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Everything posted by Bambi

  1. Probably here https://bleep.com/features/bleep-mix-205-Mike-Paradinas
  2. Music income is split into two halves, the Master and the Publishing. The Master is the actual recording. In this case AF have licensed the rights to the recording. This is what record labels do. They release and exploit recordings. Publishing pertains to the music itself (the composition, historically the sheet music) which has its own avenues of exploitation separate to the recording. This is why musicians can be signed to a label (e.g. Warners) but be published by a different company (e.g. Domino)
  3. It's already been released on a compilation https://musicinsupportofblackmentalhealth.bandcamp.com/releases
  4. There are a few older tracks on there like Blauwasser (from the Heterotic days), Murker (2013, 2014?) and Bentley (2015?). You can hear a version of Bentley called Utopiary with my friend Daniel O'Sullivan (Grumbling Fur etc.) singing over it on my FACT magazine mix https://www.factmag.com/2018/03/26/mike-paradinas-fact-mix-u-ziq/ - oh look Blauwasser is on there too. Named after the shopping centre by the way.
  5. Gear used on Lunatic Harness: Sequencer: Atari 1040ST using emagic cubeat software Mixer: Fostex 280 4-track recorder & Soundcraft Spirit Folio 10+2 mini-desk. Yamaha DX11 synth Roland D-50 synth Alesis HR16 drum machine Yamaha RY30 Drum machine Casio FZ-1 sampler. Boss delay pedal ART Multiverb LTX - - - That's it. One of the b-sides was a later track and used the EMU ESI-32 (Jiggery Panky or the other one)
  6. https://doormouse.bandcamp.com/album/skelechairs
  7. Burgundy Tracks 3 would be relatively easy to put together.
  8. Planet Mu (1st May 2020) https://italtek.bandcamp.com/album/outland 01 Chamber Music 02 Open Heart 03 Deadhead 04 Reverie 05 Bladed Terrain 06 Diamond Child 07 Angel In Ruin 08 Leaving The Grid 09 Endless 10 Oblivion Theme Ital Tek (a.k.a. Alan Myson) returns to Planet Mu with his sixth album ‘Outland‘.The album was written during a period of new beginnings following a move out of the city to a quieter space and the birth of his first child. During this time of self-imposed isolation Alan recorded a huge amount of source material and spent weeks and months sitting up at night with his newborn, listening back and making notes on how the new record should take form, focusing and developing ideas to shape this lean ten-track album.Alan talks of the record being a collaboration between two parts of himself, something that definitely comes across as the album unfolds. Textures are something Alan excels at and on his last album, the largely beatless ‘Bodied’, it felt as if he was building a new sound-world. On ‘Outland’ he expands upon this. The album brings together the extremes of Alan's sound, contrasting roughened bass and beats with starker more detailed atmospheres and emotions.The most beat-driven song here is ‘Deadhead’, with its gnarled bouncing bass, angular distorted melodies and cavernous textures. On tracks like ‘Bladed Terrain’ the contrasts are even more defined with buzzing drones and razor sharp drums plunging into a grainy fog, giving the track a dramatic 3D feel. Then there are the stop-start pauses of ‘Leaving The Grid’, where the song evaporates into space before reemerging with shuddering rhythms and ghostly textures. Melodies crawl around these tracks as if they’re just waking up, as heard on the atmospheric ‘Angel In Ruin’. The sleep-deprived fraying of the senses became Alan’s routine and one which he says gave him a renewed creative energy; half-asleep, working through the night, and then into the daytime super-focused but exhausted. Prone to audio hallucinations whilst writing the album, he aimed to capture these distortions in his perception of pitch and time, and you can hear these effects interpreted on tracks like ‘Endless’ and ‘Open Heart’ as melodies phase and slip out of time like an emotional Doppler effect. This is also true of the soaring atonal synths at the peak of ‘Diamond Child’, which feel like the aural equivalent of eye floaters.
  9. Yes it is Greg Hanec on the cover, the same Greg who hated car culture 20 years ago.
  10. does now (forgot to click a couple of backend buttons)
  11. Bleep have the use of two warehouses, one in Milton Keynes and one in North Carolina. I assume the former is out of stock.
