Tao, pinch me please, let me know this isn´t just a beautiful lucid dream. I remember many years ago when still working for the man, up early one morning frantically forcing my breakfast cursing the time, loathing the thought of having to go to (to quote Bill) "a job which did not inspire me creatively in any way shape or form" when I could have spent that valuable 10 hours creating music. The TV was on as the days mass media corporate sponsored and approved messages were being regurgitated and suddenly after a flick to Channel 4 a voice grabbed my attention and Jinny´s.
I looked at the TV increasingly mesmerised by the words, who was this guy? He was rapping accapella stylee but this was no East or West coast shit. This was spiritual, trippy, far out, positive uplifting and English. But the guy had such a voice, like liquid chocolate. And yeah his rap wasn´t rap like Biggie, Snoop etc it was more of a Terrence McKenna rap. But the voice, the words, the message;, hit home like a thunderbolt on steroids. Then after a far too brief a time we were back to News Land and Jin & I stared at each other and I´m sure the words "What the fu*k" were uttered incredulously by one or both of us.
"Who was that?"
"Barefoot Doctor.... " frantic search for words.
"Unbelievable"
Who would have thought that a few short years and a move to the most amazing island and a million coincidences later he´d be our good friend and I´d be producing music with him? I remember thinking I´d love to sample that guy and yet today there we were. No sampling required. Live & Direct. Is it a coincidence that the length of audio fit perfectly with an instrumental track I´ve had ready just waiting for a killer vocal. I´ve stopped believing in coincidences, all is now. Quantum physics and all that.
It´s sounding fine, the track that is, a couple more hours work should finish it then off to Ibiza Global Radio we go. Produced and Mastered in Ableton Live 8 so far, usually Logic handles the main work but not in this case. I´m really liking Live 8 so far, the midi editor is a hell of an improvement and it runs as slick and processor un-intensive as ever.
Still can´t believe it.
Thanks Tao.
Love to all
-
Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts
Wednesday, July 29, 2009
Thursday, March 27, 2008
Soundtrack - Triana
Ah, The joy of Music. Currently hot on the playlist and gracing the decks, Triana, many thanks (Muchisimo Gracias Tio) to Manu for hooking me up with this little Jewel.
Logically Speaking
So where to start? Well, for sure it's been awhile so let's cover positive, important stuff first. Anyone that knows me also knows that I love technology, in particular technology that helps me create. My relationship with my technological kit can puzzle innocent bystanders and leave them slightly baffled nay bewildered and confused. I make no apologies for this, having long ago realised that I have a passion and enthusiasm for what I love doing (and the things that help me do it). Over the last few months 4 other stunning bits of kit have joined the list of technology I have loved.
First up and chronologically ordered, the amazing upgrade to my favourite sequencer, now as I've stated many times on these pages the job of the sequencer is to allow you to make music, it is an interface between your creative ideas and your creative output. It needs to be as seamless as possible. In reality the interface shouldn't feel like an interface, it needs to be intuitive yet powerful enough to capture your ideas. Having spent many years learning various sequencers, both hardware & software, it's a real joy to report that the upgrade to Logic Pro was painless and relatively cheap and more importantly so ridiculously powerful & intuitive that it's a real joy to use. The Channel Strip settings are a stroke of genius and the ease of adding extra Aux, Bus and Rewire inputs makes my creative life so much easier. The media, loop and preset library is again simplicity itself and creating / saving your own customised settings so simple it's almost a joke. Sidechaining is now also easier than ever which makes for tight, fat, professional sounding mixes. I'm also digging the new Compare function which for me is a real Godsend.
I love creating my own sounds, it adds an obviously personal level of detail to a track. Most of my own sounds (but not all) usually start from a preset that is then fairly heavily edited. It's just how I tend to work. Get a sound that's somewhere close to what you want then make it exactly what you want. This maybe a simple case of adjusting the characteristics of the sound itself, passing the sound through some mind disturbing effect units or depending on exactly what sound I'm after - building a sound from scratch. It's here where a good Compare function comes in useful. Logic Studio has that nailed. One click allows a quick before and after comparison - essential for a soundsmith. Save your new creation as a Channel Strip setting and it's available in the new media browser only one click away. Genius.
All in all it's a great upgrade, there's lots more to it but I've gotta cover three of the baddest Soft Synths known to mankind yet so excuse me while I slip into something more comfortable and lay these monsters out on general display.
All I can say to start with is Native Instuments! Stop now you're scaring me!
Those crazy creative Germans have done it again. Not content with launching the careers of thousands of Minimal musicians with the insanely inspirational Reaktor and it's Nuskool plugin (the sound of which has systematically destroyed dancefloors from Ibiza to Brazil and beyond), their rapidly growing Soft Synth catalogue has three absolute monsters that I'm now the lucky & proud owner of:
FM8
Massive
Battery 3
I think FM8 has stolen the title of My Favourite Synth, this prestigious award used to belong to the ES2 (closely followed by Rob Papen's Albino) but I can honestly report that FM8 is the synth that I find myself going to again and again. It's received rave reviews in the tech music press and after using it for only a few days I can already see why. Try it - you'll like it. NI offer demos of most of their synths and once you start playing them you'll be hooked.
