two types.
funky electro breaks and chilled out breaks. I make ther stuff, but if it ain't breaks, I suck at it. I like other music, but I'm not good at writing all of it.
a link;
http://www.garageband.com/artist/marcussterzer
which kind of music do you produce ?
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montrealbreaks
- Posts: 995
- Joined: Thu Mar 04, 2004 11:38 pm
- Location: Montreal Canada
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Patrick DSP
- Posts: 89
- Joined: Tue Jun 21, 2005 12:07 am
- Location: Berlin
- Contact:
dubstep, breakstep, breaks, some broken beat sometimes... usually in the 132-143 bpm range.
used to make drum n bass, havent done any d'n'b for over a year now.
for a taste of the scene I'm involved in check www.dubstep.blogspot.com
anyone in London this sat should check dmz www.dmzuk.com
used to make drum n bass, havent done any d'n'b for over a year now.
for a taste of the scene I'm involved in check www.dubstep.blogspot.com
anyone in London this sat should check dmz www.dmzuk.com
I know jack shit about genres, really. My solo project (as Krushing and/or Krushingfunklords) is some kind of hybrid electropop-hippie-neofolk-downtempo...usually. Occasionally some ambient stuff as well...
Then there's Morphophagus, which is mostly dark ambient of sorts...or doom ambient or...some kind of extremely slow, droning, gloomy and depressing stuff
Then we have The Chubby Chasers - pretty much straight up electro with techno flavours I guess...
And about three or four bands that may or may not feature any kind of electronics at all...Evil Eagles (surf-industrial-bluescore), Bad Day for Bossanova (ambient jazz prog) & Salaneuvosto (roots dub) at least...I'm pretty sure I've got myself into a couple of other projects as well that I can't remeber right now
Then there's Morphophagus, which is mostly dark ambient of sorts...or doom ambient or...some kind of extremely slow, droning, gloomy and depressing stuff
Then we have The Chubby Chasers - pretty much straight up electro with techno flavours I guess...
And about three or four bands that may or may not feature any kind of electronics at all...Evil Eagles (surf-industrial-bluescore), Bad Day for Bossanova (ambient jazz prog) & Salaneuvosto (roots dub) at least...I'm pretty sure I've got myself into a couple of other projects as well that I can't remeber right now
hi, i tend to use plenty of old toy keyboards and noise making nonsense picked up from boot sales and while traveling about. also instruments that friends have given me, then field recordings on the minidisc. i guess it could be called something like experimental ambient noise dance dub outsider kind of stuff. sling it all into ableton and play around until it start to sound nice. mmm
have a look and a listen www.slatepipe.co.uk
have a look and a listen www.slatepipe.co.uk
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spiderprod
- Posts: 1120
- Joined: Wed Mar 31, 2004 10:11 pm
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nobbystylus
- Posts: 1067
- Joined: Sat Feb 21, 2004 4:32 pm
- Location: london
errmm..
our motto (@ u-freqs records)
'creating genres the world doesn't need or want'..
our motto (@ u-freqs records)
'creating genres the world doesn't need or want'..
http://www.myspace.com/wardclerk
http://www.myspace.com/bighairufreqs
LIVE 8.21/ Reaktor 5.51/VDMX/Quartz Composer
http://www.myspace.com/bighairufreqs
LIVE 8.21/ Reaktor 5.51/VDMX/Quartz Composer
kind.. music...
my friend and I make music mixing live guitars, melodica, xylophone and other live instruments with electronic elements (Live/powerbook & ibook).
i really can't say what kind of music it is though... i'm not quite sure.
pretty music?
i really can't say what kind of music it is though... i'm not quite sure.
pretty music?
http://dustbreeding.com
http://www.unrecnow.com
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macbook|monome 128/64|kmxmini
http://www.unrecnow.com
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macbook|monome 128/64|kmxmini
my work is around a very deep point of efficiency, so i use the instruments both very straight and very loose at once. means there's been a certain picture of everything before it started, then it grew and still grows into detail. but the frame is something i wanna keep until the end.
due to my recognition of music by one of those lovely methods of psychlogical therapy i was travelling through a lot of dreams, filled with sounds and structures. and i like poetry in the way of people like nick cave, who try to put all their impressions together in mostly pure eternal pieces.
my ass is a bit tired, its hard for me to start all the programs and to fall into this hypnotic state to work totally free. i have to reconnect my entire life these days to this project i have planned, wanna do nothing else but this, except make some notice for a novel some friend wish to read.