  12. Easily as good as old Aphex. Probably my favourite artist of the last 5 years.
  13. "The story with this release, was that during the period of time that this came out, commercial record labels had finally realized the marketing potential of hiring big name DJs to do remixes of artists signed to their label." Commercial record labels? as opposed to what? Even mailorder labels like Industrial Records in the late 70s and 80s were commercial operations. "Big name DJs" had, in fact, been "hired" to do remixes since the early seventies, because European discotheques stimulated chart sales so much. A popular disco remix of a potential chart hit could propel the song higher and end up in the top ten. High Energy remixes (mid to late 80s) and House remixes (87+) were just continuations of this trend. "Of course, DJs got paid a lot by these labels just to remix another artist's work, but a lot of the time the DJs were bored and uninspired by these artists." Were they? How do you know? Most remixers love what they do, it's an artform. Do you know what they were paid? AFX famously said he was bored, but he wasn't a "Big Name DJ" in 94. "Whereas back a few years earlier, a DJ might have done a remix of an artist they really liked or of an artist that had inspired them (a compliment not unlike that of a rock band "covering" another band)," This rarely happened to my knowledge. Are you still talking DJs? Or are we talking electronic musicians from the early 90s wave? "now there were all of these DJs being paid a lot of money to remix crap that they hated by artists that were, obviously, just being hyped-up by their labels." Labels to like to promote their artists. Who says it's crap? A lot of money? Probably not. "This CD happened after one such label, which was in the process of trying to generate hype for The Auteurs, decided to hire µ-Ziq to remix tracks from The Auteurs' album "Now I'm A Cowboy"." Wrong. The label Hut recordings, run by David Boyd were an indie label (subsequently bought by Virgin/EMI) who had signed bands such as The Verve, Moose and The Auteurs (just one guy - Luke Haines). I shared a manager, Tony Beard, with Luke, so it was his idea for me to remix his other act. The idea was to do one remix of Lenny Valentino, but I did three in one day, as I wasn't pleased with each one. Tony suggested I try remixing another track, so I think I did Daughter of a child. "Michael Paradinas (µ-Ziq) didn't like the album at all, was bored with it and just decided to make original music and throw samples in from the other album here and there." Wrong. I did quite like a lot of the songs on the album. None of the songs are 'original music', they are all deconstructed remixes, either using samples as the starting point/source material, or actually being cover versions (e.g. Lenny Valention #2). "The result was, essentially, a µ-Ziq album with cuts of vocals and maybe a guitar-line from The Auteurs' album here and there throughout the mix," Nope, they're remixes. "and had an overall dark, abrasive, drone feel, showcasing Michael Paradinas' boredom with the material loud and clear." Showcasing my remixing style maybe. "The label wasn't sure what to think when they came to pick up the finished product and listened to it." The label (and Luke and Tony) loved the 4 remixes I delivered. I was the one who wasn't sure about them. They convinced me to do some more, so they could release it as an EP/album. "I'm sure they were dismayed, hoping for something that would show off a little more of The Auteurs songwriting, which had been completely dissolved with the remixing." I love people who are sure. "They paid Michael and sold the album none-the-less (probably due to contract)," Yes, they did pay me. The most money I had received for anything musical up to that point. Luke kept the publishing, but it was a good lump sum for me. As I said, it was the label's and Luke's decision to release the album as they loved the material so much. It led to me being signed by Hut/Virgin/Astralwerks. "and as far as I can tell, a lot of people love it... except maybe those record executives and The Auteurs." I hope people do like it, why do people assume "record executives" don't like good music? They love being challenged and finding new music, that's why their in the biz. "In turn, this CD was one of the first examples of an anti-remix album, or versus album (meaning, loosely, one artist "against" another), and also went on to inspire other remix albums, such as Aphex Twin's equally seminal "26 Mixes For Cash" - and by the time that had come out, record companies were already specifically looking for and buying remixes from DJs that sounded nothing like the original artists." I don't think this is true.
  14. This is all completely wrong. fill us in please !! ugh - just take the complete opposite of what he said.
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