New album for 2012

What perfect time to clear some cobwebs on this old blog than by announcing a new album?

What?!? That's right! I've been working on this one for a while, and now present you with:



Mainly a crossbreed of drum & bass, dubstep and breabeat with bits of rock, jazz, metal and other things showing up now and then.
Get your bass speakers on max!
With the exclusive performance of MC T-Tym.

Songs about hawkers

There's probably no surprise to the idea that people who sell stuff on the streets of the Latin America are something common. I personally find it interesting how hawkers, peddlers, or however you want to call 'em are big parts of Latino culture, and so, it is interesting hearing songs about them in popular styles of music from several countries. So far I found songs from Mexico, Chile, Venezuela, and Paraguay, but I'm sure that if I dug a bit deeper I'd be able to find references to them in songs of just about every Hispanophone country. So, without further ado:

Oscar Padilla - El Tamalero (from Mexico)



Pedrito Altamiranda - El Buhonero (Panama)



Banda MS - Cacahuates Pistaches (Mexico)



Juana Fé - Callejero (Chile)



Radio Rochela - Adiós Buhonero (Venezuela)


(this last one reminds me of Saturday Night Live with its air of parody).

2010 Music Competition!

Towards the end of last year, I signed up to Boyinaband, some sort of magical place where you can find resources and tutorials and stuff on electronic music, and jokes. It just happened that there was a competition going on, courtesy of this guy here, so I decided to give it my best shot (although I only had 5 days left), so I began working on a track and although I didn't think it would win, it was all done with having fun in mind. Anyway, this was my entry:

Badunka Funk by SkinsVideos21

Perhaps I shouldn't have gone wild with the entry and experimental but I was just having so much fun putting a dembow here, a 2-step drum & bass beat here, some chopped-up royalty-free funk samples there and a goddamn wobble bass smack in the middle and again after. And a hip hop interlude too. People who read this might be aware that I'm interested in merging d&b with more Latino rhythms (something that will show up in a future track too).

Anyway, I didn't win and it's okay. It was fun. I think the winners totally deserved their places and mentions, so here are the rest of the contestants (last three are the winners, leaving the best tracks for last (not saying the first ones are the worst though)).

(whoops, Sirena by Medik has dissapeared D:)

Alarm Bell by petermennitirecords

Srsly by vyryl

Black Magic by Archdemon XIII

Classology by Biastate

Transformers by ShokeyPokey

Srsly (BIAB Competition) by vyryl

Outer Space by Vikt0r

There are a few entries that received honourable mentions, like the gosh darn funky

Timothy Law Snider - Uncle Wiggly (there's a small playlist there but no way to embed the song)

and..
Toxic Energy - Blast by Toxic Energy

and also...
CHNK - Trance Chug (I couldn't find it anywhere... oh well)

Now, the finalists:

In third place, is this clever guy here who won't let me embed his :(
JKR ft. Bettina Reuterberg - Revolve

In second place, we have...

Jz - Rated 17 - Boyinaband Forum by Jz.

And the winner of the BoyinaBand competition is...

Backlash (V.2.0) by Mizuki's Last Chance

A banger I say!

It seems that the winners will get their tracks on a release by Housefly Records, that will be nice. Also, there's this double release with dubstep and drum & bass that was linked in BiaB, but I'm not sure why. It looks good though.

A Couple Reviews for my Album & Advice for Beginning Musicians

A problem with releasing my online CD, I found, was that getting feedback on it wasn't always easy until you specifically asked. Recently, I just went straight to the point on a post on DeviantArt and, hooray, a couple people gave me some wonderful, hilarious, silly or smart, very helpful or not comments. All of them brutally honest, as I asked them to. Down below I have selected some of the things that have been said, and, to be honest, I totally agree with the criticism I've been given. Reading these has helped me focus on what areas I need to improve and which are my strong points, so when I begin working on the next CD, I will know how to take my music as far as I can (well, at least a bit more, thank you all for commenting!)

So.. oh yeah, comments and reviews (by people I know and by total strangers):

this has to be one of the weirdest things I have heard all year. Congrats, you managed to combine annoying and boring in a completely new way.
– Morthax

very tight songwriting
it should sell
but I’m afraid its not poppy and simple enough
- ttwoo

Oh man, I think I'm sold. I'm not even halfway through the first track, either. Very nice!
– napalmpotato


First off, this music really isn't my thing, with that said, I enjoyed it for a bit...it was very creative.

The mix on your first track seems to be overdriven a bit, were you going for that? It was distracting.

I liked the MJ samples in Bricktop, I didn't like Itchy Bitchy Spider at all, but the mix was decent on those two songs.

