> <font color="#ffddff"> _ _ _ <br> | | ___ __ _ _____ _____| | |_ </font> <br> | |/ _ \/ _` |/ _ \ \ /\ / / _ \ | __| <br> </font><font color="#ff6699">| | __/ (_| | (_) \ V V / __/ | |_ <br> |_|\___|\__, |\___/ \_/\_/ \___|_|\__| <br> |___/ </font> <br> <font color="#ffddff"> _ _ _ _ _ <br> | |_ ___ | | ___ _ ___ __| |(_) _ __ ___ (_)_ __</font><br> | __/ _ \| |/ / | | |/ _ \ / _` || | | '_ ` _ \| \ \/ /<br> <font color="#ff6699">| || (_) | <| |_| | (_) | | (_| || | | | | | | | |> < o<br> \__\___/|_|\_\\__, |\___/ \__,_|/ | |_| |_| |_|_/_/\_\<br> |___/ |__/ <br> _ o<br> o _____, \<br> o /\ /\ \ \ o<br> / \/ \/\ o o\ o\ ___/\<br> o / \/\ ___/ _/<br> /O O \/\/\___ __/ _/<br> / \________________/ _/<br> o / ________ /<br> / / \ \ <br> / _/ / \<br> o /__/ / ___ ____________ \<br> / / \ / \ \<br> o /_/\_/\_/ \_/\_/ \_/\_/\_/<br> <br> This was a mix I did for the Tokyo J-WAVE 81-3 FM radio station this December,<br> You can listen/download <a href="https://soundcloud.com/legowelt-official/legowelt-j-wave-radio-tokyo-dj-mix-december-2018" target="_blank">here</a><br> <br> Here is the tracklist:<br> <br> Burnet027 - Forever<br> K-Hand - Living For Another<br> Unit Moebius - Radio Play<br> Ebony - Obia<br> Ekman - Little Did He Know<br> Patricia - You Never Listen<br> Lata Ramasar - The Greatest Name that Lives (Allesandro Adriani Remix)<br> DJ Slyngshot - They Still Can’t Grap It<br> Matrixxman - Bad Acid<br> IF - Atantikwall 006<br> Rude 66 - Bunker 019<br> Post Industrial Noise - Outside Reality<br> Nico - Evening Of Light<br> Anthony Red Rose - Tempo<br> Flying Lotus SexSlaveShip Loop with Smackos 808<br> Notte & Bush - Wake Up In Baby’s Room<br> Krikor Couchian - WYSIWYG<br> Vivian Jones - Physical<br> Tapes - Gold Love Riddim<br> K.Leimer - A Spiritual Life<br> Delroy Edwards - Beats<br> Kevin Reynolds - Laisons<br> Alex Valentini - Beautifull Life<br> Ekman - Do I have to repeat myself<br> Legowelt - Computerized Paradise<br> Sterac - Alastria<br> Rude 66 - Bunker 028<br> Via App - Exterminator<br> Electronome - Influence<br> Mike Mareen - Dancing In The Dark<br> CRC - Archon<br> Antlers Mulm - Twilight, Fate and Tears in eye<br> Dim Garden - Dreamscapes<br> <br> </font><br> =================================================================================<br> </font> _ _ _ _ <br> | |_ ___ _ __ _ __ _ _ _ __(_) | ___ _ _( )__ </font><br> | __/ _ \ '__| '__| | | | | '__| | |/ _ \ | | |/ __| <br> | || __/ | | | | |_| | | | | | | __/ |_| |\__ \ <br> \__\___|_| |_| \__, | |_| |_|_|\___|\__, ||___/ <br> |___/ |___/ <br> <font color="#009900"> _ _ __ <br> | (_)/ _| ___ ___ _ __ __ _ _ __ <br> | | | |_ / _ \/ __| '_ \ / _` | '_ \ </font> <br> | | | _| __/\__ \ |_) | (_| | | | | <br> |_|_|_| \___||___/ .__/ \__,_|_| |_| <br> |_| <br> <font color="#009900"> _ _ _ <br> ___ ___ _ _ _ __ __| | |_ _ __ __ _ ___| | __<br> / __|/ _ \| | | | '_ \ / _` | __| '__/ _` |/ __| |/ /</font><br> \__ \ (_) | |_| | | | | (_| | |_| | | (_| | (__| < <br> |___/\___/ \__,_|_| |_|\__,_|\__|_| \__,_|\___|_|\_\<br> <br> <font color="#009900">& Other triva</font><br> <br> <br> <font color="#33dd00">LIFE SPAN is a rather unknown dutch sci-fi movie directed by Alexander<br> Whitelaw from 1975 starring Klaus Kinski and a lot of dutch actors speaking <br> english in a heavy dutch accent. Its about a doctor that invents a serum<br> that can prelong life and all kinds of mysteries surrounding it. It seems <br> like a f*ckin amazing deep movie from the trailer - <a target="_blank" href="https://www.youtube.com/watch?v=dv8YnyelHkw">watch it here</a> - I have <br> unfortunately never seen it, it seems very rare but I am familiar with the<br> <a href="https://www.youtube.com/watch?v=tFYjbwrN9DU" target="_blank">soundtrack</a> which is by none other then TERRY RILEY. If you are unfamiliar <br> with Terry Riley - he is an influential minimalist composer playing endless <br> patterns of swirling looped melodies by hand. Mostly using a modified Yamaha <br> YC45D organ and his self devised Time Lag Accumulator which is basicly a loop<br> recorder made out of 2 REVOX reel-to-reel recorders. Around 1978 Edgar Froese<br> showed him his Korg PS3100 synthesizer and he subsequentely bought 2 Sequential<br> Prophet 5 synths which he used on "Songs for the 10 voices of 2 prophets" <br> (also a very cool album check <a href="https://www.youtube.com/watch?v=mkb5BPoDglc" target="_blank">here</a>)...<br> <br> o o<br> o o _______<br> o / \ <br> ___--'\ \ ____ \<br> /__ \ /\ ________________ |___ \ |<br> / / __|| | |. o . . | /_ | \<br> | | \| | |. .. o o _____ |\ \ \<br> / \ -| | |. . o :: -__ /\ /__/ \/\/\/ <br> / /__/ / |. o :: \ \ |__/ \<br> /\//\ \ / |. : o o \ \__/ ___| <br> | | |_/ |________________| \____| | |<br> | | | / \ | | |<br> | \ | /_///////|||||\\\\\_\ | | |<br> <br> Terry Riley's signature sound will however often be ascociated with <br> the Yamaha YC45D which is all over the soundtrack. <br> The YAMAHA YC45D is a cult Japanese combo organ with 2 keyboards first<br> introduced in 1972:<br> _________________________________________________________<br> | |<br> | |<br> | | <br> | _______________________ |<br> |_______________/ ....'''.. ... '' ...' \_________________|<br> || _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ||<br> || = = = = = = = = = = = = = = = = = = = = = = ||<br> || o o o o o _____________________________ ||<br> ||_______________________________________________________||<br> || ||||||||||||||||||||||||||||||||||||||||||| ||<br> || ||| ||||||||||||||||||||||||||||||||||||||||||| ||||| ||<br> || | | | | | | | | | | | | | | | | | | | | | | ||<br> ||_____-------------------------------------------_______||<br> || ||||||||||||||||||||||||||||||||||||||||| ||<br> || ||| ||||||||||||||||||||||||||||||||||||||||| ||||| ||<br> || | | | | | | | | | | | | | | | | | | | | | | ||<br> ||_____------------------------------------------________||<br> <br> <br> If anyone can hit me up with that Lifespan movie let me know! I will<br> trade records/tapes/zines whatever! SW</font><br> <br> =================================================================================<br> <br> <font color="#ffffff"> _ _ _ __ <br> | |_| |__ ___ _ __ ___| |_ _ _ _ __ _ __ ___ / _| </font><br> <font color="#ffdddd">| __| '_ \ / _ \ | '__/ _ \ __| | | | '__| '_ \ / _ \| |_ <br> </font><font color="#ffaaaa">| |_| | | | __/ | | | __/ |_| |_| | | | | | | | (_) | _| </font><br> <font color="#ff0000"> \__|_| |_|\___| |_| \___|\__|\__,_|_| |_| |_| \___/|_| </font><br> <br> <font color="#ffffff"> _ _ <br> _ _ | |_ _ __ __ ___ __ _ __ ___ ___ ___ _ __ __| |___ </font><br> <font color="#ffdddd">| | | |_____| __| '__/ _` \ \/ / | '__/ _ \/ __/ _ \| '__/ _` / __|</font><br> <font color="#ffaaaa">| |_| |_____| |_| | | (_| |> < | | | __/ (_| (_) | | | (_| \__ \</font><br> <font color="#ff0000"> \__,_| \__|_| \__,_/_/\_\ |_| \___|\___\___/|_| \__,_|___/</font><br> <br> <font color="#ffaaaa">_<br> _-_</font><br> <font color="#ff9999">___-_<br> _____-_</font><br> <font color="#ff8888">_______-_</font> <font color="#ffffff"> /\</font><br> <font color="#ff8888">_________-</font> <font color="#ffffff">_____________/__\_____________</font><br> <font color="#ff8888">__________</font><font color="#ffffff">| | | |</font><br> <font color="#ff7777">__________</font><font color="#ffffff">| | | |</font><br> <font color="#ff7777">__________</font><font color="#ffffff">|__ | | __|</font><br> <font color="#ff6666">_____________</font><font color="#ffffff">| | | |</font><br> <font color="#ff6666">_____________</font><font color="#ffffff">| | | |</font><br> <font color="#ff5555">_____________</font><font color="#ffffff">| | | |</font><br> <font color="#ff5555">_____________</font><font color="#ffffff">| |</font><font color="#ff5555">_ </font> <font color="#ffffff">| |</font><br> <font color="#ff3333">_____________</font><font color="#ffffff">| |</font><font color="#ff3333">__-_</font> <font color="#ffffff">| |</font><br> <font color="#ff3333">_____________</font><font color="#ffffff">| |</font><font color="#ff3333">____-_</font><font color="#ffffff">| | </font><br> <font color="#ff3333">_____________</font><font color="#ffffff">| |</font><font color="#ff3333">______</font><font color="#ffffff">| |</font><br> <font color="#ff2222">______________</font><font color="#ffffff">| |</font><font color="#ff2222">______</font><font color="#ffffff">| |</font><br> <font color="#ffffff">| |</font> <font color="#ffffff">| |</font><br> <font color="#ff1111">______________ </font><font color="#ffffff">\ |</font><font color="#ff1111">______</font><font color="#ffffff">| /</font><font color="#ff1111">-_</font><br> <font color="#ffffff">\ |______|</font> <font color="#ffffff"> /</font> <font color="#ff1111"> -_</font><br> <font color="#ff0000">________________</font> <font color="#ffffff">-_ _-</font> <font color="#ff0000">____ -_</font><br> <font color="#ffffff">--_________--</font> <font color="#ff0000"> -_</font><br> <font color="#ff0000">____________________________________________-_</font><br> <br> <font color="#dd0000"><font color="#ff6666">A Cult Dutch label resurrects from the mists of time!!!<br> <br> U-Trax is a dutch label from the city of Utrecht - operating in the early<br> 1990s they released a number of forgotten relics. One of these 'odball' <br> labels like Irdial Discs or FRAK that didn't give a f*ck about anything<br> hip or popular. Dreamy, pensive, colorful,deep with a frisky smart no rules <br> attitude - a typicial dutch techno sound that I refer to as POLDER TECHNO<br> (which would also include non-U trax artists such as ROSS 154, STERAC, some<br> ORLANDO VOORN stuff like his living room project and TERRACE's first album <br> ROUND UP - which is probably the first Polder techno album...? but thats<br> stuff for an other article...)POLDERTECHNO was the soundtrack of my <br> schooldays - cycling in the rain with my walkman on through the grimness<br> of teenage angst with an optimistic life view.<br> <br> U-TRAX also had a sidelabel called PHOQ-U PHONOGRAMMEN which released<br> the (even) more rawer and harder stuff...but for me its all the same.<br> <br> Anyways the label has re-surrected - U-TRAX IS BACK, they have been<br> slowly re-releasing some old classics and in 2019 they are going to release <br> some fresh material as well!<br> <br> To introduce you to this label or to freshen up the memory here are some<br> super U-TRAX (& sidelabel) classics:</font><br> </font><br> <a href="https://www.youtube.com/watch?v=kyZjUjaSzUc" target="_blank">THE CONNECTION MACHINE - ECHOES FROM TAU CETI </a><br> <font color="#ff6666">Natasja Hagemier & Jeroen Brandjes are the Connection Machine - for the <br> true techno freaks they don't need any introduction as they are beyond<br> legendary. Most of you will know their Planet E release but U-TRAX was more <br> or less their homelabel and they were heavily involved with a lot of aliases <br> and records. Those snares...those wistful organs that shabby early rompler<br> saxophone...!!!!!!!!!!!<br> </font><br> <a href="https://youtu.be/bLDkaQTZMSI" target="_blank">P.A. PRESENTS FLIGHT STIMULATOR</a><br> <font color="#ff6666"> Epic acid journey with deeeeeeeeep Jupiter strings</font><br> <br> <a href="https://www.youtube.com/watch?v=TGmpS0xBkek" target="_blank">HEINRICH TILLACK - PUMP TRACK</a><br> <font color="#ff6666">Intense classic - in the heat of the night you mix in those claps...it stops<br> and then the MASSIVE PUMP ACID line blasts out - the crowd goes wild.<br> Simple as that.</font><br> <br> <a href="https://www.youtube.com/watch?v=SYXzi_HndZ4" target="_blank">SYNDROME - EVILISH COSMOS</a><br> <font color="#ff6666"> ANother Connection Machine alias - introspective philosophical techno from<br> their DREAM TEC album.<br> </font><br> <a href="https://www.youtube.com/watch?v=UMJ8fPGO5Mw" target="_blank"> INVENTIONS & DIAMENTIONS - SERINITY</a><br> <font color="#ff6666">Timeless Fanon Flowers production - no fucks are given as the smoozy synth<br> <a href="https://www.youtube.com/watch?v=q3-PFDt65sY" target="_blank">space intro</a> of Steve Miller Band's fly like an eagle is sampled into a hypnotic<br> loop that keeps massaging the mind like a <a href="https://en.wikipedia.org/wiki/Shepard_tone" target="_blank">Shephard tone</a>. The drums are perfect<br> - smudged out and dirty - a lesson in raw techno.