When Yamaha released the DX7 it was a milestone in Synthesiser history. Only a few synths are good enough to be called classics, the DX7 was one of them. I remember the first time I heard one (in a little music shop in Bingley, West Yorkshire, England) it sounded like no other Synth I'd ever heard. It was the sound of 80's synthesis. Up to that point analogue was God. After the DX7 was released FM synths became the new "must have" sound. An interesting fact here - FM synths became so "fashionable" and analogue synths so "old hat" that I remember seeing a Roland TB-303 for sale in the same small music shop for £35. I was the proud owner of a Korg MS-10 which I couldn't even swap for a guitar effects pedal (and I tried!) both these classic synths now change hands for hundreds of pounds. Technology eh? Everybody wanted the clean FM sound. Analogue was tired and old and fuzzy sounding, the synths were notorious for going out of tune (as they warmed up), drum machines suddenly used "Samples" to make their sounds. Whatever next?
But "fashion" has always been the same, and as in all things fashionable it's a cyclic phenomena. Technology on the other hand always marches on and the new FM synthesis offered by NI is so far ahead of it's ancient cousin it's frightening. When NI released FM7 it caused quite a stir, FM8 is no ripple on the pond, it's a tsunami. One of the weak points of "old" FM synths was their lack of "warmth" (a yearning for the halcyon days of analogue - which of course led to the analogue sound becoming fashionable again - do you see a pattern here kittlings?) FM8 has no such shortfalls. It does all the things the DX7 and its offspring's were capable of but then shows us that nearly 30 years on FM synthesis has grown into something almost unrecognisable.
Oh yes it does "Warm". It does "Fat" it does all the things you want a synth to do. It also reads all the old DX7 (and later models) soundbanks so should you want to sound like a Bronski Beat revival band you can. But it also generates sounds you can't even begin to describe, sounds that twist and undulate then rip the bass cones from your monitors and shred the shirt on your back. Stupidly fat leads, ridiculously rich pads, effects that spin your cerebrum into a gibbering monkey mind mess.
FM synthesisers are notoriously difficult to program and edit, not so NI's latest offering. They offer an accurately named "Easy" morph mode in which you can tweak and twist recognisable parameters (timbre, harmonics, attack, decay, release etc) and a mind meltingly complex "Expert" mode where you can modulate those sine waves and algorithms till your eyes pop and you have a beard as long as Noah's.
All in all 10 out of 10. NI we salute you! :)
So grab yourself the demo and see what you think, better still let me know what you think, I'll cover Massive and Battery in the next post, until then, happy creating Kittlings!
Hasta Luego
Peace
Migz
First up and chronologically ordered, the amazing upgrade to my favourite sequencer, now as I've stated many times on these pages the job of the sequencer is to allow you to make music, it is an interface between your creative ideas and your creative output. It needs to be as seamless as possible. In reality the interface shouldn't feel like an interface, it needs to be intuitive yet powerful enough to capture your ideas. Having spent many years learning various sequencers, both hardware & software, it's a real joy to report that the upgrade to Logic Pro was painless and relatively cheap and more importantly so ridiculously powerful & intuitive that it's a real joy to use. The Channel Strip settings are a stroke of genius and the ease of adding extra Aux, Bus and Rewire inputs makes my creative life so much easier. The media, loop and preset library is again simplicity itself and creating / saving your own customised settings so simple it's almost a joke. Sidechaining is now also easier than ever which makes for tight, fat, professional sounding mixes. I'm also digging the new Compare function which for me is a real Godsend.I love creating my own sounds, it adds an obviously personal level of detail to a track. Most of my own sounds (but not all) usually start from a preset that is then fairly heavily edited. It's just how I tend to work. Get a sound that's somewhere close to what you want then make it exactly what you want. This maybe a simple case of adjusting the characteristics of the sound itself, passing the sound through some mind disturbing effect units or depending on exactly what sound I'm after - building a sound from scratch. It's here where a good Compare function comes in useful. Logic Studio has that nailed. One click allows a quick before and after comparison - essential for a soundsmith. Save your new creation as a Channel Strip setting and it's available in the new media browser only one click away. Genius.
All in all it's a great upgrade, there's lots more to it but I've gotta cover three of the baddest Soft Synths known to mankind yet so excuse me while I slip into something more comfortable and lay these monsters out on general display.
All I can say to start with is Native Instuments! Stop now you're scaring me!