I didn't bother listening to the rest because I had lost interest at the 3:30 mark of IBS after the solo (which was appetizing). Good work though
– Arkayem

love the first song, LOVE the drum quality

Lets a goin down remix is SOOO good

your music
cept for the videogame metal
all amazing
videogame metal was a fail in my opinion

like how u mixed both michael jackson and old 40's jazz
[this] music is good study music

u sound like goofy in the daniel song
what the fuck were u thinking about when u wrote the lyrics?

love the break downs of the song song

Jamón Serrano is sooo good
I think I’m addicted [to it]

I just realized
Ur voice sounds like Sean Paul
Mixed with the singer of Rammstein”

I love the vocals for Crazy With the Hues

eni-mini-miny-mo, catch michael jackson by the toe??
– D. T.

from my point of view ur music is very complex and extended. i rlly like it that way. its enjoyable when i wander off and get into the music.
– B. T. (no, not the DJ)

Just checked out the first song - so far, it sounds nice. I would have mixed the drum/percussion samples a bit further back myself, might just be a matter of preference though (I'm a drummer, the beats got me air drumming :D I like snares in those nonstandard places)...

The beginning of the second song reminded me a bit of Autechre, always good as far as I'm concerned... I'll have a corn muffin or three or four and get to it and the others on a fuller stomach...

I'm on Any Day Today, which would, should, and absolutely wants to be a great song, maybe somewhere between Pink Floyd and Modest Mouse vibewise, tarnished greatly by too many effects on the vocals... your voice is solid, don't be afraid of your voice! Don't get in the way of the listener connecting with the most human and accessible part of the music! Some compressors on the vocals to control dynamics should be plenty...

The first two songs and the last three songs (especially Bricktop Breakbeat and Any Day Today) are solid, the album bogs down in the middle for lots of reasons - sometimes stuff repeated more than it had to (The Big Blue Eye), sometimes the distorted guitars were in serious need of mids and volume (Itchy Bitchy Spider), some songs just weren't up to par with the others at all (tracks 3 through 7)... the odd beats and folky Spanish-y (is a lot of that style from being in Chile? If so, awesome! :D if not, still awesome!) guitar style are your really strong points, and your voice sounds good with no effects (I wouldn't mind more vocals, actually)... while your at it, get or make an abstract painting and make that the new album art, the best of what you made deserves a better cover.
– woofwoofl

Get someone to mix that better.
- pyro-tom

Not sure what else to say. They're damn good songs.
- anonymous

Seriously, your music is probably the best stuff i've heard posted in these threads.
- anonymous

So, with all that said, I realise the follwing key points:

• While the music may be really different and original, the ordinary listener gets bored, specially because it repeats more than it should sometimes, or it's complicated.
• When I made the music, I was sorta reluctant to include vocals because... I'm shy 'bout it. I know that by masking the vocals under tons of effects and crap I was probably losing my chance to connect with the listener (The human voice is the most versatile of instruments, and yet, I don't exactly feel comfortable using it... I'll practice more!)
• The mixing, in general, is crap. I'm sure that if I did it now, it would be a lot better, but hey, I'm surprised that what sounded okay-to-acceptable back in October sounds grating on my ears now at the end of December. I guess I got my game on after working on it...
• Now, am I making something so that it becomes a pop hit, or am I making 'extended' music that delves into progressive grounds, for me to explore? I think I'll take the arduous path, discovering 'experimental party/pop/ music'. Hmmm, how might that work?

I recommend all starting musician to do this... I'm not exactly a beginner but I'm not an expert or a very experienced musician either, so this kinda stuff helps me understand better how other people might hear what I make and what they think and feel about it. My problem sometimes (as might be with a lot of beginners and well, lots of people), is that I tend to criticise my own work and always think it's not good at all or stuff like that. So, I'll keep improving and on the way I'll ask for feedback. And that's one way to grow.

Pirated & Shared Music and the Artist Who Wants To Make it Big

I would like to begin this post with the following video, by the Canadian rock band Shocore. The video accompanies their single, 'Bonecracker':



I discovered this song ages ago; back when people still used KaZaA to share poorly encoded mp3 files of popular music with millions of other people around the world- the golden age of extremely compressed and muddy sounding mp3 files. It all started when a friend of mine asked me if I could burn for him a CD with music he liked and eventually that led me to finding out new and interesting music by myself through Kazaa initially.