<br> </font><br> <a href="https://www.youtube.com/watch?v=o-Z_VgFAjhc" target="_blank">PIECES OF A PENSIVE STATE OF MIND - MISSIN' YOU</a><br> <font color="#ff6666">Cool elegant hazy record by Frank de Groodt aka the OPERATOR and now part of<br> Ultradyne</font><br> <br> <a href="https://youtu.be/_ev3_JpS674" target="_blank">MAARTEN & TJEERD - LUNETTEN LP </a><br> <font color="#ff6666">Everytime I am in the train and pass the Lunetten station (A suburb of Utrecht)<br> I think of this record...for over 25 years.</font><br> <br> <br> <a href="https://www.youtube.com/watch?v=8foZgivJ2zc&list=PL9Nt7sLSu7x1x09iCEFaBFwHfzGe5fodT&index=3" target="_blank"> </a><font color="#ff6666"><a href="https://www.youtube.com/watch?v=8foZgivJ2zc&list=PL9Nt7sLSu7x1x09iCEFaBFwHfzGe5fodT&index=3" target="_blank">CRAY EMOTICON - CHOICE CHIP</a><br> And another Connection Machine alias - going into more crusty acid territories!<br> <br> SW</font><br> <br> <br> <font color="#66ffff">=================================================================================</font><br> <font color="#66ffff"><font color="#ffffff"> _ _ _ _ <br> _ __ ___| |_ ___ _ __ ___| | __ _ __ _| |__ _ _(_)___ </font><br> <font color="#aaffff">| '_ \ / _ \ __/ _ \ '__| / __| |/ _` |/ _` | '_ \| | | | / __| </font> <br> <font color="#77ffff">| |_) | __/ || __/ | \__ \ | (_| | (_| | | | | |_| | \__ \ <br> </font>| .__/ \___|\__\___|_| |___/_|\__,_|\__, |_| |_|\__,_|_|___/ <br> |_| |___/ <br> <font color="#ffffff"> _ _ _ _ _____ _____ <br> __| (_)___ ___ ___ | |__ _ __ ___ __ _| | _____ \_ \\_ \</font><br> <font color="#aaffff"> / _` | / __|/ __/ _ \ | '_ \| '__/ _ \/ _` | |/ / __| / /\/ / /\/</font><br> <font color="#77ffff">| (_| | \__ \ (_| (_) | | |_) | | | __/ (_| | <\__ \ /\/ /_/\/ /_ </font><br> <font color="#33dddd"> \__,_|_|___/\___\___/ |_.__/|_| \___|\__,_|_|\_\___/ \____/\____/ <br> </font><br> <br> <font color="#ffff33"> _--------_</font><br> __--__ <font color="#ffff00"> _- \\<font color="#ffffaa">\\</font>\\\\\\.</font><br> ___--______--____ <font color="#dddd00"> <font color="#ffffaa">//</font>///\\\\\__\\ \</font><br> / __-- _____--___ \ <font color="#ffaa99"> |_____ </font><font color="#996633"> </font><font color="#aa9933"><font color="#996633">|</font> </font><font color="#aaaa00"> \ \</font> <br> / / |__|__| \ \ <font color="#ffaa99"> |0 0 </font><font color="#996633">\ </font> <font color="#aaaa00">) \</font><br> /_/ |__|__| \_\ <font color="#ffaa99"> | / </font> <font color="#996633">\_</font><font color="#aaaa00">\ \</font><br> | ___ ___ ___ | <font color="#ffaa99"> \ ,</font> <font color="#eeff00">| \</font><br> | |_|_| | | |_|_| | <font color="#ffaa99"> \_______ </font><font color="#eeff00">/ \</font><br> ________| |_|_| | | |_|_| |________ _<font color="#33ddff">___|</font> <font color="#eeff00">|\\\\</font><font color="#ffffff">__</font><br> |_______|___|_______| <font color="#ffffff"> / </font>\ \ / / \<br> <font color="#ffffff"> / </font> | \ / | \<br> <font color="#ffffff"> / /</font>| | | |<font color="#ffffff"> |\ \</font><br> <font color="#ffffff"> \ \</font>| | | |<font color="#ffffff"> |/ /</font><br> <font color="#ffffff"> \ \</font> \ / |<font color="#ffffff"> / /</font><br> _______________<font color="#ffffff">\ \_</font>__\/_____|<font color="#ffffff">/ /</font>_____________<br> / __------___ / <font color="#ffffff">\_-'--</font> <font color="#ffffff">\ \</font>__------___ /|<br> /- . -/ / <font color="#ffaa99">\ \</font> | | \ | <font color="#ffffff">\___\</font> . -/<br> / -__ __-/ / <font color="#ffaa99">'''\</font>= = == /<font color="#ffaa99">, \</font>____---- / /<br> / ------- / - - - o o o o o o / <font color="#ffaa99">\\\\</font> / /<br> /______________/____________________/_____________/ /<br> | | D&R DISCOM | | /<br> |______________|____________________|_____________|/<br> <br> <br> The USA had Larry Levan & Ron Hardy - in Holland we had Peter Slaghuis.<br> In the late 1970s he began experimenting with DJing and making mixes, using<br> tape recorders to loop the most intense parts of disco songs (often the break) <br> into a maelstrom of raw hypnotic disco power. Not afraid of using thick layers <br> of flanging and buckets of echo effects to elevate the music into a new <br> dimensional space. These mixes would be bootlegged on vinyl, one of the greatest <br> is the DISCO BREAKS II released around 1981.<br> <br> A quote from I-F about this mix:<br> <font color="#33ccff">''Disco breaks 1 & 2 are the best dicso mixes ever, together with Surprise<br> Power (Formula 1 Dynamite) from Ed Smit also from 1981. All three mixes are<br> still as good as the first time I heard them and the impact was enermous! I<br> also had a tape tha was recorded in the Downtown club in Maasluis where Laser-<br> dance melted with Krafktwerk's Numbers...All that shit dictated my life path''</font><br> <br> Listen to that mix <a target="_blank" href="https://www.youtube.com/watch?v=TPR6lF-qRrU">here</a><br> <br> Tracklist:<br> 1 Sergio Mendez - I'll Tell You<br> 2 Blondie - Rapture<br> 3 Kurtis Blow - The Breaks<br> 4 Sharon Redd - Can You Handle It<br> 5 Kano - It's A War<br> 6 Geraldine Hunt - Could We<br> 7 Sister Sledge - All American Girls<br> 8 Latoya Jackson - If You Feel The Funk<br> 9 Change - Paradise<br> 10 Sister Sledge - If You Realy Want Me<br> 11 Queen Samantha - Mama Rue<br> 12 Nightlife Unlimeted - Love Is In You<br> 13 Peaches And Herb - Funtime<br> 14 Frankie Vally - Soul<br> 15 Latoya Jackson - If You Feel The Funk<br> 16 Sal Barberi - Let's Get Funky<br> 17 Lipps Inc - How Long<br> 18 Duncan Sisters - Boys Will Be Boys<br> 19 First Choice - Don't Say Goodnight<br> 20 Viola Wills - If You Can't Read My Mind<br> 21 Project - Love Resque<br> 22 Disco Dream & The Androids - Dream Machine<br> 23 Vivian Vee - Give Me A Break<br> 24 Dan Hartman - Countdown<br> 25 Lime - Your Love<br> 26 Ferara - Wuthering Heights<br> 27 Strikers - Body Music<br> 28 Mike Theodore Orchestra - High On Mad Mountain<br> 29 Debbie Jacobs - Hot Hot give it all you got<br> <br> Peter Slaghuis died in a car crash in 1991 at the height of his career.<br> A beautiful memorial website can be found here:<br> http://www.peterslaghuis.com/Engels%20oud/Worldbestproducer.htm<br> <br> =================================================================================</font><br> <font color="#ffcc00"><br> <font color="#ffaa00"> _ _ _ _ <br> | |__ _ _(_) | __| | _ _ ___ _ _ _ __ _____ ___ __ <br> | '_ \| | | | | |/ _` | | | | |/ _ \| | | | '__| / _ \ \ /\ / / '_ \ </font></font><font color="#ffaa00"><br> <font color="#ffaa99">| |_) | |_| | | | (_| | | |_| | (_) | |_| | | | (_) \ V V /| | | |</font><br> <font color="#ffdd99">|_.__/ \__,_|_|_|\__,_| \__, |\___/ \__,_|_| \___/ \_/\_/ |_| |_|<br> |___/ <br> __ _ _ _ _ _ </font><br> / _(_) ___| | __| | _ __ ___ ___ ___ _ __ __| (_)_ __ __ _ <br> | |_| |/ _ \ |/ _` | | '__/ _ \/ __/ _ \| '__/ _` | | '_ \ / _` | <br> <font color="#ffaa99"><font color="#ffdd99">| _| | __/ | (_| | | | | __/ (_| (_) | | | (_| | | | | | (_| | <br> |_| |_|\___|_|\__,_| |_| \___|\___\___/|_| \__,_|_|_| |_|\__, | <br> |___/ </font><br> _ <font color="#009900"> </font><font color="#33dd00"><font color="#009900"> ___----__/\ /\ /\ /\</font> </font> </font><br> __| | ___ _ __ ___ ___ <font color="#009900"> /\</font> <font color="#33ee00"> <font color="#009900"> \ / \/ / \________ </font></font><font color="#009900"> </font> <br> / _` |/ _ \| '_ ` _ \ / _ \ <font color="#009900"> / \ </font> <font color="#009900"> </font><font color="#ffffff"> __________ </font> <font color="#009900"> </font> <br> <font color="#ffaa99">| (_| | (_) | | | | | | __/<font color="#009900"> /____\ </font> <font color="#ddffff"> _____/ _/ | \_____ </font> <br> <font color="#ffdd99"> \__,_|\___/|_| |_| |_|\___| <font color="#009900">||</font> <font color="#eeffff">___/ _/ \ \____</font><br> <font color="#ddffff">__/ / _/ | | \___</font><br> <font color="#aaffff"> _/ --__ / \ \_ \__</font><br> <font color="#009900">/\</font> <font color="#99ffff">_/ _ | | - \ __- \</font><br> <font color="#009900"> / \ /\</font> <font color="#77ffff"> / / _/ --__ | __- \ \</font><br> <font color="#009900"> / \ / \</font> <font color="#55ffff"> -____ / | ___---</font><br> <font color="#009900"> /______\ /____\ /\ </font> <font color="#33ffff">---___|_____ ____|_____-----</font><br> <font color="#009900"> || || / \ </font> </font></font><font color="#ffdd99"> </font> <font color="#00ffff"> ---------- </font> <br> <font color="#009900"> / \ /\</font><br> <font color="#009900"> | /______\ | / \<br> \|/ || | \|/ /\ / \<br> \|/ / \ /______\ </font></font><font color="#009900"><br> </font><font color="#ff9999"><font color="#009900">/ \ ||<br> /______\<br> ||</font><br> Fieldrecording is a fun meditative passtime.<br> <br> One can find great fulfillment in recording, for example some drizzle in a<br> spring meadow and listening back to that while falling asleep a few months later <br> in your appartment. You record an enviroment that you can always recall at any<br> place...change your bedroom in that meadow at any time, travelling in time and<br> space at your convienience.<br> <br> Its quite easy to start field recording, the ocassional amateur hobbyist<br> doesn't have to invest into professional microphones and recording equipment.<br> Decent advanced omni-directional recorders are available at cheap prices these <br> days one can even use a phone or old portable cassette recorder, depending on <br> how low you set the bar of quality (as some sort of punk style lo-fi esthetic <br> field recording) <br> <br> One of the problems recording in outside enviroments are the elements of nature.<br> Rain and wind make annyoing ticks and loud rumbles when they hit the microphone<br> yet they are definitely sounds you want to capture.<br> <br> There are wind socks and furry windjammers (foxtails) that help against<br> the rumbling from the wind but for rain drops the best solution is some kind<br> of shelter which is sometimes difficult to find when you are out in the<br> open nature. <br> <br> What you need:<br> --------------<br> <br> - Some kind of material to make the body/framework for the dome:<br> Bamboo skewers or shapeable metal wire, which you can connect with pieces of<br> putty or tape.<br> <br> - something to put over the structure that will absorb the rain and wind:<br> absorbent cloths, vilt - a material that will protect enough but will let<br> enough of the sound through.<br> <br> How to proceed:<br> ---------------<br> <br> With the skewers or metal wire make a domed skeleton framework and just span<br> the cloth over it like this:<br> <br> <font color="#009900"> .</font> | <font color="#009900">.</font><br> <font color="#009900"> .</font> | <font color="#009900"> .</font><br> ____----____ <font color="#009900">. </font> | <font color="#009900"> .</font><br> _-- | --_ <font color="#009900"> . </font> | <font color="#009900"> .</font><br> _-- <font color="#009900">. . . .</font> | <font color="#009900">. . .</font> --_ ____________---____________<br> _- | -_ <font color="#009900"> . </font> --- <font color="#009900"> . </font> <br> / <font color="#009900">. . . . . </font> |<font color="#009900"> . . . . . </font>\ <font color="#009900"> . </font> | <font color="#009900"> .</font><br> / | \ <font color="#009900"> . </font> | <font color="#009900"> . </font><br> | <font color="#009900">. . . . . . .</font> | <font color="#009900">. . . . . . . </font>| <font color="#009900"> .</font> | <font color="#009900">.</font><br> <font color="#009900">.</font> | <font color="#009900">.</font><br> <br> side view top view<br> <br> now place the recorder underneath the dome and it should be protected<br> against rain hitting the microphone.<br> <br> <font color="#33ddff"> \ \ \ \ <br> \ \ \ \<br> <br> \ \ \ \ \ \<br> \<br> \ \ \ \ \<br> \ \ \ \ \<br> \ \ \ \ \ \</font><br> <br> <font color="#66ffff"> \</font><font color="#33dd00"><font color="#66ffff"> \ </font> \ /</font> <font color="#66ffff">. . . </font> <font color="#66ffff">. . .</font><br> <font color="#33dd00"> |/ </font> ___------___ <font color="#33dd00"> \ | </font><br> <font color="#33dd00"> |/ . | .</font> _-- <font color="#33ccff">_<font color="#ffaa99">|</font> </font> --_ <font color="#33dd00"> \| |/ |</font><br> <font color="#33dd00">| \| \|/</font> / <font color="#3366ff"> /:<font color="#ffaa99">|</font>\ </font> \ <font color="#33dd00"> |/ \| \|</font><br> <font color="#33dd00"> \|/ | <font color="#66ffff">.</font> |</font> <font color="#66ffff">. </font> / <font color="#999999">|-<font color="#ffaa99">|</font>| </font> \ <font color="#33dd00"> | |/ | |</font><br> _<font color="#33dd00">____|_____|________|______</font>|. . . . <font color="#999999">|_<font color="#ffaa99">|</font>| </font> . . . .