Those crazy creative Germans have done it again. Not content with launching the careers of thousands of Minimal musicians with the insanely inspirational Reaktor and it's Nuskool plugin (the sound of which has systematically destroyed dancefloors from Ibiza to Brazil and beyond), their rapidly growing Soft Synth catalogue has three absolute monsters that I'm now the lucky & proud owner of:
FM8
Massive
Battery 3
I think FM8 has stolen the title of My Favourite Synth, this prestigious award used to belong to the ES2 (closely followed by Rob Papen's Albino) but I can honestly report that FM8 is the synth that I find myself going to again and again. It's received rave reviews in the tech music press and after using it for only a few days I can already see why. Try it - you'll like it. NI offer demos of most of their synths and once you start playing them you'll be hooked. When Yamaha released the DX7 it was a milestone in Synthesiser history. Only a few synths are good enough to be called classics, the DX7 was one of them. I remember the first time I heard one (in a little music shop in Bingley, West Yorkshire, England) it sounded like no other Synth I'd ever heard. It was the sound of 80's synthesis. Up to that point analogue was God. After the DX7 was released FM synths became the new "must have" sound. An interesting fact here - FM synths became so "fashionable" and analogue synths so "old hat" that I remember seeing a Roland TB-303 for sale in the same small music shop for £35. I was the proud owner of a Korg MS-10 which I couldn't even swap for a guitar effects pedal (and I tried!) both these classic synths now change hands for hundreds of pounds. Technology eh? Everybody wanted the clean FM sound. Analogue was tired and old and fuzzy sounding, the synths were notorious for going out of tune (as they warmed up), drum machines suddenly used "Samples" to make their sounds. Whatever next?
But "fashion" has always been the same, and as in all things fashionable it's a cyclic phenomena. Technology on the other hand always marches on and the new FM synthesis offered by NI is so far ahead of it's ancient cousin it's frightening. When NI released FM7 it caused quite a stir, FM8 is no ripple on the pond, it's a tsunami. One of the weak points of "old" FM synths was their lack of "warmth" (a yearning for the halcyon days of analogue - which of course led to the analogue sound becoming fashionable again - do you see a pattern here kittlings?) FM8 has no such shortfalls. It does all the things the DX7 and its offspring's were capable of but then shows us that nearly 30 years on FM synthesis has grown into something almost unrecognisable.
Oh yes it does "Warm". It does "Fat" it does all the things you want a synth to do. It also reads all the old DX7 (and later models) soundbanks so should you want to sound like a Bronski Beat revival band you can. But it also generates sounds you can't even begin to describe, sounds that twist and undulate then rip the bass cones from your monitors and shred the shirt on your back. Stupidly fat leads, ridiculously rich pads, effects that spin your cerebrum into a gibbering monkey mind mess.
FM synthesisers are notoriously difficult to program and edit, not so NI's latest offering. They offer an accurately named "Easy" morph mode in which you can tweak and twist recognisable parameters (timbre, harmonics, attack, decay, release etc) and a mind meltingly complex "Expert" mode where you can modulate those sine waves and algorithms till your eyes pop and you have a beard as long as Noah's.
All in all 10 out of 10. NI we salute you! :)
So grab yourself the demo and see what you think, better still let me know what you think, I'll cover Massive and Battery in the next post, until then, happy creating Kittlings!
Hasta Luego
Peace
Migz
Friday, February 09, 2007
New Album: Track Complete - "Abre Los Ojos" (Original Mix)
Abre Los Ojos: It came to me in a dream. I awoke with the melody, the bass riff and the rhythm all crystal clear in my mind and nagging me (urging me) to bring them into reality. This is the first time I've ever written / produced like this. My friend Andy (I-Nerve) and I both compose in a very similar way. Andy calls it "Organic composition" and I think that usually sums up my writing. But this, ah this was oh so different.
I attribute my new creative "buzz" to my new life style which I constantly give thanks for (it's important to do that I feel). Abre Los Ojos is a case in point - the hook is burned into my cerebrum - I almost can't believe I wrote it, but it is mine and that makes me so very happy.
Knowing my "set up" is proving invaluable, it's a given and an obvious one at that but it's something that can quite easily pass musicians by. Technology being what it is and todays instruments being what they are it's quite easy to get "lost in the machine". By that I don't mean that the music sounds "mechanical" (Squeeks and Bleeps eh Reg?) I mean it's all too easy to get distracted from the creative process and get bogged down with the technology bullshit. Any budding muso's please take note - it's the music that's important - don't lose yourself in the technology. That said and this is my point, you have to know your technology.
When you have a bit of kit you are completely at one with your writing reflects that, both in the quality and the ease in which you complete the writing process. If you're spending too much time "messing" you lose the thread of creativity (well I used to anyway). I've been using my new sequencer (which is really a self contained studio in a single bit of software) for a few months now and having spent a considerable amount of time with it, and it's rather fat manuals, I can pretty much get it to do what I want.
Every single sound in Abre Los Ojos is my own. Every drum sound has been crafted (Ultrabeat what a monster of a Drum Machine!) every synth sound built from the ground up, every effect patch created from scratch, only Ms Cruz has not been engineered by me :)
"Ramirez Ain't No Square" has to be one of my favourite synth sounds ever - and it's mine! It's built from a basic Square Waveform (hence the name) but twisted and modulated with some very tasty envelope & velocity action which makes it sooooo playable and so very very fat.
Abre Los Ojos remixes coming soon, I may well work on those next but "Curious Yellow" "English Voodoo" "Forgotten Friends" "One 2 Eight" "Dorkin" "Layers of Reality" and "Talamanca Dreaming" are all part complete and now shouting for attention.
Abre Los Ojos is Track 7 from the album "Civilization 2012"
Peace & Love
Migz
I attribute my new creative "buzz" to my new life style which I constantly give thanks for (it's important to do that I feel). Abre Los Ojos is a case in point - the hook is burned into my cerebrum - I almost can't believe I wrote it, but it is mine and that makes me so very happy.