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finally, it should contain exactly 9 songs. all around a lovely, psychotic cover-version of rolling stones '73-smash "angie" in the middle. it's not my favorite song (not even of the stones or the album it's on), but it inspires very easy for this kind of song i want in the heart of this album. take "frankie's teardrop" from the first suicide-lp, and mix it with "bela lugosi's dead" (bauhaus) and "watching alice" by nick cave & his bad seeds. sure, it will be slightly different from what you imagine.
the other songs are tried to be well seperated as melted together, what means a great challenge to me. every piece wants to work alone, but the album should be listenable in one take. again and again. a pleasure for those, who listen. if you wanna go on (and are patient with my one-phrase english!), here's an overview. i'm posting this little book because i want some to help me, due i'm totally a novice in making music with a "real" approach. mark hollis from the great talk talk once said, "before you learn a note, know for what this should be." or something like that... hm(?).
it starts with a soft kiss, called "wake up dying", whose titel is partly stolen by an old megadeth-hit (aren't some old metalheads in there?). even the only two lyric-lines walk through dave's thoughts. the music got nothing to do with this kind of speed-rock-glamour, it's a thin pumping 4/4, sooky, close to lawrence or some considerable theorem-pieces, the two lines are spoken through some effects - but only four times although this opener will be about 7:23, sure there's some noise and sounds passing, some climax to reach and some chill-out to the next.
sonmething like an interlude, all clear rhythm is broken into millions of noise/particulars (fennesz), from which comes a weak keyboard trying to find a melody (the more experimental sides of this mortal coil meet a remix of "the frail" from nine inch nails), before it breaks away to another sound of thousands of different noises. "rainbow" will be a short cut, after 1:31 it's over.
some room for "an empty voice", which combines sampled chaos inspired by modern underground-hiphops like madvillian or dalek) with a clear, cold breakbeat (ordinary photek-like) and through this from time to time some nice and softly sung duett by a girl and a boy - i'm thinking of stereolab, or even my bloody valentine. overall 3:45 of very complex, but also enjoyable arrangements in a dreamy bed.
before "angie" is going to come, "lazy girls" have started their 8:02-walk with some jazzy ambient around very loose rhythms, maybe the soft version of free jazz. i'm absolutely not sure how to realize, without a real jazz-sax-player. maybe per sampling the whole free-jazz-section of my harddrive :] this will be, in the beginning, a real discussion, in this style of the last album by the streets. two men talking about love, death, violence, attraction, illusions, time, failure and hope. both are typical sperated characters, both just the opportunist to the other, but with a common sense: those lazy girls they love. it will end somehow, in a joke that parts each from the other, while in the background the music has bit changed to experimental, the albums' climax of chaos with some very own harmony at last fading into this psychotic screamed angie. ahh, diamanda galas' version of "i put a apell on you" maybe the secret main inspiration for that one, next to "opfer dieses liedes" (les reines prochaines), a very intense cover of "wicked game" by chris isaak.
following is the most complex piece, "outside the garden" (13:44). takes its introducing spirit from "angie", develops through some free snarring und pluggin sounds and noises (piano magic, the books) into strange rhythm-layers (porter ricks!) and further into harder techno, until it all comes together in an overwhelming wall of sound by splitting slowdive's "she calls" into the best moment sigur ros never had, before some returning noise comes through this late-talk talk-sound and gets shadowed by some usual guitars, which leads the fine, easy pop-song to follow this nightmare of never-fitting? (we'll see) variations. in structure also inspired by tear garden's "you and me and the rainbows", or ea80's (german death-poetry punk) "fliegen" which is an unreachable great track.
"black tooth" is lyrically a very dark pop-art, a story written by endless despair. about the dying in everything, the roles of all the species in a totally black room called universe. but the voice is nice, and so is the chorus, again a duett with a girl. yesterday i worked out some lines, seems to be alright. the music is very airy, 80ies psychedelic-pop, echo and the milky way meet the singing of "hopeful" by, again, tear garden. it will leave some traces of sadness for sure. (6:19)
perfectly for the lovely piano-interlude (2:42), guided by some warm synth-layers soft heart-beat in the background, which becomes falling apart until there's just one line of white noise and also the piano gets confused into a breakdown.
"vice versa", a title stolen from the book "ableton live 4 power!" (i didnt know up to this what 'gegenseitig' is called in english...). its the second complete song i ever made (first has been just with an acoustic guitar, like early elliott smith(.)). punk rock - like, similar to an early demo-recording of slowdive called "summer's day", maybe my favorite song of all time, and also to songs from "psychocandy" by the jesus & mary chain, but alltogether in a very dark, thick post-technoid sound some steps away from clean-produced modern retro-wave. it will be a contra-politcal anthem, so it contains some fist-punches in the rare, but rough hall-gated shouting over these 5:23 minutes.
that's all. hope you enjoyed reading, and maybe listening somewhen.
due to my recognition of music by one of those lovely methods of psychlogical therapy i was travelling through a lot of dreams, filled with sounds and structures. and i like poetry in the way of people like nick cave, who try to put all their impressions together in mostly pure eternal pieces.
my ass is a bit tired, its hard for me to start all the programs and to fall into this hypnotic state to work totally free. i have to reconnect my entire life these days to this project i have planned, wanna do nothing else but this, except make some notice for a novel some friend wish to read.