|<font color="#33dd00">___|___|____|____|____</font><br> <br> <br> experiment to see if its nesseray to keep the wind sock on the recorder when<br> its in the dome, or what the difference in the recorded sound is, you don't<br> want it to be too muffled.<br> <a href="http://www.pacificmicro.org/00%20-%20FieldrecordingsZorgvlietPark27Mei2018.mp3" target="_blank"><br> </a><font color="#ffaaaa"><font color="#ff9999"><a href="http://www.pacificmicro.org/00%20-%20FieldrecordingsZorgvlietPark27Mei2018.mp3" target="_blank">Here is an example recording</a>, recorded in the spring at a meadow at<br> the Zorgvliet park in The Hague/Scheveningen with a ZOOM H4 recorder.</font> <br> </font></font><font color="#ffaaaa"> </font><br> <font color="#ff9999">=================================================================================</font><br> <br> <br> <font color="#dd3377"> _ _ _ _ _ _ <br> ___| | ___ ___| |_ _ __(_) |__ ___ | | | </font> <br> <font color="#ee5599"> / _ \ |/ _ \/ __| __| '__| | '_ \ / _ \ | | | </font> <font color="#ffeeff">o o</font> <br> <font color="#ff77aa">| __/ | __/ (__| |_| | | | |_) | __/ | | | </font> <br> <font color="#ff99dd"> \___|_|\___|\___|\__|_| |_|_.__/ \___| |_|_| </font> <font color="#ffeeff">o </font> <br> <br> <font color="#dd3377"> _ __ o _ <br> _ __ ___ ___ __| | ___ ___ ___ / _| _ __ ___ _ _ ___(_) ___ <br> | '_ ` _ \ / _ \ / _` |/ _ \/ __| / _ \| |_ | '_ ` _ \| | | / __| |/ __|</font><br> <font color="#ff77aa">| | | | | | (_) | (_| | __/\__ \ | (_) | _| | | | | | | |_| \__ \ | (__ </font><br> <font color="#ff99dd">|_| |_| |_|\___/ \__,_|\___||___/ \___/|_| |_| |_| |_|\__,_|___/_|\___|</font><br> <br> <font color="#ffeeee"> o </font> <font color="#ff99dd"> ____________________________________________________________ <br> | _ _ |\</font><br> <font color="#ffeeff"> o</font> <font color="#ff99dd">|</font> <font color="#aaaaaa">O ( ) ( ) </font> <font color="#ffeeee"> electribe sampler VORG</font> <font color="#ff99dd">| |</font><br> <font color="#ff99dd">| </font> <font color="#ffff00"> ______________ </font> <font color="#dddddd"> _ _ _ _ </font> <font color="#ff99dd">| | o</font><br> <font color="#ffeeff"> o </font> <font color="#ff99dd">| </font> <font color="#dddd00">| |</font> <font color="#aaaaaa"> ( ) ( ) ( ) () () ( ) </font> <font color="#ff99dd"> | |</font><br> <font color="#ff99dd">|</font> <font color="#aaaa00">| super gladio | </font> <font color="#777777"> - - - - </font> <font color="#ff99dd">| |</font><br> <font color="#ff99dd">|</font> <font color="#888800">|______________| </font> <font color="#dddddd">== == _ _ _ _ _ _ </font> <font color="#ff99dd">| |</font><br> <font color="#ffeeff"> o </font> <font color="#ff99dd"> |</font> <font color="#aaaaaa">== == ( ) ( ) ( ) ( ) ( ) ( ) ( ) </font> <font color="#ff99dd">| |</font><br> <font color="#ff99dd"> | </font> <font color="#777777"> [ ][ ][ ] [ ] == == - - - - - - - </font> <font color="#ff99dd">| | o</font><br> <font color="#ff99dd">| </font> <font color="#777777">== == == === == === === == === == === = = </font> <font color="#ff99dd">| | </font><br> <font color="#ff99dd"> | -------------- </font><font color="#ff0000"> <font color="#ff7777">| |</font></font><font color="#ff99ff">| |</font><font color="#99ff22">| |</font><font color="#99ffff">| |</font><font color="#ff99ff">| |</font>| |<font color="#99ffff">| || |</font> <font color="#ff99dd">| |</font><br> <font color="#ffeeee">o</font><font color="#ff99dd"> | | |</font> <font color="#ff0000">|___|</font><font color="#ff33ff">|___|</font><font color="#77dd00">|___|</font>|___|<font color="#ff33ff">|___|</font><font color="#77dd00">|___|</font><font color="#77dddd">|___||___|</font> <font color="#ff99dd">| |</font><br> <font color="#ff99dd"> | | |</font> <font color="#ff99dd"> | |</font><br> <font color="#ff99dd"> | | |</font> <font color="#99ff22">| || |</font><font color="#99ffff">| |</font><font color="#ff99ff">| |</font><font color="#99ff22">| || || |</font><font color="#99ffff">| |</font> <font color="#ff99dd">| |</font><br> <font color="#ffeeff"> o </font><font color="#ff99dd"> | | | </font><font color="#77dd00">|___||___|</font><font color="#77dddd">|___|</font><font color="#ff33ff">|___|</font><font color="#77dd00">|___||___||___|</font><font color="#77dddd">|___|</font> <font color="#ff99dd">| |</font><br> <font color="#ff99dd"> | |______________| | |<br> o |____________________________________________________________| |<br> \____________________________________________________________\_|</font><br> <br> <font color="#dd77aa">This little article was sent in by MIRAJ all the way from Yellowknife,<br> Northwestern territories, Canada:<br> <br> Korg Electribes II contains scales that refer to the modern modes of music<br> in western culture. A 'scale' is a series of musical pitches in a distinct<br> order. You can change the scales in the electribe 2 menu. The electribes<br> contain many scales but the first few are named after the modern modes of<br> music. Each mode refers to a different scale that has characteristic<br> intervals and chords that give its distinctive sound. You can change the <br> root to any key. Experimenting with different scales is a great way to <br> give your music a certain feel. Below are the modes of music listed out and<br> the emotions they are generally agreed upon that people feel.<br> <br> ELECTRIBE MODE TONIC RELATIVE FEELING/EMOTION INTERVAL SEQUENCE<br> TO MAJOR SCALE <br> <br> IONIAN I Bright and Happy W-W-H-W-W-W-H<br> _____________________________________________________________________<br> <br> DORIAN II Serious, taming W-H-W-W-W-H-W<br> The passions,<br> sophisticated,<br> jazzy<br> _____________________________________________________________________<br> <br> PHRYGIAN III Mystic, Inciting H-W-W-W-H-W-W<br> Inciting,anger<br> vehement, exotic <br> _____________________________________________________________________<br> <br> LYDIAN IV Happy, Ethereal W-W-W-H-W-W-H<br> dreamy, futuristic <br> _____________________________________________________________________<br> <br> MIXOLYDIAN V Angelical, of youth W-W-H-W-W-H-W<br> Uniting pleasure &<br> sadness <br> _____________________________________________________________________<br> <br> AEOLIAN VI Sentimental, Tragic W-H-W-W-H-W-W<br> <br> ______________________________________________________________________<br> <br> LOCRIAN VII Very dark and H-W-W-H-W-W-W<br> unstable <br> <br> MIRAJ is a northern canada audio visual project between Harrison <br> Roberts and Sami Blanco. MIRAJ uses Korg Electribe 2's as the masters<br> for MIDI sequencing and song composition. Listen to Miraj music<br> at <a href="https://miraj1.bandcamp.com" target="_blank">https://miraj1.bandcamp.com</a></font><br> <br> <font color="#dd77aa">=================================================================================</font><br> <br> <br> <br> <font color="#3aacff"> _ _ _ _ ___ <br> | |__ ___| |_ ___ _ __ | | ___ _ ___| |_ ( _ ) . . </font> <br> <font color="#33ddff">| '_ \ / _ \ __/ _ \| '_ \| |/ / | | / __| __| / _ \/\ </font> <br> <font color="#33eeff">| |_) | __/ || (_) | | | | <| |_| \__ \ |_ | (_> < </font> <font color="#33aaff"> . </font> <br> <font color="#33ffff">|_.__/ \___|\__\___/|_| |_|_|\_\\__,_|___/\__| \___/\/ </font> <br> <font color="#33aaff">. </font> <br> <font color="#3aacff"> . _ _ . _____ _____ <br> _ __ __ _| |_ __ ___ | |__ ___ _ __ ___ ___ _ __ |__ _|_ _| </font><br> <font color="#33ddff">| '_ \ / _` | | '_ ` _ \| '_ \ / _ \| '_ ` _ \ / _ \ '_ \ | | | | <br> </font><font color="#33eeff">| |_) | (_| | | | | | | | |_) | (_) | | | | | | __/ | | | _| |_ _| |_ </font><br> <font color="#33ffff">| .__/ \__,_|_|_| |_| |_|_.__/ \___/|_| |_| |_|\___|_| |_| |_____|_____| <br> |_| </font><br> <font color="#3aacff"> _ _ _ ____ <br> _ __ __ _ _ __ __ _| | | ___| | | __ \ </font> <br> <font color="#33ddff"> _____ | '_ \ / _` | '__/ _` | | |/ _ \ | | / . . </font> <br> <font color="#33eeff">|_____| | |_) | (_| | | | (_| | | | __/ | | _ \ </font> <br> <font color="#33ffff">| .__/ \__,_|_| \__,_|_|_|\___|_| |_____/ . <br> |_| <br> </font> <font color="#33aaff"> . . . </font><br> <font color="#009900"> <font color="#ffffff"> .</font><br> \ <font color="#ffffff">. . . </font> /<br> \/\/\ <font color="#ffffff"> . </font> /\/\/<br> \/\/\ /\/\/<br> \/\/\ <font color="#ffffff"> . </font> /\/\/<br> \ <font color="#ffffff"> . . </font> /<br> \/\/\ /\/\/<br> \/\__ __/\/</font><br> <font color="#999999">____________________________________________________________________________<br> <br> ____________________________________________________________________________</font><br> <font color="#dddddd"><font color="#bbbbbb">--__ </font> </font> <font color="#dddddd">| |</font>______________<font color="#dddddd">| | </font> <font color="#bbbbbb"> __--</font><br> <font color="#bbbbbb"> --__ </font> <font color="#dddddd"> | |</font>_-- . --_<font color="#dddddd">| |</font> <font color="#bbbbbb"> __--</font><br> <font color="#bbbbbb"> --__ </font> <font color="#dddddd">| __-- </font> _- -_ <font color="#dddddd"> --__ | </font> <font color="#bbbbbb"> __-- </font> <br> <font color="#bbbbbb"> --__</font> <font color="#dddddd">| __-- </font> _- -_ <font color="#dddddd">--__ |</font> <font color="#bbbbbb"> __-- </font><br> <font color="#bbbbbb"> --</font><font color="#dddddd">|_-- </font> _- -_ <font color="#dddddd">--_|</font><font color="#bbbbbb">--</font><br> __-- _- -_ --__<br> __-- _- -_ --__<br> __-- _- -_ --__<br> __-- _- -_ --__<br> -- _- -_ --_<br> <br> <br> <font color="#33aaff">It was only a matter of time before Dutch producers Betonkust and Palmbomen II<br> would team up again for another EP. As usual, they rented a house outside of<br> the Randstad and brought everything they needed for one week of production<br> bootcamp. No internet, no girlfriends, no alcohol, only straight edge vegan <br> studio time, recording two or three songs a day to a mono track. This way it's <br> possible to finish large amounts of music fast because you can't 'fix' anything afterwards, it's just done. The only break that was allowed during these sessions<br> was watching a local TV show with footage from a car that was driving through <br> the local surroundings.<br> <br> Just like the previous Betonkust & Palmbomen II records, 'Parallel B' has a theme.<br> This time it's not about a hotel next to the A2 highway or a recreational area <br> with bungalows, but a person. In the late 20th century, there was this guy called <br> Bart, who wanted to become a media tycoon in the Netherlands. He worked hard to accomplish his dream, and eventually succeeded. An interesting man with a <br> tumultuous life. What if this Bart guy had decided to make electronic music <br> instead of television? What would his world look like? That's pretty much the<br> concept of this EP, A nonfictional character put in this fictional, PARALLEL <br> universe. Bart is working on his tracks, and goes on a melancholic journey filled <br> with loneliness, bad decisions and rejected demo tapes.<br> <br> This EP was recorded using a selection of mostly small, cheap gear that Betonkust<br> and Palmbomen II use for their live shows. To change things around a bit, the duo <br> chose not to use the trusted Boss DR-660 drum machine that is very present in<br> their previous recordings. Instead, all of the drum and percussion sounds are <br> coming from the slightly more obscure Yamaha RY30. A fun machine with some cool <br> functions. For instance, you can record the motions of the pitch wheel within your<br> patterns, resulting in weird, melodic drum loops.<br> <br> This particular RY30 once belonged to Dutch disco/house legend Peter Slaghuis, <br> at least that's what the previous owner said. If this is true, it is probably one <br> of Slaghuis' last purchases, since the machine is from 1991 and Slaghuis died in a mysterious car crash that same year.<br> Other equipment used: x0xb0x (fake Roland TB-303), Roland JV-1010 and E-mu<br> Proteus/1for pads and bells, and a Korg EX-800 that was mainly used for 'special <br> effects' and noise sweeps.<br> <br> An Akai MPC1000 sent MIDI to all the devices and a simple 8-channel Mackie mixer <br> provided some minimal equalizing options.<br> A custom built tape/distortion/compression pedal made sure everything was squeezed together, causing the overall LO-FI sound.<br> <br> 'Parallel B' will be released on the 14th of January on Dekmantel Records.