Without the internet, I would say that there's no way I'd be listening to the music I'm listening to now, there's just no way ever I'd find out I like an album such as Tough Guys Don't Dance, or Blood Sugar Sex Magik. So through Kazaa I was able to discover Shocore's rather infectious breed of disco beats, funky basslines, hypercrushed guitar riffs and aggressive rhymes- and for a couple years I really really wanted to find another band playing a rap-metal as well made as this (I liked Linkin Park and Limp Bizkit a bit for a while but nowadays I can't really stand them... gack!), and I guess that desire to see people getting two very different genres and sticking them in a blender and making something one part each really shaped me as a musician, and that's why my music hops between musical styles and blends them.

Now, without going off topic, I also introduced with this video because I rediscovered it a few months ago, and commented on the video, wondering what happened to those dudes and their catchy music and why they stopped making music (I heard some other songs by them and Shocore seemed pretty varied to be honest). I wasn't expecting an answer, but a fellow user left me this comment:

Simple . Downloading. Everyone bitches about how there's no good music anymore, well thats why. It actually costs money for someone to get a song out and you get ZERO back, so FUCK IT! I write music for myself, and I wont release it as long as people expect it for free. And I had a hand in writing this song. Just the truth. People are going to get more and more crap because they wont pay the damn 99 cents a song.

Underfunded bands and artists have it tough. Making it big means extraordinary work. I appreciated the answer he gave me (although I was somewhat sceptic of him actually having been involved in the songwriting of Bonecracker, you can't take anyone on the web seriously often), so I left him the following personal message:

Hey mate, thanks for answering. Did you really have a hand in the writing of that song? Kudos (although because, you know, the whole internet anonymity I can't be 100% sure). I can certainly imagine how the band felt, investing hard money and work into the music just so that it doesn't sell, ripped across the internet. I'm sorry to find that they stopped playing because of that.

I compose and record music independently and so far, I've just been giving it away for free. I don't know, maybe it's because my circumstances allow me to, even though I'd really love to make a living out of it one day, and because I genuinely believe that getting the message out, with or without cash in return is better than locking away great music and not letting the world ever hear it. I know you will probably disagree, but hey, it's just my opinion.

Anyway, thanks dude. Keep rockin'!"

I had been thinking for a while before writing that message, there was a lot he gave me to think about. Also, since I've been giving away my music for free in Bandcamp and now in SoundCloud for a while now and spreading the word of it (without much attention from the web so far) I've had to consider this myself too; I worked my ass off on most tracks and being still a newbie in the world of recording and music in general, I'm probably not gonna get many sales in the short term.

I didn't expect him to answer again, and I totally forgot I wrote him that message for a few months, until one random day I decided to check my inbox in Youtube and find the following by him:

Hey thanks! Yeah, I wrote the bass line and then they added guitars and the synth and the rap. And I ended up getting pretty much dick all for it. Pretty frustrating when it was on Ford commercials and Xbox games and I wasnt getting a dime.

Back then the primary source of income was still CDs, and the label was charging 25 bucks EACH for one! I was like, who is going to pay that for on song they can get off Napster? The label was not smart.

I dont know what to tell you about your situation, except make sure you love what your doing, because doing it for money or fame never works out. I still write all the time, but I think the only decent chance of making a little money is at scoring or jingles. They pay, you only have to play it once, and the company you sell it to cant download it from you for free.

I went back to being a carpenter, which is fine. And I play now what I want (there were a LOT of compromises in being in a band, and if you get any success, the compromises pile up even more).

I wish you luck, send me some of your stuff if you want- [insert email address here].

Regardless of him actually having a hand in the writing of that song, I thought, I still felt guilty for contributing in a way to the band's downfall, somehow, even if it's to an infinitesimally small degree, by downloading the song illegally more than 5 years or so ago.

Also, I never considered that; writing jingles and scoring certainly seem to be safer and better at giving you a chance to earn a buck (although when I think of jingles I imagine Charlie Harper stitting next to his grand piano, getting drunk).

But more importantly, I'm grateful for the kind words there and the advice and experience. I better watch out and make sure I get my royalties if I ever do!

Apart from that, I'd like to link the notion of harm through illegal distribution. I am NOT saying that the unauthorised distribution of copyrighted music does not harm the artist in any way, but I have here two articles I'd like to quote on how it can actually help:

New Music Strategies: Should I be worried about piracy?

The distinction between distribution and piracy is made and then these (in my opinion) important points are made, among others:

"2) The fluidity with which your music can pass from hand to hand is not an impediment to your success, but a technological advantage that you can leverage to your own ends. The overwhelming cry from the independent musician twenty years ago was ‘How can I just get my music out there?’ Problem solved. Now what are you going to do?