Knowing my "set up" is proving invaluable, it's a given and an obvious one at that but it's something that can quite easily pass musicians by. Technology being what it is and todays instruments being what they are it's quite easy to get "lost in the machine". By that I don't mean that the music sounds "mechanical" (Squeeks and Bleeps eh Reg?) I mean it's all too easy to get distracted from the creative process and get bogged down with the technology bullshit. Any budding muso's please take note - it's the music that's important - don't lose yourself in the technology. That said and this is my point, you have to know your technology.
When you have a bit of kit you are completely at one with your writing reflects that, both in the quality and the ease in which you complete the writing process. If you're spending too much time "messing" you lose the thread of creativity (well I used to anyway). I've been using my new sequencer (which is really a self contained studio in a single bit of software) for a few months now and having spent a considerable amount of time with it, and it's rather fat manuals, I can pretty much get it to do what I want.
Every single sound in Abre Los Ojos is my own. Every drum sound has been crafted (Ultrabeat what a monster of a Drum Machine!) every synth sound built from the ground up, every effect patch created from scratch, only Ms Cruz has not been engineered by me :)
"Ramirez Ain't No Square" has to be one of my favourite synth sounds ever - and it's mine! It's built from a basic Square Waveform (hence the name) but twisted and modulated with some very tasty envelope & velocity action which makes it sooooo playable and so very very fat.
Abre Los Ojos remixes coming soon, I may well work on those next but "Curious Yellow" "English Voodoo" "Forgotten Friends" "One 2 Eight" "Dorkin" "Layers of Reality" and "Talamanca Dreaming" are all part complete and now shouting for attention.
Abre Los Ojos is Track 7 from the album "Civilization 2012"
Peace & Love
Migz
Wednesday, November 22, 2006
Working Class Hero
Working Class Hero
by John Lennon
As soon as you're born they make you feel small
By giving you no time instead of it all
Till the pain is so big you feel nothing at all
A working class hero is something to be
A working class hero is something to be
They hurt you at home and they hit you at school
They hate you if you're clever and they despise a fool
Till you're so fucking crazy you can't follow their rules
A working class hero is something to be
A working class hero is something to be
When they've tortured and scared you for twenty odd years
Then they expect you to pick a career
When you can't really function you're so full of fear
A working class hero is something to be
A working class hero is something to be
Keep you doped with religion and sex and TV
And you think you're so clever and class less and free
But you're still fucking peasants as far as I can see
A working class hero is something to be
A working class hero is something to be
There's room at the top they are telling you still
But first you must learn how to smile as you kill
If you want to be like the folks on the hill
A working class hero is something to be
A working class hero is something to be
If you want to be a hero well just follow me
If you want to be a hero well just follow me
Tuesday, November 07, 2006
November 6th Soundtrack
• Miguel Ramirez - "No More Working For The Man (Ibiza Mix)"
• Miguel Ramirez - "Vurt"
• Trentemøller - "Snowflake"
• Hot Chip - "Just Like We (Breakdown) (DFA Remix)"
• Trevor Loveys - "Turn It Up"
• Switch - "Get On Downs"
• Trevor Loveys - "Say What"
• Jesse Rose & Trevor Loveys - "Heavy What"
• Stereo MC's - "Two Horse Town"
• Faithless - "Mass Destruction (Tom Middleton Mix)"
• Isolee - "Madchen mit Hase"
• Layo & Bushwacka - "Life 2 Live (Loco Dice Remix)"
• Loco Dice - "Cellar Door"
• Miguel Ramirez - "Vurt"
• Trentemøller - "Snowflake"
• Hot Chip - "Just Like We (Breakdown) (DFA Remix)"
• Trevor Loveys - "Turn It Up"
• Switch - "Get On Downs"
• Trevor Loveys - "Say What"
• Jesse Rose & Trevor Loveys - "Heavy What"
• Stereo MC's - "Two Horse Town"
• Faithless - "Mass Destruction (Tom Middleton Mix)"
• Isolee - "Madchen mit Hase"
• Layo & Bushwacka - "Life 2 Live (Loco Dice Remix)"
• Loco Dice - "Cellar Door"
Tits & Acid
Tits & Acid Two of my favourite things :)
But seriously, probably one of the most In Yer Face tracks I've heard this year. Simian Mobile Disco have unleashed an absolute monster with this. From the get go it takes no prisoners then just layers electro mayhem on top of old school beats & stabs until it climaxes in a most over the top fashion with a break that'll leave the floor wondering what the f*ck just hit them. After finding this gem in the pile of whites & promos I sift through on a weekly basis I was moved to dig out my other SMD stuff I've not played for a while. Genius! Grab one if you see it :)