<br> Previews: <br> </font><br> =================================================================================<br> _ _ _ _ _ __ <br> (_)_ __ | |_ ___ _ __ __ _ __ _| | __ _ ___| |_(_) ___ / _|_ __ ___ <br> | | '_ \| __/ _ \ '__/ _` |/ _` | |/ _` |/ __| __| |/ __| | |_| '_ ` _ \ <br> | | | | | || __/ | | (_| | (_| | | (_| | (__| |_| | (__ | _| | | | | |<br> |_|_| |_|\__\___|_| \__, |\__,_|_|\__,_|\___|\__|_|\___| |_| |_| |_| |_|<br> |___/ <br> _ <br> | |_ ___ _ __ __ ____ __ <br> | __/ _ \| '_ \ \ \/ /\ \/ / <br> | || (_) | |_) | > < > < <br> \__\___/| .__/ /_/\_\/_/\_\ <font color="#dd33ee"> .</font> . <font color="#ffaa33"> . </font> . <font color="#ff99ff"> .</font> <br> |_| <br> <font color="#ff0000"> ___________ <font color="#ffff00"> </font></font><font color="#ffff00">. </font> <font color="#66ffff">.</font><br> <font color="#ff6666">_______________</font><br> <font color="#dd33ee">. </font> . <font color="#ff0000"> ____________________ . .</font><br> <font color="#ff6666"> ________________________</font><br> <font color="#ffffff">__</font><font color="#ff0000"> __________________________ </font><font color="#ffffff">__</font><br> <font color="#dd33ee"> <font color="#ffcc00">.</font></font> <font color="#ffffff">__</font> <font color="#ff6666"> ____________________________ </font><font color="#ffffff"> __ .</font><br> <font color="#ffffff"> __ </font> <font color="#ff0000">______________________________ </font> <font color="#ffffff">__</font><br> <font color="#ff0066">.</font> <font color="#ffffff"> __ </font> <font color="#ff6666"> ________________________________</font> <font color="#ffffff"> __ <font color="#ffff00">.</font></font><br> <font color="#ffffff"> __ </font> <font color="#ff0000">________________________________</font> <font color="#ffffff"> __</font><br> <font color="#ffffff"> __</font> <font color="#ff6666">______________________________</font> <font color="#ffffff">__ . </font><br> <font color="#dd33ee">.</font> <font color="#ffaa33">.</font> <font color="#ffffff"> ___ </font><font color="#ff0000">______________________ </font><font color="#ffffff">___ </font><br> <font color="#ffffff"> _____</font> <font color="#ff6666">____________</font> <font color="#ffffff">_____</font> <font color="#dd33ee"> . </font> <font color="#ff0066">.</font><br> <font color="#66ffff">.</font> <font color="#ff0000"> ____</font><font color="#ffffff"> ____________</font> <font color="#ff0000">____</font><br> <font color="#ff6666"> ________________</font><br> <font color="#ff0000"> ________ </font> <font color="#3333ff">.</font> <font color="#ffaa33"> .</font><br> <font color="#3333ff">. </font> <font color="#dd33ee">.</font> <font color="#3333ff">. </font> .<br> . <font color="#ff0066">.</font> . . <font color="#ffff00"> .</font> <font color="#3333ff">.</font><br> <br> <br> Its that time again....live from the Zahara cocktailbar Scheveningen<br> 26th of December 2018 starts at 18:00 CIT - Countdown of the weird<br> cosmic intergalactic TOP XX<br> <br> What is INTERGALACTIC FM???<br> THe original and pioneering internet radio station from the West Coast of<br> Holland - playing all the cool stuff since forever...<br> Transmitting 24 hours a day 7 days a week.<br> <br> Tune in worldwide at www.intergalactic.fm or come visit the Zahara cocktailbar<br> Zeekant 32 Den Haag/Scheveningen at look at the freaks in real life!<br> <br> <br> =================================================================================<br> <br> <font color="#ff66aa"> o o <br> o o o o</font><br> <font color="#ff66aa">o</font> <font color="#ffffff"> _ _ </font> <br> <font color="#ffaaff">__ _ _ _ __ _ _ _ ___| |_ (_)___ </font> <font color="#ff88dd"><br> / _` | | | |/ _` | | | / __| __| | / __| </font> <font color="#ff66aa"> o o </font> <br> <font color="#ff66aa">| (_| | |_| | (_| | |_| \__ \ |_ | \__ \ <br> \__,_|\__,_|\__, |\__,_|___/\__| |_|___/ o o o <br> |___/ </font> <br> <font color="#ff66aa"> o o o o </font><font color="#ffffff">_ o<br> o </font><font color="#ff88dd"><font color="#ffffff"> __ _ _ __ __ _ _ __ __ _ ___| |</font><br> / _` | '_ \ / _` | '_ \ / _` |/ _ \ | </font> <font color="#ff66aa"> o</font><br> <font color="#ff66aa"> o </font> <font color="#ff66aa"> | (_| | | | | | (_| | | | | (_| | __/ |<br> o \__,_|_| |_| \__,_|_| |_|\__, |\___|_| o o<br> |___/ </font><br> <font color="#ff66aa"> o o o</font> <br> <font color="#ff66aa">o </font> <font color="#ff66aa"> o o </font> <br> <font color="#3366ff">____ </font> <font color="#ff66aa"> o o</font><br> <font color="#9999ff"> __________________ </font> <font color="#3366ff"> | -----_____</font><br> <font color="#9999ff"> |</font><font color="#ffffff">. </font> <font color="#9999ff">|</font> <font color="#ffffff">. </font> <font color="#9999ff">| |</font> __----_ <font color="#ff66aa">o</font> <font color="#3399ff">|</font> <font color="#ff66aa">o</font> <font color="#ddffff"> <font color="#9999ff"><font color="#6666cc">/</font> </font></font><font color="#3366ff"><font color="#9999ff"> \</font> </font> <font color="#3366ff"> ------</font><br> <font color="#9999ff"> |_____|______|_____| </font> - | <font color="#3399ff"> |</font> <font color="#99ffff"> <font color="#9999ff"> \ </font></font> <font color="#ff66aa">o</font> <font color="#3399ff">|</font><br> <font color="#aaaaff">|</font> <font color="#ffffff">.</font> <font color="#aaaaff">|</font> <font color="#ffffff"> . .</font><font color="#aaaaff">| | </font> <font color="#996633"> <font color="#33ff33"> | </font></font> <font color="#ff66aa">o| o</font> <font color="#3399ff">|</font> <font color="#6666dd">|</font> <font color="#77ffff">@ @ <font color="#6666dd">\ </font> </font> <font color="#3399ff"> |</font><br> <font color="#aaaaff"> |_____|______|_____|</font> <font color="#996633"> | </font> | <font color="#33bbff">|</font> <font color="#6666dd">/ \ </font> <font color="#3399ff">|</font><br> <font color="#ddddff">|</font> <font color="#ffffff">.</font> <font color="#ddddff">|</font> <font color="#ffffff"> . </font> <font color="#ddddff">|</font><font color="#ffffff"> .</font> <font color="#ddddff">|</font> <font color="#996633"> | </font> <font color="#ff66aa">o</font> <font color="#33bbff">|</font> <font color="#ff66aa">o</font> <font color="#33ffff"> <font color="#6666cc">\</font></font> <font color="#ff66aa">o</font> <font color="#3399ff">|</font><br> <font color="#ddddff">|_____|______|_____| </font> |<font color="#33ff66"><font color="#33ff33"></font> __|_________</font>_<font color="#ffdd99">__</font> <font color="#33ffff"><font color="#33ff33"> </font> <font color="#6666dd">\</font> </font> <font color="#33bbff">|</font><br> <font color="#ddddff">|</font> <font color="#ddddff">|</font><font color="#ffffff">__--__</font><font color="#ddddff">|</font><font color="#ffffff">_ </font> <font color="#ddddff">|</font> | _______________ |<font color="#ffdd99">__\ </font> <font color="#33bbff">|</font><br> _<font color="#ddddff"> |_____|______|_____| </font> <font color="#996633"> | </font> |<font color="#ffdd99">-- \</font> <font color="#ddffff"> ___---- </font> <font color="#33bbff">|</font><br> / \<font color="#ddddff">|</font><font color="#ffffff">___/ </font><font color="#ddddff">| | </font><font color="#ffffff"> \_</font><font color="#ddddff">|</font> | ----_____ | <font color="#ffdd99">//</font> <font color="#99ffff">-- </font> <font color="#33bbff">|</font><br> / <font color="#ddddff"> \_____|______|_____| </font> <font color="#33ddaa">| | ---</font> <font color="#77ffff"> | </font> <font color="#33ddff">|</font><br> /\/_ ___ __ <font color="#33ddaa"><font color="#33dd88"> | | </font> </font><font color="#33ddff"> | </font> <font color="#55ffff">/ </font> <font color="#33ddff">|</font><br> /_ \ /\ \__/ \ <font color="#33dd88"> | \ </font> <font color="#33ddff">|____</font> <font color="#33ffff">/ \</font> <font color="#33ddff">|</font><br> / \ / / / / \ / <font color="#33dd88"> / \ </font> <font color="#33ddff"> -----_____ |</font><br> \ \/ \/ / \/ <font color="#33ff00"><font color="#33dd88"> / \ </font> </font> <font color="#33eeff"> ------</font><br> <br> <font color="#ff99ff">Degrees of Freedom is a cool Quebecois synthpop/private-wave band from around <br> 1985. Hailing from Montreal they made one album called CHINA which they self <br> released. This album is very expensive, fetching 200$ prices on discogs etc. <br> The most well known song from that album is 'August is an Angel'.<br> <br> The song has some very poetical intruiging lyrics:<br> <br> August is An Angel<br> Heaven is overhead<br> Snowbyte in the summer<br> On our knees before the bed<br> <br> Cover grief with echoes<br> and drown silently instead<br> Aimless down the hallways<br> as we drift into the red<br> <br> Madness is a mirror<br> were empty lives are drawn<br> vision is the focus<br> where these endless minds are gone<br> remembering reminds us<br> how we are chained to a common bond<br> prophets born in silence<br> slave to a different song<br> <br> August is an Angel<br> Heaven is overhead<br> <br> August is an Angel<br> Heaven is overhead<br> <br> The sought after highly illegimate SMACKOS 808TR remix can be found <a href="https://soundcloud.com/user-209413898/august-is-an-angel-illegal-808tr-remix" target="_blank">here</a><br> </font><br> <font color="#ff99ff">===============================================================================</font><br> <br> <font color="#ff9900"> _ _ _ _ <br> __ _(_) __| | ___ ___ __ _ __| |_ _(_) ___ ___ ___________<br> \ \ / / |/ _` |/ _ \/ _ \ / _` |/ _` \ \ / / |/ __/ _ \ _________</font><br> <font color="#ff99dd"> \ V /| | (_| | __/ (_) | | (_| | (_| |\ V /| | (_| __/ _______</font><br> <font color="#33ffff"> \_/ |_|\__,_|\___|\___/ \__,_|\__,_| \_/ |_|\___\___|_______</font><br> <br> Movie tips from the netherworlds...<br> <br> <font color="#3366ff"> ______________________________</font> <font color="#339999">___________________________________________</font><br> <font color="#3366ff"> | ____________________________ |</font> <font color="#00dddd"> @||||@ @||||@ @||||@</font><br> <font color="#3366ff"> || </font> . . <font color="#3366ff">|| </font> <font color="#00dddd">|||| </font> <font color="#ff23ff">o</font> <font color="#ff23ff">o</font><font color="#3333ff"> ___--</font><font color="#00dddd">||||</font><font color="#3333ff">--__</font> <font color="#00dddd"> |||| </font><br> <font color="#66aaff">||</font> . /\ . . <font color="#3366ff">||</font> <font color="#00dddd"> ||||</font> <font color="#3333ff"> ___--- </font><font color="#00dddd">||||</font> <font color="#3333ff"> ---___</font><font color="#00dddd">||||</font><br> <font color="#66aaff"> ||</font> . ____/ \____ <font color="#66aaff"> ||</font> <font color="#3333ff">__ </font><font color="#00dddd">||||</font> <font color="#3333ff">___/</font> <font color="#ff23ff">o</font> __---_ <font color="#00bbbb">||||</font><br> <font color="#66aaff"> ||</font> . \_ _/ . <font color="#66aaff">||</font><font color="#3366ff"> ___</font><font color="#00bbbb">||||</font> <font color="#3366ff">________</font><font color="#ff23ff">o</font> / \<font color="#dd9933">\ </font><font color="#3366ff">_____</font><font color="#666666">|</font><font color="#3366ff">__</font><font color="#00bbbb">||||</font><font color="#3333ff">__</font><br> <font color="#66aaff"> || </font> . . \__o o_/ . <font color="#66aaff">||</font> <font color="#00bbbb">|||| </font> <font color="#33ddff">__</font> <font color="#dd9933">/</font>\ /<font color="#dd9933">/</font> <font color="#555555"> /|</font> <font color="#00bbbb">||||</font><br> <font color="#66aaff"> || </font> . | | | . <font color="#66aaff">||</font> <font color="#3333ff">-</font> <font color="#00bbbb">|||| <font color="#3333ff">_</font></font> <font color="#33ddff">|</font><font color="#ff33ff">--</font><font color="#33ddff">|</font><font color="#dd9933"> /</font> / /<font color="#dd9933">|</font> <font color="#515151"> / | </font><font color="#00bbbb"> |||| <font color="#3333ff">__</font></font><br> <font color="#66aaff"> || </font> ======= <font color="#66aaff"> ||</font> <font color="#3333ff"> _</font> <font color="#00bbbb">||||</font> <font color="#dd9933">/</font><font color="#33ddff">|</font><font color="#dd9933">B</font> <font color="#33ddff"> |</font> <font color="#dd9933">\</font> \ \ <font color="#dd9933">\</font> <font color="#515151">--___-</font> <font color="#00bbbb">|||| </font><br> <font color="#3366ff"> ||____________________________||</font> <font