The year is 1998, the air is thick with sweat and the night is slipping deep into the bass. The 303 pulses and squelches, the drum machine kicks the beat and the effects warp our minds. Dawn is coming, but for now it is just us and the crowd and the music and the warehouse.... [more inside]
A remix of Alice Cooper's "Awakening" [more inside]
Twitchy hard acid techno. [more inside]
An < 1 minute track that went between songs on my 90s demo where Hendrix meets Mantronix
OK we're gonna do this. My old shit. [more inside]
One of my very early beats, and I'm posting it after hearing the music in this post which you should check out. [more inside]
After reading this post, I was reminded of a beat I made 8 or 9 years back that obviously bites Pharcyde's "Drop". So here it is.
Yay, I get to play lead guitar in a band for the first time in 20 years! [more inside]
A filtered house remix of "Supersonic" by Jamiroquai. It was primarily done as a project to help teach myself how to use Logic. [more inside]
A loud and obnoxious demo [more inside]
The "outro" from the ill-fated "Big in Japan" album [more inside]
Don't ask, I don't think I ever got an explanation for the title either [more inside]
Something a bit shorter and more polished with the Korg DS-10 Nintendo DS synth.
A collaboration between myself and Ottawa-based producer/DJ/bass&keyboard-player/singer/rapper/radio-show-host (did I miss anything?) D-Mass from a few years back arranged and recorded in his old living room. [more inside]
A remix of a song I made that was leagues better than the original. Only 1 element of the original remains. [more inside]
The proposed and rejected intro for the overdue and never-to-be-finished "Big In Japan" album. [more inside]
A song about having no money and or recording space/equipment, but doing it anyway [more inside]
Auditory weapons for musical wars.
- A totally reconstructed remix of Xillon's Rockmoss, from the album It's Ok To Dance. [more inside]
A a bit of weird hardcore and breaks.
I wrote this song about my eldest daughter, who a constant source of inspiration. Steve Eschelman is playing mandolin and singing backing vocals.
Here's a "golden oldie" way back from 2005, it's trancey but breaks convention in an ambient/acid sort of way. Intentionally chillin' groovetrak.
Acid-ambient space dub loops. This is a live jam I did with a friend while visiting him in Seattle. The rig was comprised of me playing small and very slow beat loops in Traktor at BPMs relationally fractional to a master tempo of 110 BPM, while my friend looped samples in Live, both from prerecorded and live samples from mixboard outputs and sends. There is a Macbook microphone involved in the sampling of the room and as a feedback and reverb source. There is no shared MIDI clock in use - all tempo/pitch control is manual, and listen for long beat-count tempo-drifts of loop components, which are manipulated and intentional. The majority of this dub takes place as variations of two beats in one "measure", sometimes four but never more. This cut of the track is the last ten minutes of approximately one hour of play and loop building. It is pre-release version intended for derivitive works, remixes and redubs. (If you wish to remix, sample, splice, loop, fuck, deconstruct or otherwise destroy this track, I would vastly prefer that you please contact me via the email in my profile for the uncompressed and unprocessed file and the full Creative Commons license. Please do not use this low-bitrate file.)
This is less of a song and more of a sketch, but I found it on my drive and I'm going to post it. Much less developed than my other submission. It's more of a half-assed experiment with drum signatures and reverb with some granulation synth stuff tied into the reverb and echoes. Expect little, but it's pretty hypnotic.
This is just a random electronic noodling. It was recorded/performed "live" or mostly realtime - all filter sweeps are live, as are on the fly rhythm and melody edits. The style is inspired by Coil's The Snow EP - very early techno/acid. The melody and synth lines were inspired by the HAARP signal as re-encoded for audible spectrum. This sample also plays in the background for much of the song in various permutations, The rhythm signature was inspired by an old crufty-noisy oscillating desk fan. The timebase for the song was an odd and atypical signature to replicate the random rhythmicness of the noisy desk fan. Warning: For some reason a small subset of people have independently complained of having heart palpitations while listening to this song. Something about the rhythm signature, or perhaps the HAARP sample. *shrug*