But seriously, probably one of the most In Yer Face tracks I've heard this year. Simian Mobile Disco have unleashed an absolute monster with this. From the get go it takes no prisoners then just layers electro mayhem on top of old school beats & stabs until it climaxes in a most over the top fashion with a break that'll leave the floor wondering what the f*ck just hit them. After finding this gem in the pile of whites & promos I sift through on a weekly basis I was moved to dig out my other SMD stuff I've not played for a while. Genius! Grab one if you see it :)
Monday, November 06, 2006
November 4th Soundtrack
In Reverse Order:
Trentemøller - "The Last Resort" LP
Amorphous Androgynous - "Swab"
Massive Attack - "Sly (7 Stones Mix)"
Prince Far I / Singers & Players - "Quante Jubila"
Solid Groove - "Won't Stop"
Brainticket - "Adventure (Part 1)"
The Jimi Hendrix Experience - "Are You Experienced" LP
Gene Farris - "This Is My Religion" LP
Art Of Noise - "Moments In Love"
Hoodlum Priest - "Caucasian"
Roy Harper - "McGoohan's Blues"
John Lennon - "Working Class Hero"
Ludwig Van Beethoven - "Symphony No 7 A Major: Soco Sostenuto - Vivace"
Sebastien Tellier - "Beyond All Strategies"
Trentemøller - "The Last Resort" LP
Amorphous Androgynous - "Swab"
Massive Attack - "Sly (7 Stones Mix)"
Prince Far I / Singers & Players - "Quante Jubila"
Solid Groove - "Won't Stop"
Brainticket - "Adventure (Part 1)"
The Jimi Hendrix Experience - "Are You Experienced" LP
Gene Farris - "This Is My Religion" LP
Art Of Noise - "Moments In Love"
Hoodlum Priest - "Caucasian"
Roy Harper - "McGoohan's Blues"
John Lennon - "Working Class Hero"
Ludwig Van Beethoven - "Symphony No 7 A Major: Soco Sostenuto - Vivace"
Sebastien Tellier - "Beyond All Strategies"
Saturday, November 04, 2006
November 3rd Soundtrack
Pretty much a self indulgent affair yesterday. I finished "Vurt" which is the second track on the album, so I played tracks 1, 2 & 3 to see how they "sit together".
• Miguel Ramirez - "What Is The Question?"
• Miguel Ramirez - "Vurt"
• Miguel Ramirez - "No More Working For The Man"
All tracks will be available for download soon :)
Peace
Migz
• Miguel Ramirez - "What Is The Question?"
• Miguel Ramirez - "Vurt"
• Miguel Ramirez - "No More Working For The Man"
All tracks will be available for download soon :)
Peace
Migz
New Album: Track Complete - "Vurt"
"Knowledge Vurt is for the few, not the herd...""Vurt" a special promo only for the enlightened.
"I felt the opening credits roll and then the pad went morphic and my last thought was: this is beautiful and I want more of it, I want it for ever. Then the Yellow kicked in..." Jeff Noon
"The Buddhists had it right all along, the World is an illusion..."
Probably my best production to date. Something about living where I'm supposed to be no doubt. It'll be posted to the "Hub" tomorrow along with a remastered Track 3 "No More Working For The Man".
For now - Hasta Luego....
Peace
Migz
Friday, November 03, 2006
November 2nd Soundtrack
• Kerri Chandler & Monique Bingham - "In The Morning"
• A Certain Ratio - "Good Together"
• Gary Clail / ON U Sound System - "2 Thieves & A Liar"
• Bill Hicks - "Gifts Of Forgiveness"
• Jazztronik - "Samurai (12" Mix)"
• Stranger & Shortbus - "Rush On"
• Underworld - "A Hundred Days Off" LP
• Marcus Worgul - "Flying Hi"
• Orbital - "Are We Here?"
• Stone Roses - "Sally Cinnamon"
• The Popular People's Front - "Back 2 Back" EP
• Martin Landsky - "1000 Miles" (Loco Dice Remix)
• Miguel Ramirez - "Vurt"
• A Certain Ratio - "Good Together"
• Gary Clail / ON U Sound System - "2 Thieves & A Liar"
• Bill Hicks - "Gifts Of Forgiveness"
• Jazztronik - "Samurai (12" Mix)"
• Stranger & Shortbus - "Rush On"
• Underworld - "A Hundred Days Off" LP
• Marcus Worgul - "Flying Hi"
• Orbital - "Are We Here?"
• Stone Roses - "Sally Cinnamon"
• The Popular People's Front - "Back 2 Back" EP
• Martin Landsky - "1000 Miles" (Loco Dice Remix)
• Miguel Ramirez - "Vurt"
Thursday, November 02, 2006
November 1st Soundtrack
Thanks to the Blogger team for the Beta Blogger :)
Enables me to do this far easier....
Soundtrack will now be updated Daily - "Old One" Permitting :)
• Marvin Gaye - "What's Going On" LP
• Art Blakey & The Jazz Messengers - "Impulse" LP
• The Rhythm Slaves - "The Rhythm Slaves" EP
• No Assembly Required - "Build Your Own" EP
• Aroma Allstars - "Jazz Chronicles (No Assembly Required Remix)
• Electric Kids - "Live To Dance (After Mix)"
• Thomas Barfod - "1995" EP
• Pete Namlook & Richie Hawtin - "From Within Our Minds...to Yours" LP
• Will Saul - "Jen / Maximal" EP
• Loco Dice - "Orchidee"
• Loco Dice - "Phat Dope Shit (Timo Mass Remix)"
• Matrin Buttrich - "Full Clip"
• Titus K -"Infiltrate"
• Greenskeepers - "Very Warm" EP
• Miguel Ramirez - "No More Working For The Man (Ibiza Mix)"
List in order tracks / LP / EP's were played
Enables me to do this far easier....