color="#088888"> ||||</font> <font color="#dd9933">/_,</font> <font color="#33ddff">-- </font><font color="#dd9933"> /</font> / \<font color="#dd9933">/</font><font color="#ffffff">\</font> <font color="#3333ff">__ </font><font color="#00aaaa"> ||||<font color="#3333ff"> _</font></font><br> <font color="#3366ff"> |______________________________|</font><font color="#3333ff"> -</font> <font color="#088888">||||</font><font color="#dd9933"> /</font> <font color="#dd9933">____<font color="#ffffff">_</font>/</font> / \ <font color="#ffffff">\</font> <font color="#3333ff"> _</font> <font color="#00aaaa">||||</font><br> <font color="#66aaff"> ______________________________ </font> <font color="#088888"> __||||</font> <font color="#dd9933">| / </font> <font color="#ffffff">/</font> / / <font color="#ffffff"> \ </font> <font color="#00aaaa"> __||||__</font><br> <font color="#66aaff"> | __________ _ _ _ _ _ _ _ |</font> <font color="#339999">|</font> <font color="#dd9933"><font color="#ffffff">_____</font>/ </font><font color="#ffffff"> /</font> \ \ <font color="#ffffff"> \</font> <font color="#dd0000">___</font> <font color="#33ddff"> <font color="#339999"> |</font></font><br> <font color="#66aaff"> | |__________| </font> <font color="#ffffff">____________--</font> <font color="#dd9933"> --</font> \ /<font color="#ffffff"> /</font> <font color="#dd0000">/ |</font><font color="#339999">____-- </font><br> <font color="#66aaff"> |______________ </font><font color="#ffffff"> ___--- </font> \ |<font color="#ffffff">---'<font color="#dd0000">_</font></font><font color="#dd0000">/ |</font><br> <font color="#ffffff"> __----- </font><font color="#dd0000"> _______________________</font>\ |<font color="#dd0000">---- |</font> <br> <br> <font color="#33aaff"><br> <br> <font color="#66ffff"> CHRONOPOLIS 1982 Pjotr Kamler POLAND </font><br> This is just notification that this movie exist. A Warning - for this is truly<br> a Necronomicon of film. Chronopolis is the most disturbing movie ever made -<br> like a bad drug trip - true visions of a tormented mental state…its a perfect<br> rendition of a NIGHTMARE beyond anything explainable in human words. Enter this<br> movie and you come back agonized and tainted for the rest of your life. <br> Stop motion animations can be terrifying - especially the Quay brothers and<br> Jan Svankmayer’s work is often truly unsettling and frightening….rotten fungi,<br> broken porcelain puppets decomposed taxadermizied animals etc. always give <br> that’cosy uplifting atmosphere. But you ain’t seen anything yet…here we have <br> Pjotr Kamler’s CHRONOPOLIS...that strange uncanny valley of stuttering stop <br> motion movements is taken to new heights of fear in a completely dissacosiated<br> world. The story as far as we can understand (reading the synopsis online there<br> is no way you can figure this out by watching it) is about immortal beings that <br> live in a gargantuan city were they build useless monuments…one day there is a visitor…thats as far as we can grasp. The soundtrack is amazing, pure electronic frightning madness straight out of a psychosis made by a guy called Luc Ferrari<br> a French Italian pioneer of electro acoustic music. The most fucked up thing is<br> that Chronopolis won BEST CHILDRENS MOVIE at the Italian Fantafestival in 1982. <br> I can only imagine children (and grown ups for that matter) coming out of the <br> cinema traumatized if they watch a few minutes of this. You know what would be<br> fun??! put this on as a homely snuggy christmas movie instead of Home Alone or<br> whatever people watch on Christmas and see what happens as an antropological <br> experiment. Truly an unique film so unique its dangerous to watch.</font><br> <a href="https://www.youtube.com/watch?v=VNPfT06MUkU&t=1659s" target="_blank">watch it here</a><br> <br> <br> <font color="#33aaff">===============================================================================</font><br> <br> <font color="#aa33ff"> _ _ _ <br> __ _ __| |_ ____ _ _ __ ___ ___ __| | _ _ _ __| |__ __ _ _ __ <br> / _` |/ _` \ \ / / _` | '_ \ / __/ _ \/ _` | | | | | '__| '_ \ / _` | '_ \ </font><br> <font color="#dd55ff">| (_| | (_| |\ V / (_| | | | | (_| __/ (_| | | |_| | | | |_) | (_| | | | |</font><br> <font color="#ee77ff"> \__,_|\__,_| \_/ \__,_|_| |_|\___\___|\__,_| \__,_|_| |_.__/ \__,_|_| |_|</font><br> <br> <font color="#aa33ff"> _ <font color="#ffffff"> ____) </font> <br> ___ ___ __ ___ _____ __ _(_)_ __ __ _ <font color="#ffffff"> ___) </font> <br> / __|/ __/ _` \ \ / / _ \/ _` | | '_ \ / _` |</font> <font color="#ffffff"> ___) o </font> <br> <font color="#dd55ff">\__ \ (_| (_| |\ V / __/ (_| | | | | | (_| | </font> <font color="#ffffff"> ___) </font> <br> <font color="#ee77ff">|___/\___\__,_| \_/ \___|\__, |_|_| |_|\__, | </font> <font color="#ffffff"> ___) </font> <font color="#ffffff"> o </font> <br> <font color="#ff77ff"> |___/ |___/ </font> <font color="#ffffff">___)</font><br> <font color="#ffffff"> __________________) o o o</font><font color="#996633"><font color="#ffffff"><br> ______) <br> _______________________) o o o o o <br> </font><br> | <font color="#ffffff"> o o o o</font></font><br> <font color="#996633">|____ |_____ |_____ | </font><font color="#ffffff"> o o o o</font><br> <font color="#996633"> | </font><br> <font color="#996633"> |_____ |_____ |_____ |</font> <font color="#ffffff"> o o o</font><br> <font color="#996633"> | </font> <font color="#ffffff"> o o o o</font><br> <font color="#996633"> |____ |_____ |_____ | </font> <font color="#ff6666"> ______</font><br> <font color="#996633"> |</font> <font color="#ff6666"> / \ </font> <font color="#ffffff"> o o</font><br> <font color="#996633">|_____ |_____ |________ | </font> <font color="#ffffff"> o</font> <font color="#ff6666">____/_______|</font><br> <font color="#996633"> |</font> <font color="#ffaaaa">|| /</font> <font color="#ffaaaa">|. .</font> <font color="#33cc00">\ |</font> <font color="#ffffff"> o o</font><br> <font color="#996633"> |______ |____ | </font> <font color="#ffaaaa">| |</font> <font color="#ffaaaa">/</font> <font color="#33dd00"> \_| </font> <font color="#ffffff">o</font><br> <font color="#996633"> |________ |</font> <font color="#ffffff">o</font> ---- <font color="#ffaaaa">|<font color="#66ffff">_______</font>|</font> <font color="#ffffff"> o</font><br> <font color="#ffffff"> _________</font> <font color="#996633"> |_____ |</font> | |<font color="#dd9933"><font color="#66ffff"> |______/ \ </font></font><font color="#66ffff"> </font><font color="#ffffff"><font color="#66ffff"> </font>o</font><br> <font color="#ffffff">/ _ _ \</font> <font color="#996633">| </font> | |_| |<font color="#66ffff">\ \ </font> <font color="#ffffff">o</font><br> <font color="#ffffff">|_/ -___/</font> <font color="#ffffff">\ |</font> <font color="#996633">|_____ |</font> | | o |<font color="#66ffff">| |</font><br> <font color="#996633">|___ </font> | |<font color="#ffffdd">---</font><font color="#ffffff">| |</font> <font color="#996633"> |</font> <font color="#ffffff"> o</font> \__ | | <font color="#66ffff">| |</font> <font color="#ffffff">o</font><br> | | ||<font color="#ffffdd">---_</font><font color="#ffffff">\|</font> <font color="#996633"> |</font> | o | <font color="#66ffff">\ |</font><br> | |<font color="#ffffdd">---_|</font> <font color="#996633"> |______ | </font> | | <font color="#66ffff">|\\</font> <font color="#ffffff">o</font><br> <font color="#996633"> |___</font> | | ||<font color="#ffffdd">---_| </font> <font color="#996633"> |</font> <font color="#ffffff">o o </font> | o |__| <br> | |<font color="#ffffdd">---_|</font> <font color="#996633"> |______ | </font> | <font color="#ffaaaa">||||</font> <font color="#ffffff"> o o</font><br> | | ||<font color="#ffffdd">---_|</font> <font color="#996633"> |</font> |_______| <br> <font color="#999999"> \ /</font>| |<font color="#ffffdd">---_| </font> <font color="#aaaaaa">\/ </font> <font color="#996633">|______ | </font> <font color="#ffffff">o </font> <font color="#3366ff"> | | | </font> <font color="#ffffff"> o </font><br> <font color="#999999">#</font> <font color="#dd00dd">---__</font>|<font color="#ffffdd">---_|</font><font color="#aaaaaa">|\ /\ </font> <font color="#996633"> |</font> <font color="#3366ff"> | | | </font> <font color="#ffffff"> o</font><br> <font color="#999999"> / \</font> <font color="#996633">--- </font>|<font color="#ffffdd">---_|</font><font color="#aaaaaa">| \ \</font> <font color="#996633"> | </font> <font color="#66ffff"> ,---|----,</font><br> <font color="#999999">___/ \</font> <font color="#66ffff">\\\</font><font color="#ffff00">--------</font>_<font color="#aaaaaa">\ \_</font>_<font color="#ffffff">___------------_______---______-----_____----_</font><br> <font color="#aaaaaa"> / </font><font color="#ffffff"><font color="#aaaaaa"> </font> __---___</font><br> <font color="#aaaaaa"> / </font> <font color="#ffffff"><font color="#33ff33"> </font> \ </font> <br> <font color="#ffffff">_____<font color="#33ff33"> </font></font> <font color="#ffffff">]_____</font><br> <font color="#ffffff"> </font> <font color="#ffffff"> -----______</font><br> <br> <font color="#ff99ff">Advanced urban scavenging, Brendanos guide to becoming a gutter god...<br> <br> Although living in a wasteful society has severe environmental and health <br> effects, the silver lining is that there are many discarded resources to be<br> found. In this guide i'm going to teach you some essential skills so that<br> you to can enjoy the fruits of the the city.<br> <br> <br> 1. Research: Get to know your area, this includes constant walking/scanning<br> etc. pay attention to businesses that are closing down/not doing very well, <br> as these can be a good resource when they have to move. Institutions are also<br> a gold mine if you keep your eyes peeled.Also choose to walk the laneways<br> rather than the street, most hard waste is discarded in the lane. Best areas<br> i find are mixed industrial residential areas. This also includes knowing what<br> you are looking at when you find something.. And the chances of it being useful.<br> <br> <br> 1. Be Brave: Don't be afraid to get your hands dirty! If you come across a <br> stash of discarded hard waste that looks interesting, get stuck in and sort <br> through it to see if there is any gold: I have found Synths, Drum machines,<br> mics, stereos, powertools, records, clothing plants etc. over the years. Once<br> you get your eye in you can tell the shit from the shovel at a glance… This <br> also goes for industrial waste, you would be surprised at some of the things <br> businesses will discard. Old tools, materials and office machinery. If you are<br> lucky some places will leave their bin unlocked and you can go to town,<br> otherwise a skip bin is a good place to start. If you have electrical <br> experience you can usually repair most items also.<br> <br> <br> 1. Take only what you need. This point is more for yourself than sharing<br> and caring. You can easily end up with a shed full of stuff that you never<br> get around to fixing/sorting etc. plus, if you have taken it off the street <br> and it's now just sitting, nobody is using it anyway.. So try to keep your<br> finds to stuff you know you need.. I have set out looking for steel posts for<br> a project in the garden, only to find exactly what i needed out the front of<br> a warehouse 15 mins later. It helps if you keep a mental picture of where <br> certain things are in your neighbourhood.