-
finally, it should contain exactly 9 songs. all around a lovely, psychotic cover-version of rolling stones '73-smash "angie" in the middle. it's not my favorite song (not even of the stones or the album it's on), but it inspires very easy for this kind of song i want in the heart of this album. take "frankie's teardrop" from the first suicide-lp, and mix it with "bela lugosi's dead" (bauhaus) and "watching alice" by nick cave & his bad seeds. sure, it will be slightly different from what you imagine.
the other songs are tried to be well seperated as melted together, what means a great challenge to me. every piece wants to work alone, but the album should be listenable in one take. again and again. a pleasure for those, who listen. if you wanna go on (and are patient with my one-phrase english!), here's an overview. i'm posting this little book because i want some to help me, due i'm totally a novice in making music with a "real" approach. mark hollis from the great talk talk once said, "before you learn a note, know for what this should be." or something like that... hm(?).
it starts with a soft kiss, called "wake up dying", whose titel is partly stolen by an old megadeth-hit (aren't some old metalheads in there?). even the only two lyric-lines walk through dave's thoughts. the music got nothing to do with this kind of speed-rock-glamour, it's a thin pumping 4/4, sooky, close to lawrence or some considerable theorem-pieces, the two lines are spoken through some effects - but only four times although this opener will be about 7:23, sure there's some noise and sounds passing, some climax to reach and some chill-out to the next.
sonmething like an interlude, all clear rhythm is broken into millions of noise/particulars (fennesz), from which comes a weak keyboard trying to find a melody (the more experimental sides of this mortal coil meet a remix of "the frail" from nine inch nails), before it breaks away to another sound of thousands of different noises. "rainbow" will be a short cut, after 1:31 it's over.
some room for "an empty voice", which combines sampled chaos inspired by modern underground-hiphops like madvillian or dalek) with a clear, cold breakbeat (ordinary photek-like) and through this from time to time some nice and softly sung duett by a girl and a boy - i'm thinking of stereolab, or even my bloody valentine. overall 3:45 of very complex, but also enjoyable arrangements in a dreamy bed.
before "angie" is going to come, "lazy girls" have started their 8:02-walk with some jazzy ambient around very loose rhythms, maybe the soft version of free jazz. i'm absolutely not sure how to realize, without a real jazz-sax-player. maybe per sampling the whole free-jazz-section of my harddrive :] this will be, in the beginning, a real discussion, in this style of the last album by the streets. two men talking about love, death, violence, attraction, illusions, time, failure and hope. both are typical sperated characters, both just the opportunist to the other, but with a common sense: those lazy girls they love. it will end somehow, in a joke that parts each from the other, while in the background the music has bit changed to experimental, the albums' climax of chaos with some very own harmony at last fading into this psychotic screamed angie. ahh, diamanda galas' version of "i put a apell on you" maybe the secret main inspiration for that one, next to "opfer dieses liedes" (les reines prochaines), a very intense cover of "wicked game" by chris isaak.
following is the most complex piece, "outside the garden" (13:44). takes its introducing spirit from "angie", develops through some free snarring und pluggin sounds and noises (piano magic, the books) into strange rhythm-layers (porter ricks!) and further into harder techno, until it all comes together in an overwhelming wall of sound by splitting slowdive's "she calls" into the best moment sigur ros never had, before some returning noise comes through this late-talk talk-sound and gets shadowed by some usual guitars, which leads the fine, easy pop-song to follow this nightmare of never-fitting? (we'll see) variations. in structure also inspired by tear garden's "you and me and the rainbows", or ea80's (german death-poetry punk) "fliegen" which is an unreachable great track.
"black tooth" is lyrically a very dark pop-art, a story written by endless despair. about the dying in everything, the roles of all the species in a totally black room called universe. but the voice is nice, and so is the chorus, again a duett with a girl. yesterday i worked out some lines, seems to be alright. the music is very airy, 80ies psychedelic-pop, echo and the milky way meet the singing of "hopeful" by, again, tear garden. it will leave some traces of sadness for sure. (6:19)
perfectly for the lovely piano-interlude (2:42), guided by some warm synth-layers soft heart-beat in the background, which becomes falling apart until there's just one line of white noise and also the piano gets confused into a breakdown.
"vice versa", a title stolen from the book "ableton live 4 power!" (i didnt know up to this what 'gegenseitig' is called in english...). its the second complete song i ever made (first has been just with an acoustic guitar, like early elliott smith(.)). punk rock - like, similar to an early demo-recording of slowdive called "summer's day", maybe my favorite song of all time, and also to songs from "psychocandy" by the jesus & mary chain, but alltogether in a very dark, thick post-technoid sound some steps away from clean-produced modern retro-wave. it will be a contra-politcal anthem, so it contains some fist-punches in the rare, but rough hall-gated shouting over these 5:23 minutes.
that's all. hope you enjoyed reading, and maybe listening somewhen.