Soundtrack will now be updated Daily - "Old One" Permitting :)
• Marvin Gaye - "What's Going On" LP
• Art Blakey & The Jazz Messengers - "Impulse" LP
• The Rhythm Slaves - "The Rhythm Slaves" EP
• No Assembly Required - "Build Your Own" EP
• Aroma Allstars - "Jazz Chronicles (No Assembly Required Remix)
• Electric Kids - "Live To Dance (After Mix)"
• Thomas Barfod - "1995" EP
• Pete Namlook & Richie Hawtin - "From Within Our Minds...to Yours" LP
• Will Saul - "Jen / Maximal" EP
• Loco Dice - "Orchidee"
• Loco Dice - "Phat Dope Shit (Timo Mass Remix)"
• Matrin Buttrich - "Full Clip"
• Titus K -"Infiltrate"
• Greenskeepers - "Very Warm" EP
• Miguel Ramirez - "No More Working For The Man (Ibiza Mix)"
List in order tracks / LP / EP's were played
Thursday, October 05, 2006
Monday, September 25, 2006
New Album: Track Complete - "No More Working For The Man"
If the Jinster says "That's the best track I've heard all night.." and you've been playing all the usual suspects (Jesse Rose, Swag, Riton, etc etc) you know you've got a winner on your hands. That was the enviable position I found myself in on Wednesday. Now I know the girls' biased, but she knows her shit - no doubt.
I must admit I was that wasted after a beautiful night at the man like Spencer's place, and it just hadn't occurred to me to play it. I'd finished it 2 days previous (18th) but with all the excitement (and stress) of the move - this is my last Monday in the UK by the way - it didn't occur to me to cue it up. I'd been caning it to death over the past few days while performing the final edits, but hadn't heard it as a listener does. Aphex's "Window Licker" was currently gracing the system and as you may or may not know that is a very well produced slice of Electronica - not an easy act to follow.....
Cue No More Working For The Man
Ah. Whoa... F*ck me that kick drum punches a hole in your stomach! And it builds, and it builds... the little percussive noises wildly over produced to shake your senses. The drops, the timing seeming to catch you unaware, the wide encompassing fullness of the sounds... synths that sound like no other instrument, generating noises and tones that could only possibly be electronic in nature - but not sounding like other synths. It's always a pleasure, a real pleasure to hear your own music "fresh". You listen with virgin ears..... it's a bizarre feeling because you know you wrote the tune, but you really can hear it like it's the first time. It was like that for me on Wednesday - or should I say early Thursday morning.
Love it.
I really think I'm doing the best work I've ever done right now. That's a beautiful place to be for any artist, and I thank God / Allah / The Old One / My Spirit Guides / Gaia / Thor / Zeus and the Flying Spaghetti Monster (thanks Mr Dawkins) / The Tao / The Undefinable Absolute / The list goes on / for making it possible. "No More Working For The Man" has something to say... I'm proud to say it's my work.
The story of how the track came to be is a coincidental tour de force. As is the entire album so far, but much much more on that later. First of all I must thank the amazing Alex Jones about whom Greg Palast states:
"This guy is a national treasure, a light breaking through the electronic Berlin Wall of the US media establishment."
True enough. Alex is also passionate & committed to what he believes. Fox News do not like him very much, they like John Connor even less. If I worked for Fox and I was screening calls for Hannity & Colmes and a call from San Diego came in from a bloke called John - I'd be worried. Not that I'd ever work for Fox and IMHO Hannity & Colmes are indeed Gatekeepers of the highest order. Which is exactly what John Connor calls them. One of the many tracks currently in progress for the new album was this one, already titled "No More Working For The Man" and started the same day as this post. I needed a vocal for the track and had toyed with some Bush samples and some gems of wisdom from Chomsky on Corporations, but after hearing Hannity admit again and again that "I'm working for the man" it really was a coincidence too far. So I fired him into the EXS24 and before you could say "Pawn & Puppet of the Illuminati" the track was complete....
Currently this will be track 3 on the album. I'll post to the hub asap.
For now and for reference and because you need to see it, check
Alex Jones and
John Connor
Peace & Love
Migz
I must admit I was that wasted after a beautiful night at the man like Spencer's place, and it just hadn't occurred to me to play it. I'd finished it 2 days previous (18th) but with all the excitement (and stress) of the move - this is my last Monday in the UK by the way - it didn't occur to me to cue it up. I'd been caning it to death over the past few days while performing the final edits, but hadn't heard it as a listener does. Aphex's "Window Licker" was currently gracing the system and as you may or may not know that is a very well produced slice of Electronica - not an easy act to follow.....