<br> <br> 2. Use your local facebook/gumtree/craigslist free section:<br> This is a very strong advance in urban scavenging. As long as you have<br> transport, speed tools and patience, an incredible amount of stuff can be <br> obtained for free. Join your local pay it forward groups, and always be <br> scanning the free section. When something you like pops up you need to be <br> very swift, flxible and polite to get the prize.. Unfortunately some groups<br> have been so popular a draw is conducted on high value items. However a polite<br> message expressing interest, ability to collect promptly and bringing your own tools/labour for materials/plants will generally increase your chances over <br> someone who replies “i'm coming to get it at 7am can you help me load it <br> into my barina”<br> <br> <br> I hope this helps you on your way to becoming a gutter god. Please email <br> any comments queries to: l e k t r o l u x @ g m a i l . c o m <br> <br> By Brendanos<br> <br> <font color="#993399">Shadowwolf’s addendum:<br> Me and my dad would do this when I was a kid in the early 90s…there was always<br> one day in the week the city would pick up the big ‘garbage’ and if you went<br> to the more upscale neighbourhoods there would be all kinds of crazy stuff <br> out on the streets that people just threw away. Furniture, hifi-stuff, books,<br> Organs, 70s and early 80s Computers, LPs (a lot of Italo and Disco records in<br> The Hague…thats were I found my copy of Peter Slaghuis Disco Breaks II!) Also<br> the areas with a lot of upscale expats that have to move suddenly (The Hague <br> has a lot of those with all the international companies and institutions that <br> are based here). In particular I remember one day we found a Radioshack Tandy<br> TRS80 computer manual - I didn’t have a computer back then and was so <br> fascinated by the manual and the concept of programming in BASIC…I read it<br> inside and out for weeks even sort of learned English from it and a few months<br> later we actually found a mint working TRS80 model 4 computer by itself! <br> I still have that one. Also all the tape recorders and the hifi amp I<br> recorded my first tracks on were from the street, as well as the speakers…<br> they were these really good sounding Phillips ones…all that early Dark Days<br> stuff was mixed on those. SW.<br> </font></font><br> <br> <font color="#ff99ff">===============================================================================</font><br> <br> <font color="#66ffff"> _ _ _ _ _ _ <br> | |_| |__ ___ | (_)_ _(_)_ __ __ _ _ __ ___ ___ _ __ ___( )__ <br> | __| '_ \ / _ \ | | \ \ / / | '_ \ / _` | | '__/ _ \ / _ \| '_ ` _ \/ __|<br> | |_| | | | __/ | | |\ V /| | | | | (_| | | | | (_) | (_) | | | | | \__ \<br> \__|_| |_|\___| |_|_| \_/ |_|_| |_|\__, | |_| \___/ \___/|_| |_| |_|___/<br> |___/ <br> _ <br> _ __ ___ ___ _ __ ___ ___ ___ _ ____ _(_) ___ ___ <br> | '__/ _ \ / _ \| '_ ` _ \ / __|/ _ \ '__\ \ / / |/ __/ _ \ <br> | | | (_) | (_) | | | | | | \__ \ __/ | \ V /| | (_| __/ <br> |_| \___/ \___/|_| |_| |_| |___/\___|_| \_/ |_|\___\___| <br> </font><br> <font color="#999999">_______ </font><br> <font color="#999999"> | ___| <font color="#ff0000"> ________________________________________________________</font></font><br> <font color="#aaaaaa"> | |</font> <font color="#ffdddd"> _| <font color="#ff6600"> ________________________________________________________</font></font><br> <font color="#dddddd">| |</font> <font color="#ffdddd"> | <font color="#ffdd33">________________</font> </font><font color="#ffdd33">_______</font> <font color="#ffdd33"> _____________________________</font><br> <font color="#dddddd"> | |</font> <font color="#ffdddd"> -| <font color="#33ff33">_________________</font></font><font color="#ffdd33">|____ | <font color="#33ff33">_____________________________</font></font><br> <font color="#dddddd"> |___|</font> <font color="#ffdddd"> _|</font> <font color="#ffdddd"><font color="#00dddd">________________ </font> |_ </font> <font color="#ffdd33">| | <font color="#00dddd">_____________________________</font></font><br> <font color="#ffdddd">| |</font> <font color="#3366ff">_____</font> <font color="#33ddff">_____ <font color="#3366ff"> </font></font><font color="#3366ff">__</font> <font color="#ffdddd">| </font> <font color="#ffdd33">|__| <font color="#3366ff">_____________________________</font></font><br> <font color="#9999ff"> _</font><font color="#ffdddd">|_____|</font><font color="#9999ff">___</font> <font color="#ee33ff">___</font><font color="#33ddff"> | - - |</font> <font color="#ee33ff">__ </font><font color="#ffdddd">| | <font color="#ee33ff">_____________________________</font></font><br> <font color="#9999ff">| | | </font> <font color="#33ddff"> | - - |</font> <font color="#ffdddd">|___ |</font><br> <font color="#9999ff">| | | </font> <font color="#33ddff">| - - |</font><font color="#dd33dd">________</font><font color="#ffdddd">|___|</font><font color="#dd33dd">______</font><font color="#ffaaaa">____</font><br> <font color="#9999ff"> | |____|___</font><font color="#ddffff">----------- </font> <font color="#dd33dd"> | </font><font color="#ffaaaa"> -----____</font><br> <font color="#9999ff">| </font> <font color="#ffaaaa">\ ---- </font> <font color="#dd33dd">__ </font> <font color="#dd33dd"> ___|</font><font color="#ffaa00">____________</font><font color="#ffaaaa">\</font><font color="#ffaa00">____</font><br> <font color="#9999ff"> |_________________/</font> <font color="#ffaa00"> | | </font> <font color="#dd33dd"> | |</font> <font color="#ffaa00"> | | | | | | </font><br> <font color="#9999ff">| |</font> <font color="#ffaa00">| | | </font> <font color="#dd33dd">| | </font><font color="#ffaa00"> | | | | | |</font><br> <font color="#9999ff"> | | </font> <font color="#ffaa00"> | | | </font> <font color="#dd33dd">| |</font> <font color="#ffaa00"> | | | | | |</font><br> <font color="#33aaff"> ------------------------------------------------------------------- <br> A review of the LIVING ROOM album by ROOM SERVICE 1994<br> on NIGHT VISION records.<br> <br> This is a rather underestimated album from dutch producer Orlando Voorn. <br> When this album came out it probably didn't sell very well because I <br> remember the local record dumpstore having an infinite amount of stock <br> selling them ridiculously cheap. That was quite cool because this album<br> became super cult with the techno'heads and highly coveted immediately<br> in places like the states were it wasn't really distributed at all -<br> resulting in me sending many a copy that way. As the title might give<br> away this album shows his more home-listening braindancy deep detroitish<br> kind of side....a good thing because Orlando Voorn always excells in <br> melodic content. I can't find anything revolting on this album, the only <br> track that might not have stood the test of time is 'Roomservice' which <br> is a laxative jazz xylophone workout that might be a bit too loungey,<br> though if you would put some smackos tape station over it I am sure <br> it would sound like Pender Street Steppers, so it can't be that bad. <br> Also 'Fill In The Room 1' is a bit of an odd duck on the album -<br> something more akin to 'cheesy' early dutch electronic music like<br> NOVA or PHOCHOS...its just very weird but I definitely tolerate it. <br> <br> On the modern beatport and probably some other digital versions there<br> is a track called Gate Dub which is quite frankly horrible jock<br> bro techno with f*cking football horns WTF!!! - it is so out of place<br> and an insult to the rest of the album - Please get rid of that - <br> Its not on the original CD fortunately pfoei! (but might be on the LP<br> for DJs or something) So if you download that on beatport the first<br> thing you do is throw that track in the trash and flush it.<br> <br> The rest of the album is pretty much mindblowing: Its varied, fresh <br> and overall just so pleasant...There is so much original melody and <br> interesting sounds that just make you smile. This album was a huge <br> influence on me in the 1990's and I always think fondly of the happy<br> times we spent. Something vaguely similar would be BLACK DOG's <br> Spanners- though this album has a much more Detroit blueprint and <br> seems to be bit more 'focused'. All sprinkled with those typical <br> dutch melancholical yet assured 'poldertechno' melodies, one of the <br> great 90s techno albums - ESSENTIAL FOR ANY FAN OF TECHNO MUSIC.<br> <br> </font> <font color="#33aaff">===============================================================================</font><br> <br> <font color="#ffffff"> _ _ _ <br> ___ _ _ _ __ | |_| |__ ___ ___(_)_______ _ __ ___ <br> / __| | | | '_ \| __| '_ \ / _ \/ __| |_ / _ \ '__/ __|</font><br> <font color="#ffddff">\__ \ |_| | | | | |_| | | | __/\__ \ |/ / __/ | \__ \</font><br> <font color="#ff99ff">|___/\__, |_| |_|\__|_| |_|\___||___/_/___\___|_| |___/<br> |___/ </font><br> <font color="#ffffff"> __ _ _ _ _ <br> / _| ___ _ __ | |_ ___ __| | __| | | ___ _ __ ___ <br> | |_ / _ \| '__| | __/ _ \ / _` |/ _` | |/ _ \ '__/ __| </font><br> <font color="#ffddff">| _| (_) | | | || (_) | (_| | (_| | | __/ | \__ \ </font><br> <font color="#ff99ff">|_| \___/|_| \__\___/ \__,_|\__,_|_|\___|_| |___/ </font><br> <font color="#ff66aa"> ..... .. | | . .<br> .| \__/ / ... | . . <br> ______ |. \__ /\____/\. .<br> ______ _____ | | | |.. \ oo /..<br> / \/ _/= | | | . . | + | ...<br> | o o | / | | _____\ /______ .... ...<br> __\____/___'/ | | \____ ____/| ___<br> /__________/_/ | | ___ / \ . __/ \_<br> / / _ __| | / \ ooo ooo |_ ___ __|<br> / /____| || | \___/ \ \ / / O O <br> \_____________||_________| \O/__\O/<br> <br> This article was send in by Rusuden:<br> <br> I've recently become a father and of course want my daughter to have a <br> chance at sound exploration ASAP. She's currently 17 months old. I've <br> been experimenting with different pieces of gear in my studio to see how <br> she interacts and responds to each one. Here's my research notes:<br> <br> In general, kids like sound. This is obvious, I guess, as many kid toys <br> have annoying audio repetition that drives you batty. I think my daughter <br> really digs sound though as I catch her trying to sing stuff all the time. <br> She even mimics weird noises coming from my studio with her own squeaks <br> and squeals! When I play records, she touches the speakers’ subwoofers to<br> “feel the sound”. Kids also like blinking lights and screens, and this <br> may attract them to more flashy machines, or newer ones that have big<br> LCD/OLED displays.<br> <br> Roland SH-01a<br> By far the most interaction I've seen from my daughter has been with <br> the Roland SH-01a (the boutique SH-101). Even though there's not a <br> “flashy” screen, the size of the machine matched with the boutique <br> keyboard is just about perfect for a kid her size. The synth panel full<br> of sliders and toggle switches have her busy for quite a long time. <br> She’s not afraid to mash down the small keys on the keyboard, push <br> buttons and sing along with the sounds. There’s a reason the 101 is <br> popular with everyone. It’s super easy to use and just sounds amazing. <br> As for durability, while not indestructible, it can take toddler use. <br> The detachable keyboard is somewhat more fragile than the synth module<br> itself. Bonus: Runs on batteries and has a built-in speaker!<br> <br> Dave Smith Mono Evolver Keyboard<br> A fun and brightly colored wonder machine… the MEK can make just about <br> any sound. My daughter really enjoys the gazillion LEDs and the big keys. <br> However, the size of the synth itself for her is just a bit big. Holding<br> her up to let her mash on the keys, she has to reach to twist any of the <br> knobs. She definitely gets bored quickly if the knob twisting results in <br> unfavorable sound. (which is easy to do with all of those knobs!) However,<br> if I tune in a nice patch with some interesting sequence… she’s laughing <br> and all-smiles as she transposes the running sequence by hitting different <br> keys. It’s built fairly tough… however, I cringe sometimes about the<br> unknown durability of the pots/encoders. Note: Replacement parts could be<br> hard to find?<br> <br> Yamaha Reface DX<br> Here’s a synth I’ve wanted to try out for awhile, and having a kid in the <br> house just made my decision in to get one a lot easier. It’s a perfect size <br> (like the SH-01a) keyboard where she can hit the keys and touch the buttons <br> and sliders at the same time. It sounds fantastic and offers some non-analog <br> (4op FM), 8 note polyphony to broaden the sound creation pallette. With only <br> a few sliders and one bender, most of the interface is touch or push buttons. <br> So, she can mash away at this machine and I have little worry. For some <br> strange reason she loves the “Store” button (because it’s red?). So the <br> saved patches are starting to sound a little wonky… The Reface DX has a small<br> LCD screen that she thinks is a touch screen (maybe it should’ve been!), <br> so keep your screen protector on! Bonus: Runs on batteries and has a <br> built-in speaker!<br> <br> Elektron Analog Rytm (mkI)<br> The last one I’ll mention is the Analog Rytm drum machine. While we don’t <br> get to play with this one as much - mostly due to the machine needing to be<br> plugged into the wall socket, the times we’ve jammed on it have been a blast.