Getting this bad-boy out. This release will include a bonus-track off the upcoming LP that is still in the works. The single and the upcoming LP harkens back to the glorious late 70’s / early 80’s of electronic music, when it wasn’t just about the sound, it was also about the music, and the journey, telling a story, taking the listener on a sonic trip. It’s also a heavy focus on analog, not just in the instruments used, but in the overall sound and production. Going back to the roots that got me into music to begin with :) Stay tuned….
17 years later…finally releasing this.
The “Mutatis” LP represented a return to a darker, more experimental sound after having explored the lighter side of electronica for a couple years prior to 1996. Tapping into parts of my past rooted in mid 80’s / early 90’s industrial, there was a darker overall tone to the sound and vibe of the songs on this album.
The gear we used on this project would be the start of a slow shift from mostly analog, to digital, with only a couple years later going completely software & DSP based. During production we maintained a heavy focus on shifting towards DSP with the K2500RS & the S2800 being the main sound sculpting and processing tools. We enjoyed sampling, but preferred sampling our own instruments within the studio to see how far down the “rabbit hole” we could take a particular sound source. Lots of sampling and re-sampling of loops from the RY-30, analog kicks & percussion made on the Octave CAT, or late-nite mix-board FX sound-tweaking experiments captured to DAT and then re-sampled to further mangle, distort, or process through DSP.
Writing wise, this LP was entirely recorded as a live jam session, which is very different from how I work today. This was back before the days of high-end DAW’s, mix automation, software plugins, and all other stuff that can make the writing process steril if not used properly. This was straight up stark futuristic alien electronic dub. Each track was written & recorded as live sequences firing off from an Alesis MMT-8. The MMT-8 was the heart of the studio, sequencing the various synths & samplers we had in the studio. The workflow of the MMT-8 allowed us to treat and sequence every synth we had in the studio like they were “drum-machines”. Hence the heavy “rhythmic" elements of each song. The final arrangement you hear on each song was the result of spontaneously switching sequences, muting tracks, changing drum-machine patterns (the RY-30) and working the mixing console channels & FX returns on the fly as we recorded directly to DAT.
There was absolutely nothing pre-determined about the final outcome of each song. WYHIWYG. We would spark up, hit record and see what happened. I miss those days.
Going back through the timemachine for this piece. Early to mid 94’ track I co-produced with Nicholas Keller back during the hey-day of British techno/jungle stuff influencing us from over seas. Produced with a fairly modest setup consisting of an EMAX II, Ensoniq EPS (12bit), Oberheim Matrix-6, Roland Juno-106, Roland MC-202, Korg EX-8000, and a trusty little Realistic Moog MG-1, sequenced using an Atari 1040ST and mixed down on a Mackie 1202 direct to cassette tape. Those were the days :)
Just received print copies of the remix I recently did for the legendary Douglas J. McCarthy. One of several of my earliest heros and influences in electronic music. A true honor.
This is an original piece I did back in 2004 for the “making of” documentaries on “The Complete Matrix Trilogy” DVD release box set. I had no video to score to, just musical passages envisioning the world of the Matrix.
Noodling with the Voyager RME testing out the Ext input feedback trick. EPIC BALLS.
Looks like another back catalog release slated for Schematic Records. This time around a remix I did back in 95-96 for a track titled “Dread” off Allison with One’s 1995 debut album “While Drifting”. Allison with One was headed up at the time by my former band-mate and former drummer of GOG, Matt Jeanes. This remix is dark electro goodness in all it’s glory, with a hint of my past days of seminal industrial thrown in for good measure.
Re-masters of all the “erotic city communications” releases as well as un-released material from 95’-96’ is in the works now. Release info coming soon…
The digital re-release of “solstice” was released this past June 21st on the legendary Schematic Music Company. Re-mastered and available online in multi-format digital copy, this piece dates back to some of my earlier material, circa 1998. It represented a departure from the darker, grittier beat mangling and electro styles that was still prevalent in a lot of my work at the time. Oddly enough it was somewhat of a return to the more minimal ambient style pieces I was doing earlier around 94-95, but this time around, much more refined and direct. It is a piece that has stayed closed to me and till this day still represents the emotion, sound, and vision behind my music.
Catalog # SCH-X1
Available now at: www.schematic.net
so its official, “solstice” will be re-released for the first time in 9 years this coming June 21st on Schematic. Re-mastered for digital consumption, she sounds great. We are all pretty excited to see this one resurface as the original vinyl only release back in 2002 on Natural Resource was only 1000 copies, exclusively distributed in Japan. It’s super hard to find, and has become quite the collector’s item (copies going for $100-$400…). Shit, I wasnt even sure if I still had a copy on vinyl…whew, I do…
Cant thank my boys at Schematic enough for working with me on this one. Expect more goodness to come as the new Hologram EP is also slated for release on Schematic this fall…