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