<br> It’s got pads that light up and change color! What kid isn’t going to love<br> that. I feel like she can bang away on those pads with little worry of <br> machine damage. They feel pretty tough. I’m usually the one who’s crafting <br> the sound here, obviously since that’s all done on a small screen (which she <br> also thinks is a touch screen). But she gets wide-eyed at the booms and <br> pings of the analog engine, and loves it when I dial in a vocal sample of <br> “Maddy!”<br> <br> So, I’m loving this side-time we have at sound experiments when we’re not<br> playing with My Little Pony or changing diapers on Elmo. <br> I think she is as well.<br> <br> Rusuden <a href="https://music.rusuden.com" target="_blank">https://music.rusuden.com</a><br> </font><br> <font color="#ff66aa">===============================================================================</font><br> <font color="#66ff99"><br> </font><font color="#009900"><font color="#00bb00"><font color="#66ff99"> _ _ _ <br> ___ ___ ___ ___ _ __ | |_(_) __ _| | <br> / _ \/ __/ __|/ _ \ '_ \| __| |/ _` | | </font> <br> <font color="#33ff77">| __/\__ \__ \ __/ | | | |_| | (_| | |</font> <br> \___||___/___/\___|_| |_|\__|_|\__,_|_| <br> <br> <font color="#66ff99"> _ _ _ <br> | |_ _ __(_)_ __ _ __ ___ _ _ ___(_) ___ <br> | __| '__| | '_ \ | '_ ` _ \| | | / __| |/ __|</font><br> <font color="#33ff77">| |_| | | | |_) | | | | | | | |_| \__ \ | (__ </font><br> \__|_| |_| .__/ |_| |_| |_|\__,_|___/_|\___|<br> |_| <br> <br> _________ _________<br> | ___ | | ___ |<br> | / \ | ____________ | / \ |<br> | | ( ) | | |____________| | | ( ) | |<br> | \___/ | | _ _ _ | | \___/ |<br> | _____ | |______________| | _____ |<br> | / \ | | . . . . . o | | / \ |<br> || --- || |______________| || --- ||<br> | \_____/ | | - - - o o o | | \_____/ |<br> |_________| |______________| |_________|<br> <br> <br> POPOL VUH - Affenstunde (1972)<br> An early MINDBLOWING Popol Vuh album when they still mainly used the Moog<br> synthesizer - they stopped using that as their main instrument shortly after<br> this album. From vague medieval courtly sketches to all out hippie freak<br> outs to eastern vibes. The record - check how cool they look on there -<br> is quite rare but you can listen to it <a href="https://www.youtube.com/watch?v=l-z5S1dxCvQ&t=208s" target="_blank">here</a><br> <br> O YUKI CONJUGATE - Into Dark Water (1987)<br> Deep new-age-esque atmospherical music with a mystic vibe. The overall sound <br> is quite tropical - it would make a great soundtrack to a movie about Alexander<br> von Humboldt's expeditions to the Amazon rainforest. Side A is more energetic, <br> combining exotic ambient soundscapes with propulsive tribal drumming. <br> The B-side is more soothing and Zen-like. Superb material and a real treat for <br> the inner eye! Review by Wormholio Limbuger - Listen to it <a href="https://www.youtube.com/watch?v=cV8H2lFV-v4" target="_blank">here</a><br> <br> MARC BARRECA - The Sleeper Wakes (1986)<br> The perfect soundtrack for sleep deprevation in the middle of the night<br> somewhere in the void of Tokyo waiting for the hotel breakfast to open.<br> Marc Barreca is a judge in Washington state (!) but he is also a supercool <br> experimental/dark ambient/electro/soundscape artist that is releasing <br> tons of cassettes, LPs and digital ambient albums of high quality since 1978.<br> Its well worth diving into his other albums as they serve as a deep mine<br> of many a surprising musical gem! This album reminds me a lot of Alec Empire's<br> ambient les etoiles des filles mortes album in its mood and atmosphere,<br> which is I think a very good thing. SHADOW WOLF is definitely a fan...<br> Listen to it <a href="https://www.youtube.com/watch?v=H54SNd-A7PI" target="_blank">here</a></font><br> <br> <font color="#00bb00">GARRISON PANYAN - Zeitmaler (2018)<br> If you like Eno's Music For Airports you will love this, its all very <br> simple and nothing fresh but it does the job extremely well - hardcore <br> ambient music that is not too immersive and all in the 'Brian Eno School <br> idea of Ambient' (Eno devised that ambient music should be part of the <br> surrounding "accommodate many levels of listening attention without <br> enforcing one in particular; it must be as ignorable as it is interesting"<br> in contrast to, for example, the Pete Namlook school idea of ambient <br> where it should be an immersive trip and experience). It also has a very <br> intense Star Trek TNG spacious vibe which is cool If I would have a gallery<br> or planetarium I would play it all day...</font><br> <a href="https://garrisonpanyan.bandcamp.com/album/zeitmaler" target="_blank">Check it out here</a><br> <br> ===============================================================================</font><br> <br> <br> <font color="#3366ff"><font color="#3399ff"><font color="#77aaff"> _ _ _ _ _ _ <br> ___| |_ _ _ _ __ ___ | |__ | (_)_ __ __ _ (_)_ __ | |_ ___ <br> / __| __| | | | '_ ` _ \| '_ \| | | '_ \ / _` | | | '_ \| __/ _ \ </font><br> \__ \ |_| |_| | | | | | | |_) | | | | | | (_| | | | | | | || (_) | <br> |___/\__|\__,_|_| |_| |_|_.__/|_|_|_| |_|\__, | |_|_| |_|\__\___/ <br> |___/ <br> _ _ <br> <font color="#77aaff"> __ _ _ __ ___ _ _ ___| |__ (_) ___ ___ ___ _ _ _ __ <br> / _` | | '_ \/ __| | | |/ __| '_ \| |/ __| / __|/ _ \| | | | '_ \ <br> | (_| | | |_) \__ \ |_| | (__| | | | | (__ \__ \ (_) | |_| | |_) |</font><br> \__,_| | .__/|___/\__, |\___|_| |_|_|\___| |___/\___/ \__,_| .__/ <br> |_| |___/ |_| <br> <font color="#ffffff">_</font><br> <font color="#ddeeff"> _____</font><br> <font color="#aaddff"> _________</font><br> <font color="#99bbff"> _____________</font><br> <font color="#88aaff"> __________________</font><br> <font color="#7799ff"> ________________________</font><br> <font color="#6699ff"> ____________________________</font><br> <font color="#5599ff">________________________________</font><br> ____________________________________<br> ________________________________________<br> ____________________________________________<br> ________________________________________________<br> <br> <br> </font><br> <font color="#3399ff">This was sent in by Antoni Maiovvi - everyone's favorite tender hearted<br> eurohorror producer and man about town - normally I am alergic to anything <br> vaguely related to -or containing the word CHAKRA but I will make an <br> exception this time as it comes from him and he gives instructions to <br> allign yourself with the universe by means of sound - it also contains<br> phrases like PHSYCHIC SOUP so thats all good. If only there was another <br> word for CHAKRA...that word just makes me shiver...anyways I hope he writes<br> more articles in the future! we give the floor to Antoni!!!<br> <br> One winter night many years ago I was booked to perform a solo improvised <br> noise show in Berlin in a little shack in Friedrichshain. The show was <br> performed with a little guitar amplifier, a microphone, a small megaphone <br> as well as various delay, filter and distortion effects. I have told this <br> story many times and only one person has ever believed me as to what <br> happened next. My memory is hazy, not because of alcohol or other substances <br> but at some point during the performance, I managed to align myself perfectly<br> with the universe, and every instance of myself past, present and future. <br> I left that show feeling pretty amazing for about two weeks afterwards. <br> I found myself kinder, better at listening and generally much nicer to be <br> around. It was a shame it dissipated after just a fortnight. I'd do anything<br> to get back to that feeling.<br> <br> From there, some self study uncovered some simple mystic truths regarding <br> harmonic frequencies of the seven chakras. This was an experiment in order<br> to try and recapture the accidental psychic-soup I stumbled into that <br> strange winter night. And so, if we can distill from each pure colour of <br> each chakra a tone, and that tone has frequency, then from there we can <br> determine a tempo / bpm<br> <br> Here is what we have so far. Please remember that A must be 432 not 440. <br> Most soft synths / guitar tuner plug ins will allow you to be able to tune<br> your instruments correctly. This is important.<br> <br> CROWN – Note: G – Frequency: 768 – Bpm: 46080<br> BROW – Note: F – Frequency: 720 – Bpm: 43200<br> THROAT – Note: E – Frequency: 672 – Bpm: 40320<br> UPPER HEART – Note: D# – Frequency: 624 – Bpm: 37440<br> HEART – Note: D – Frequency: 594 – Bpm: 35640<br> LOWER HEART – Note: C# – Frequency: 552 – Bpm: 33120<br> SOLAR PLEXUS – Note: C – Frequency: 528 – Bpm: 31680<br> SACRAL – Note: B – Frequency: 480 – Bpm: 28800<br> ROOT – Note: A – Frequency: 432 – Bpm: 25920<br> <br> As you can see those tempos are really really quite fast, and unless <br> you're going to make some psychic Extratone then I suggest you do some<br> division like in the next chart (400 was chosen to divide by in order <br> to get sweet slow disco speeds, you could use any divisor number to get<br> the sacred tempos, especially if you want to delve into polyrhythmic joys)<br> <br> CROWN – Note: G – Frequency: 768 – Bpm: 46080 divided by 400 = 115.2<br> BROW – Note: F – Frequency: 720 – Bpm: 43200 divided by 400 = 108<br> THROAT – Note: E – Frequency: 672 – Bpm: 40320 divided by 400 = 100.8<br> UPPER HEART – Note: D# – Frequency: 624 – Bpm: 37440 divided by 400 = 93.6<br> HEART – Note: D – Frequency: 594 – Bpm: 35640 divided by 400 = 89.1<br> LOWER HEART – Note: C# – Frequency: 552 – Bpm: 33120 divided by 400 = 82.8<br> SOLAR PLEXUS – Note: C – Frequency: 528 – Bpm: 31680 divided by 400 = 79.2<br> SACRAL – Note: B – Frequency: 480 – Bpm: 28800 divided by 400 = 72<br> ROOT – Note: A – Frequency: 432 – Bpm: 25920 divided by 400 = 64.8<br> <br> There are many reasons why you might want to divine such a tempo, there <br> are many others we can gain from these frequency to bpm calculations. <br> Try it in your music to help unite people. Or you can go back to making <br> the same old boring 120bpm dance trash that everyone else makes with no <br> desire to create harmonic balance in the universe.<br> <br> Your friend, Antoni Maiovvi.</font></font><br> <br> ===============================================================================<br> <br> AN EXCITING ASCII COMPUTER GAME:<br> _ _ <br> ___| |__ __ _ __| | _____ _____ <br> / __| '_ \ / _` |/ _` |/ _ \ \ /\ / / __| <br> \__ \ | | | (_| | (_| | (_) \ V V /\__ \ <br> |___/_| |_|\__,_|\__,_|\___/ \_/\_/ |___/ <br> <br> <br> _____ _____ _ __ <br> / _ \ \ / / _ \ '__| <br> | (_) \ V / __/ | <br> \___/ \_/ \___|_| <br> <br> _ _ _ <br> ___ ___ _ __ ___ _ __ _ _| |_ ___ _ __ ___| |_ __ _ __| |<br> / __/ _ \| '_ ` _ \| '_ \| | | | __/ _ \ '__/ __| __/ _` |/ _` |<br> | (_| (_) | | | | | | |_) | |_| | || __/ | \__ \ || (_| | (_| |<br> \___\___/|_| |_| |_| .__/ \__,_|\__\___|_| |___/\__\__,_|\__,_|<br> |_| <br> <br> ___________________________<br> | _________________________ |<br> || ||<br> || .... .. ... ||<br> || ...... .. ... ||<br> || .... ... .... .. ||<br> || ... ... ... .. ||<br> || .... .. . ...... .. ||<br> || -- - - - - -- - - -- ||<br> || - -- - - -- - -- - --- ||<br> ||_________________________||<br> |___________________________|<br> _____________________________<br> | = = = _________ |<br> | --- |<br> |_____________________________|<br> _________________________________<br> /. . . . . . . . . . . . . . . . .\<br> /. . . . . . . . . . . . . . . . . .\<br> /. . . . ______________________ . . . \<br> /_______________________________________\<br> \_______________________________________/<br> <br> This is kind of a cross between the ASCII puzzle game that came with the<br> SMACKOS - A VAMPIRE GOES WEST album and the SKI Simulator from last year<br> but with more INTERACTIVITY (well theoretically) and ADVENTURE!!!<br> <br> imagine...<br> In the early computer PC days there is a software company that just makes<br> ASCII art based games that have no interactivity whatsoever - its just a<br> text file with an ASCII art map of a town in which you have to solve a puzzle, <br> scrolling around, finding clues. <br> <br> Envision the excitement one has holding the box with flashy adventerous <br> detective artwork and promises of a deep involving game of sleuth...picture<br> the dissapointment when the floppy loads and auto runs the text-file below...<br> or even worse get a DOS prompt where you have to enter TYPE (or EDIT if <br> we want to scroll!) SHADOWS.TXT or something similar to run it.<br> <br> The ultimate piece of exploitation vapourbubbleware...not yet a scam<br> because we get software at the very least....