Now, of course, this raises more questions than it answers — and of course, things are far more complicated than I’ve laid out here — but as a general principle, it’s worth considering that rather than fret about unauthorised copying and expend time and energy in the fruitless task of preventing people from engaging in it, that time and energy can be better spent elsewhere....

...And here are three more things to consider:

1) People who share your music are recommending you to people who respect their taste and opinion;

2) The vast majority of people who have unauthorised copies of your music would not have ordinarily paid for it anyway;

3) Do you really want for people who cannot afford your music to be prevented from ever hearing it?"

1,000 True Fans

"A creator, such as an artist, musician, photographer, craftsperson, performer, animator, designer, videomaker, or author - in other words, anyone producing works of art - needs to acquire only 1,000 True Fans to make a living.

A True Fan is defined as someone who will purchase anything and everything you produce. They will drive 200 miles to see you sing. They will buy the super deluxe re-issued hi-res box set of your stuff even though they have the low-res version. They have a Google Alert set for your name. They bookmark the eBay page where your out-of-print editions show up. They come to your openings. They have you sign their copies. They buy the t-shirt, and the mug, and the hat. They can't wait till you issue your next work. They are true fans."

Ultimately, I think, the way technological, social and human developments are going, information of any kind, when stored is bound to end in the big collective knowledge of humankind (unless a massive disaster occurs that could bring about the information age to an end). A person who truly appreciates what you do will buy what you do at least once. I understand where this guy who was involved with Shocore comes from, but I have to say that I would have never even known who Shocore were if it not were for people distributing a song by them that they considered great and catchy and worth the time putting there for everybody else to hear. What does the person who shares it get in return anyway? He's giving away bandwidth anyway. It's people who sell someone's work without permission who are the real pirates and the music industry needs to wake up.

Twitchin' Fractal

Back in October (the 10/10/10, to be specific), I released a new e-album which can be downloaded in Bandcamp. Twitchin' Fractal is my, uh, probably 5th CD (oh my, yes 5!) and compared to the stuff one can find on my Reverbnation, it's a lot more complex, it has lyrics (sometimes), and yay, its production is the best I've done so far. Here I leave you with just some curious things, I took snapshots of some songs as I worked on them in FL Studio, lost all of 'em except for the one below. Yes, I use FL Studio, and contrary to popular opinion, it doesn't really matter what DAW you use, as long as you know how to use it.





You can tell I went nuts with automation and stuff, and let me tell ya, that filtery-ish intro uses no less than 7 different sound-mangling plugins to get that strange slurpy filtery distortion, working on some already glitched-out vocals that reappear in the middle of the song accompanied by a guitar solo, and at the end. The vocals are from an old Mamie Smith song from the 20s (in the public domain now), which were a last-minute inclusion into the track, and to be honest, the track would have been boring without them.

So, there's plenty more strange interesting music from where that came from! Check it out, bubba!

The Drumkit Meme

The other day I chatted through Skype with a few long-time friends and one of them, former bandmember now playing drums in a band called Ethereal Genocide, brought up that he was getting new cymbals, hihats and whatnot. He showed us a cool little program in the Sabian website that allows you to build your own drumkit, making things as wild as your imagination. We all three gave it a try and soon it devolved into a 'insane set' contest.

Of course it was gonna get silly anyway, why does the program let you add more than one chair, or as my friend calls it (he's drum-savvy), a ''throne''? So for the kicks, here's a drumkit where one has to spread his/her legs 180 degrees so be able to use both kick drums. Oh, and there's a seat on the other side, in case you get tired:

The Spreader:

My other friend made this rather hilarious literal interpretation of the drumset (don't ask how it's played):

Drumworld:

He was spewing ideas like crazy. He mentioned that it would be funny if this kind of silly crap caught on and became a meme. Although I doubt it ever will, it would be funny. His next idea was priceless:

Mr. Drums:

Feeling left behind, I cheated. Teehee, I did this. Of course, Sabian will never make a 4 feet hat like this... or maybe if you call them gay, they'll push up the ante. ''No we're not gay! Fine we'll do it!''

Uh, a Satellite Dish:

My now rival-in-drumkits came up with the temple of drums. He told me that it's no longer an aerial-view design, it's seen frontally (note: there aren't actual drums there but still):

Temple of Drums:

This will of course not catch on, but I asked my buddies what a 'snat' was... and then surprised them with this stupidity:

Yeah... ooh yeah:

Added features, a throne that covers both asscheeks for extra large people and a massive trigger pad that plays like a billion samples. I like the snats though, cutting a drum and a hat in half and glueing them together...