Cue No More Working For The Man
Ah. Whoa... F*ck me that kick drum punches a hole in your stomach! And it builds, and it builds... the little percussive noises wildly over produced to shake your senses. The drops, the timing seeming to catch you unaware, the wide encompassing fullness of the sounds... synths that sound like no other instrument, generating noises and tones that could only possibly be electronic in nature - but not sounding like other synths. It's always a pleasure, a real pleasure to hear your own music "fresh". You listen with virgin ears..... it's a bizarre feeling because you know you wrote the tune, but you really can hear it like it's the first time. It was like that for me on Wednesday - or should I say early Thursday morning.
Love it.
I really think I'm doing the best work I've ever done right now. That's a beautiful place to be for any artist, and I thank God / Allah / The Old One / My Spirit Guides / Gaia / Thor / Zeus and the Flying Spaghetti Monster (thanks Mr Dawkins) / The Tao / The Undefinable Absolute / The list goes on / for making it possible. "No More Working For The Man" has something to say... I'm proud to say it's my work.
The story of how the track came to be is a coincidental tour de force. As is the entire album so far, but much much more on that later. First of all I must thank the amazing Alex Jones about whom Greg Palast states:
"This guy is a national treasure, a light breaking through the electronic Berlin Wall of the US media establishment."
True enough. Alex is also passionate & committed to what he believes. Fox News do not like him very much, they like John Connor even less. If I worked for Fox and I was screening calls for Hannity & Colmes and a call from San Diego came in from a bloke called John - I'd be worried. Not that I'd ever work for Fox and IMHO Hannity & Colmes are indeed Gatekeepers of the highest order. Which is exactly what John Connor calls them. One of the many tracks currently in progress for the new album was this one, already titled "No More Working For The Man" and started the same day as this post. I needed a vocal for the track and had toyed with some Bush samples and some gems of wisdom from Chomsky on Corporations, but after hearing Hannity admit again and again that "I'm working for the man" it really was a coincidence too far. So I fired him into the EXS24 and before you could say "Pawn & Puppet of the Illuminati" the track was complete....
Currently this will be track 3 on the album. I'll post to the hub asap.
For now and for reference and because you need to see it, check
Alex Jones and
John Connor
Peace & Love
Migz
Wednesday, August 30, 2006
Get Zapped: Born with Music
Get Zapped: Born with Music Great quote. Great Blog. Some really thought provoking images and quotes here. Check It.......
Tuesday, August 22, 2006
Trentemøller: The Last Resort Oct 6th Release
From Pokerflat Trentemøller album coming soon! 22.08.2006
We are very happy & proud to announce the debut album of Anders Trentemøller, The Last Resort to be released on Poker Flat October, 6th!
It's been a great year for the young Dane, with many great releases and furious live-shows. In between his busy schedule Anders managed to record a beautiful album. "Making these tracks was like having time-off.“, says Trentemøller, „Moments to totally space out and let the music flow", and so the album is personal and emotional, 100% Trentemøller.
Other than the dancefloor bombs he released on Poker Flat and some other labels, the album includes 13 beautiful capturing rather downtempo songs - mixed in one flow by Trentemøller.
Watch for a new milestone. more info soon!
artists: Trentemøller
release: The Last Resort
Sunday, August 13, 2006
New Album: "Civilization 2012"
Hot on the heels of "What is The Question" featuring the late great Terence McKenna, another two tracks should complete this weekend. A few final tweaks and arrangement edits are all that remain for "Berlin" - but "No More Working for The Man" is also only approx half an hours work from completion. Ah the imbeciles that are Hannity & Colmes. The genius that is John Connor! Stay Tuned....!
Sunday, August 06, 2006
New Album: "Civilization 2012"
Track Title: "What Is The Question?"
What is The Question?
Dub Electronica for the 21st Century. The first track to be completed from my new album Civilization 2012 featuring a sample of the late, great and sadly missed Terence McKenna. Posted today to archive.org.
It's good to have the creative drive well & truly back in place. Logic Pro has helped me more than a clever little piece of code has any right to (If little pieces of code have any rights that is: discuss), not only has it managed to draw me back into making music on a pretty much daily basis; it's also helped me to make the music I'd always wanted to make.
The sonic possibilities seem endless - as I suppose the advertising blub for any sequencing software will always state. But in Logic's case I can say {IMHO} that statement seems to be true.
"The sonic possibilities are endless..."
My productions have taken a massive leap forward from a production point of view. The Jinster has even commented on such with the beautiful phrase "Everything just sounds fatter.."
True enough. The sounds are "fatter" "dirtier" "funkier" and all the other qualities you (well certainly I) want from a track. I think more than any other program I've used it inspires me to create. The quality of the plug-ins are just breathtaking. For the new album one of the guiding precepts was the "Totally Soft" approach. One of the many coincidences recently (a full list to be published here) was my good friend Ben bringing this months copy of a well known Techy music making magazine featuring an article on going "Totally Soft" ie not using outboard gear (Synths, Drum Machines, Reverbs, Mixers etc) instead use software versions. The argument "real vs soft"(whatever real is) has raged for years and will continue to do so until the end of time I'm sure. The tag line read
"The totally software studio, with sound quality at least as good as that offered by studio hardware, is now more feasible than ever before. But what are the factors to consider if you're going to go completely 'soft'?"