<br> <br> Pretend games like this existed (I am sure they did somewhere) and let's <br> timetravel to the year 1991...<br> <br> You just were given a copy of SHADOWS OVER COMPUTERSTAD for Christmas or<br> whatever and load it up in your parents brand new super VGA PC...drooling <br> with canticipation...the screen loads and our adventure begins:<br> <br> <br> <br> <br> <br> <br> <br> <br> <br> <br> S H A D O W S <br> <br> O V E R <br> <br> C O M P U T E R S T A D <br> <br> <br> m a g n e t r o n s o f t w a r e<br> <br> <br> <br> press cursor down key to continue.....<br> <br> <br> <br> <br> <br> You are Professor Malbador one of the worlds most foremost experts<br> on demonology at the university of Computerstad.<br> <br> ONE DAY YOU GET A MYSTERIOUS LETTER IN YOUR MAILBOX:<br> <br> <br> Dear Professor <br> <br> Computerstad is in danger! An army of evil spirits has<br> been set loose over the town during a ceremonial<br> magic ritual performed by suburban gentrifying hipsters. <br> The only way to stop this is to find the magic counter spell<br> from an ancient grimoire called the clavicule of Solomon. <br> <br> the spell's letters are jumbled and spread out over <br> the town.<br> <br> I only have the following clues to find the letters<br> and their place:<br> <br> <br> _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ <br> 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19<br> <br> 1 GSV SLFHV DRGS GSV OZFTSRRMT DRMWLDH GSRIW DRMWLD<br> <br> 2 P ” : ) ^ / & ” / <<br> <br> 3 S F M G O V M L C 1510<br> <br> 4 G S V I Z K S L H Z Y O L M W R<br> <br> 5 H K R I V<br> <br> 6 X F X F O F H G R N V<br> <br> 7 G S I V V H G Z I<br> <br> 8 H K I R G H<br> <br> 9 ( ) " I ^ O # ^ / ( @ G O / ( A H P<br> <br> 10 V R T S G Z K O V S<br> <br> 11 L M G S V Y V Z Y S<br> <br> 12 L M G S V I L L U X R M V N Z<br> <br> 13 N F H V F N<br> <br> 14 M Z K L V G Z M Z<br> <br> 15 H G Z G R L M K Z I P<br> <br> 16 M L G V M Y Z I<br> <br> 17 H Z O V N<br> <br> 18 1541<br> <br> 19 N L E R V K O Z B R M T <br> -----------------------------<br> CAN YOU CRACK THE MAGIC SPELL<br> <br> IF SO SEND YOUR SOLUTION TO <br> shadowcyberzine //A//T// legowelt.org<br> <br> AND YOU WILL BE REWARDED WITH RICHES<br> <br> S I G N E D<br> <br> Wombald L. Pittsburg<br> <br> <br> <br> YOU DECIDE TO GO OUTSIDE AND INVESTIGATE IN COMPUTERSTAD:<br> <br> <br> <br> scroll down...<br> <br> <br> <br> <br> <br> <br> <br> <br> __----__<br> __---__ ___----__--- --___<br> __---- --__--__----___ __--- ---_<br> -___ ___-------- --________________----___----___---<br> ---___----------<br> <br> <br> __________________________________________________________________________<br> ___ ____ --- _____ - _____ --- ____ --- ___ --<br> -- ___ ____ ___ ___ ___ ___ __ <br> ___ ____ __ ___ ___ __<br> ___----____ ___--------___ ___-----<br> _______________--- N ----____---- ---____----<br> __________________________________ __________<br> __________________/ / / ______<br> / / / /\<br> _ / / / / \<br> _____________ / \ /\ / / /______/ \<br> /| / \ / \ / / / __ \ \<br> ___________/ | /\ \ / \ L / /\ / |/\| \ /<br> _ _ _ | | / _\ /\ \ / / / |\/| \ /| / <br> |_||_||_| | |___________/ |_|\ /R \ / | / / / ----- \/ | /<br> | |__________/ |_| \/ \ / | / /\ | __ __ | /\<br> _ _ _ | | _ _ | | [][] | | / / _\ | |__| |__| | /_ \<br> |_||_||_| | | |_| |_| | || ||| | |/ / |+|\ | |/\| |/\| | /|+| <br> | | _ _ | -- --| [][] | / / |+| \| |\/| |\/| |/ |+| <br> _ _ _ | | |_| |_| | || |||soups | / | --- ------------ ---<br> |_||_||_| | |__________|______|___ | / /| ___A ___ L ___ N ___<br> | | /|__|/ / | |_|_| |_|_| |_|_| |_|_|<br> _ _ _ | |__________________ / | / | |_|_| |_|_| |_|_| |_|_|<br> |_||_||_| | | / o|__ / |/\/\/\/\/\/\/\/\/\/\/\/\/<br> |_|_________________/ y | / / | ___ ___ ___ ___<br> _______ | k o r e s h | / / / | |_|_| |_|_| |_|_| |_|_|<br> ||||||||| | l i v e s | / / / | |_|_| |_|_| |_|_| |_|_|<br> |||||||||__|___________________|/ / / |______________________<br> _________________________________/ /___________________________________<br> ___________________<br> _______________________________ / /|_____________________<br> /\ /\ / / flute factory / | <br> / \ / \ / /__________________/ |______________<br> / \ / \ / | ___ ___ ___ | / /|_______<br> / /| / \ / | |_|_||_|_||_|_| |/______________/ |<br> / / | / /|/ /| |_|_||_|_||_|_| | ___ ___ |F|<br> /\ / | /\ / | / | ___ ___ ___ | |_|_| |_|_| | |<br> \ / | / \ / | / | |_|_||_|_||_|_| | |_|_| |_|_| | |<br> \/ | / [] \ / /|| / | |_|_||_|_||_|_| | ___ ___ | |<br> -- | /| | / XR \/ | /| /__ | ___ ___ ___ | |_|_| |_|_| | |<br> || | |/ | | __ __| ' | / | |_|_||_|_||_|_| | |_|_| |_|_| | |<br> -- | / ||_ | | / / | |_|_||_|_||_|_| | | |<br> | / |trips | / / | XEFHEUFHGSG | S P I D E R S | |<br> || | / | ____ | / / | ___________ | ____________ | |<br> -- | / || | || / / | | | |____| || |_________| | |<br> ||_|__|| / / |__|__|___|________||__|___________|/ <br> ____________________/ /___________________________________________________<br> <br> <br> ______________________________________________________ _____________<br> / /<br> ______________ ______________ ____________/__ /______________<br> /| / /| / /| | __ __ __ |<br> ____________/ | /_____________/ | /______________/ | 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__ _____ __ _____ ____| | / /\ / /| / /<br> |__|_____||__|_____||____| | / / \ / / | / /<br> _________________________| | / / || \ / / | / /<br> __ _____ __ _____ ____| |/ / \ / / | /_______/<br> |__|_____||__|_____||____| | / \/____/ | __ / __ __ \<br> _________________________| | | | |/ /|_ / || || \<br> __ _____ __ _____ ____| | |------------ | // / /|__ / -------- \<br> |__|_____||__|_____||____| | ||_| |_| |_| | //__/ / /| | |<br> _________________________| | | | /_| |_/ / |_| || || || |<br> __ _____ __ _____ ____| | |------------ |_| |_ / / | | <br> |__|_____||__|_____||____| |___||_| |_| |_| | | / | |<br> _________________________| | | | || || || |/____| || || || |<br> __ _____ __ _____ ____| | |------------ | | _ | |<br> |__|__|__||__|_____||____|O | ||_| |_| |_| | | |_| | |<br> _________________________| | |______________| || || || | | || || || |<br> /\___________ | | / |______________|________/\ /\ /\ |<br> |---|___/ \____|_____| | / / /| |__________||---|___/ \ / \____/ \___<br> |___|__/ \____________|/ / / |__|___________|___|__/ \ / \ / \<br> _____ / \_____________/ /_____ ________________ / \/ \/ /<br> / /| ___________/ / / / /|<br> /\ / | / / / / /\ / |<br> / \ / | / / EURO MIXER /\ /\ / \ / |<br> / S \ / | /__________/________________/ \ / \ / \/ |<br> /______\/ | | __ __ | __ __ __ __/ T \ / R \ |----| |<br> | _ _ | | ||__||__| I| || || || |/______\/______\/ | | |<br> || | || |____ | __ __ | __ __ __ _| | | |----| |<br> |------| | / ||__||__| | || || || || O O | O O O | |++++| |<br> | _ _ | | / | __ __ | __ __ __ _| O O | | |----| /<br> || | || / / ||__||__| | || || || || O O | O O O | |++++| /<br> |------| / / |witchcraft|--------------| ____ | ______| |____| /<br> | | / / | _______ | ___ ____ _ | ____ | ______| |//\\| /<br> | ---- | / / /|| |____| ||___|____||_| || |__||| |____| |____|/<br> ||_|___|/ / / ||__|______|______________||_|___||_|____| =======<br> __________/ /____________________________________________=========<br> <br> @ ______________________________________<br> | /<br> |/\ /<br> ________ / \ \___________ /<br> / \/ / / /\ /\ /\<br> | O || / / / \ / \ / \<br> /\ | || / / / \ / \ / \<br> / \ | || / / /____\ /____\ /____\<br> / \ | || / / || || ||<br> / \ | || / /\ / /\ /\ /\ /\<br> /______\| || / /\ / /\ /\ /\ /\<br> || | ||___/__/__\/___/__\_____ / \ / \ / \<br> | / /\ / \ / \______-----/__\_<br> | / / \ \ _____-----<br> | /_______________________/ |___-----<br> | | _-_ _-_ _-_ | |<br> | | |+|+| |+|+| |+|+| | |<br> | | |+|+| |+|+| |+|+| | |<br> ____| | |+|+| |+|+| |+|+| | / /\ /\ /\<br> ---- | | ----- ----- ----- | / / \ / \ / \<br> |_|_______________________|/ / \ / \ / \<br> /____\ /____\ /____\ <br> || || ||<br> /\ /\ /\ /\ /\ _<br> / \ /\ / \ / \ / \ /\ / \ / \<br> / \ / \/ \ / \ / \/ \/ \ / \<br> / \ / / \ / \ / / / \ / \<br> / // / /|__/ / /\ / / /| / /|<br> /\ //\ /\ / / /\ /| / \ /\ /\ / |/ / |<br> / \ // \/ \ / / / \ / | / U \/ \/ \ / /\ / |<br> / \ // \ / / / \ / | | \ / / \ / |<br> \// 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O | | | |<br> |__| |__| |__| |__| |__| | | \____/<br> |__| |__| |__| |__| |__| X | |__________||______ <br> __ __ __ __ __ | /| __ || /<br> |__| |__| |__| |__| |__| O | / | / \|| / /<br> |__| |__| |__| |__| |__| | / | | | / /<br> _____________________________________|/ / \____/ / /<br> ___ _____ ___ _____ __ _____ | / || / /<br> | ||_____|| ||_____|| ||_____|| / || / /<br> __|___|_______|___|_______|__|_______|/ / /<br> / /<br> ____________________________________________________/ /_________<br> _<br> __________________________ | |<br> /|_____________ | | |<br> S // /| | | |<br> // / | /|\ | |<br> // / | / | \ | |<br> // / |/__|__\__ | |<br> // / // | \/| | |<br> // / / / | | |<br> // / / / | | |<br> // / / / / | | /| /| /| /| /|<br> N O B O // / / / / / / / / / /<br> _______________// / /_panama__/ / / / / / / /<br> _ _ _ _ _|/_____________/ | _____ | / / / / / / /<br> |_||_||_||_||_| _ _ _ _ _| | | | | / / / / / / /<br> _ _ _ _ _||_||_||_||_||_| |_|_____|_|/ / | / | / | / | / | / |<br> |_||_||_||_||_| _ _ _ _ _| / __| ___ ___ ___<br> ==============||_||_||_||_||_| / // /| |_|_| |_|_| |_|_|<br> | | | | | | | |______________| / //_//| |_|_| |_|_| |_|_|<br> ______________|______________|/ __ n X n| |_|_| |_|_| |_|_|<br> / .\ |<br> _ |. . | |_________________________<br> /.\ \____/ __<br> ___________ |. .| || /. \<br> /| \___/ __ __ |. . | __<br> / | | /. \ /..\ \____/ /. \<br> D / | |. .| |. . | || |. . |<br> / /|| \____/ \____/ \____/<br> / / || ___ __ || ___ || __ ||<br> / / || / \ / \ /...\ / \<br> / / || |. . .| |. .| |.....| A |. ..|<br> ___/ / / | \_____/ \____/ \_____/ \____/<br> ||M / | | || | || <br> O || //| |<br> || // | |<br> O ||// |/____ ___________/\ /\<br> | | / / / / \ / \<br> O | | / / / / \ / \<br> | |/ / /__________/ \ / \<br> O | /____/ |_________/ /| /\ /|<br> | / |________/\ / | / \ / |<br> ___|/ |_______/ Q\ / |/ || \ / |<br> |______/ \ / / \/ |<br> |_____/ |_|_ \ | |_|_ | |<br> |_____| | | | |<br> |_____| |_|_ | | |_|_ | |___ <br> /\ 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/______________________________________<br> /____________\/ | | | |<br> | __ __ __ | | |||| | _________________________<br> ||++||++||++|| |___| | | /<br> ||__||__||__|| / | | |___________________ /__________________________<br> | __ __ __ |/ | | | / | __ __ __ __ __ __ <br> ||++||++||++||______|||| | /\ / ||__||__||__||__||__||__|<br> ||__||__||__| | | / \ / | __ __ __ __ __ __<br> | |||| | | / /| / ||__||__||__||__||__||__|<br> | ++++++++++++ +++| / /\ / | / | __ __ __ __ __ __<br> |______________________|/ / \/ / / /||__||__||__||__||__||__|<br> | | / / / |__________________________<br> |__|/ / /______________________________<br> _______________________________________/<br> <br> <br> ___ ____________ ___ ______ _____________<br> / /\ / /\ / /\ / /\ / <br> /__/ \ /____________/ \ /__/ \ /______/ \ /______________<br> / \ / / m u s e u m \ // \ /| / \ /| / <br> /_____\/ /_______________\//_____\/ | /_________\/ | / <br> | | | | | | | | | | /_________________<br> | O O |__| = = = = = = 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\/______\/|<br> P / / | | | /________________/ /| | |<br> ______________/_____/___| _ | |_/ \ / | _ | |<br> //////////// / / /| / \ | |/ \ / | / \ | |<br> ------------/ / / | | | | / | | | | | | | | \ / | | | | |<br> ___________/_____/___/__| === |/ |_| |_| |_| |_| \ / | === | |<br> ///////////| | | |=====/_________________________/ |=====| |<br> -----------|_____|___| _| ___ | ___ ___ ___ ___ |______| ___ | |<br> ___________| | | | | | | |___| |___| |___||___| | | | | | |<br> ///////////|_____|___|__|=====| | | | | | | | | || | | | |=====| |<br> -----------| | | | | |+++| |+++| |+++||+++| | | | |<br> |_____|___|__|_____|_|___|_|___|_|___||___|_|______|_____| |<br> | | | | _______________________ | | |<br> |_____|___|__| | | | | | | | | |<br> |____________|______|____|____|____|____|___|______|_____|/<br> <br> <br> <br> <br> <br> <br> <br> ===============================================================================<br> <br> <br> <br> <br> <br> </font></small></font> </div> </body> 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