I sold my last remaining real synth recently. My Access Virus C was a much loved but unfortunately much neglected synth module. When Logic Pro came along everything changed. I couldn't justify keeping the Virus when I wasn't even using it - especially since we were in the process of moving to our beautiful new home in Ibiza. And amazing synth that the Virus was, why keep something you don't even turn on?
Yes I could've kept it for "old times sake" but seeing as I could sell it for the same price I paid for it, over 18 months ago, and if I paid for shipping it over to Ibiza then never used it.... it was a no brainer. Well it was a no brainer when Logic sounded like it sounded (and continues to sound). Bye bye Virus. Hello world of the totally soft. Just Code baby that's all we got...
Well apart from my input device (I like to call it a Keyboard) the funky little Remote 25 and my Amp & Monitors etc my Studio is "Soft". This would have been science fiction not too many years ago. But now thanks to our mastery of technology and the invention and subsequent mass production of the CPU we have a fully functional Pro Audio Studio in a gorgeous little (well seventeen inches if you want to be pedantic) laptop.
So armed to the teeth with kick ass software I began. What Is The Question is the first track to be completed. In the fortnight that I've owned Logic I think I've started 9 tracks. A couple were vying for the "first completed track in Logic Pro" title, but in the end "What is The Question" just sneaked ahead of "Berlin".
It's a dubby electronic production number, that will always remind me of the lovely little house in Baildon that we rented for 12 weeks while we were sorting out our future Ibiza life. If you're a fan of Terence McKenna (and if you're not, you should check him) you'll recognize his dulcet tones immediately. It weighs in at just under 5 minutes and it's quite a trip. The idea was to build a groove on his distinctive voice then layer dubbed out synth lines and tightly focused rhythms. The Jinster called it "trippy". That'll do for me....
Enjoy.
Peace
Migz
Dub Electronica for the 21st Century. The first track to be completed from my new album Civilization 2012 featuring a sample of the late, great and sadly missed Terence McKenna. Posted today to archive.org.
It's good to have the creative drive well & truly back in place. Logic Pro has helped me more than a clever little piece of code has any right to (If little pieces of code have any rights that is: discuss), not only has it managed to draw me back into making music on a pretty much daily basis; it's also helped me to make the music I'd always wanted to make.
The sonic possibilities seem endless - as I suppose the advertising blub for any sequencing software will always state. But in Logic's case I can say {IMHO} that statement seems to be true.
"The sonic possibilities are endless..."
My productions have taken a massive leap forward from a production point of view. The Jinster has even commented on such with the beautiful phrase "Everything just sounds fatter.."
True enough. The sounds are "fatter" "dirtier" "funkier" and all the other qualities you (well certainly I) want from a track. I think more than any other program I've used it inspires me to create. The quality of the plug-ins are just breathtaking. For the new album one of the guiding precepts was the "Totally Soft" approach. One of the many coincidences recently (a full list to be published here) was my good friend Ben bringing this months copy of a well known Techy music making magazine featuring an article on going "Totally Soft" ie not using outboard gear (Synths, Drum Machines, Reverbs, Mixers etc) instead use software versions. The argument "real vs soft"(whatever real is) has raged for years and will continue to do so until the end of time I'm sure. The tag line read
"The totally software studio, with sound quality at least as good as that offered by studio hardware, is now more feasible than ever before. But what are the factors to consider if you're going to go completely 'soft'?"
I sold my last remaining real synth recently. My Access Virus C was a much loved but unfortunately much neglected synth module. When Logic Pro came along everything changed. I couldn't justify keeping the Virus when I wasn't even using it - especially since we were in the process of moving to our beautiful new home in Ibiza. And amazing synth that the Virus was, why keep something you don't even turn on? Yes I could've kept it for "old times sake" but seeing as I could sell it for the same price I paid for it, over 18 months ago, and if I paid for shipping it over to Ibiza then never used it.... it was a no brainer. Well it was a no brainer when Logic sounded like it sounded (and continues to sound). Bye bye Virus. Hello world of the totally soft. Just Code baby that's all we got...
Well apart from my input device (I like to call it a Keyboard) the funky little Remote 25 and my Amp & Monitors etc my Studio is "Soft". This would have been science fiction not too many years ago. But now thanks to our mastery of technology and the invention and subsequent mass production of the CPU we have a fully functional Pro Audio Studio in a gorgeous little (well seventeen inches if you want to be pedantic) laptop. So armed to the teeth with kick ass software I began. What Is The Question is the first track to be completed. In the fortnight that I've owned Logic I think I've started 9 tracks. A couple were vying for the "first completed track in Logic Pro" title, but in the end "What is The Question" just sneaked ahead of "Berlin".
It's a dubby electronic production number, that will always remind me of the lovely little house in Baildon that we rented for 12 weeks while we were sorting out our future Ibiza life. If you're a fan of Terence McKenna (and if you're not, you should check him) you'll recognize his dulcet tones immediately. It weighs in at just under 5 minutes and it's quite a trip. The idea was to build a groove on his distinctive voice then layer dubbed out synth lines and tightly focused rhythms. The Jinster called it "trippy". That'll do for me....
Enjoy.
Peace
Migz
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