February Mailout – ‘Crash St’ Imminent

Hello again. This is just a reminder to tell you that my new album ‘Crash St’ is available from Thursday 1st March (ie. next Thursday) at http://dementio13.com . I’m really pleased with it and hope you can share in the music.

It’s a pay-what-you-want download, with no minimum price, so you could have it for free. All I ask is that, if you decide to download it and like it, please share links on Twitter and/or Facebook; your recommendations help it reach a wider audience.

Bloggers/DJs have been very complimentary in their reviews:

“…electronic, programmed machine music, bursting at the seams with humanity and soul, imprinted with the traces of its creator…….Dementio13 has mastered the art of creating human music, organic music that breathes, while capitalising on the power and impact of the machine.” (Jan 26, 2012)
Oliver Arditi – oliverarditi.com

Full review at oliverarditi.com/2012/01/26/dementio-13-crash-st

“…his forthcoming Crash St album reveals him to be still moving forward in invigorating and never predictable directions, his exploratory electronica more varied in texture and mood than pretty much any of his contemporaries.” (Jan 31 2012)
Unwashed Territories – unwashedterritories.blogspot.com

Also, there’s a free album of my older stuff over at http://cutmatrecordings.bandcamp.com/album/alt-delete, so help yourself. You don’t even need to join a mailing list to download….no strings.

CRASH ST. PREVIEW:

Thanks,

Paul”

Preview: ‘Crash St’ Album Mix on Mixcloud

Here’s a preview of the new album as a single mix – ‘Crash St’ Album Mix Cloudcast on Mixcloud.

Vodpod videos no longer available.

Pixicast 013 – ‘Monkeytron’

Hullo. Just under two weeks to the release of ‘Crash St’. Can’t wait.

In the meantime, Marie Craven and Co have put together another episode of their monthly new music podcast “Pixicast”. It’s up to episode 13 already and this month is entitled ‘Monkeytron’. Nice, that; especially as it just happens to be the title of the track of mine they’ve included in the playlist. Also featured are the great Adrian Carter, Deon Vozov, Toffeetronic and many more.

Also, rather hypocritically I feel, but in the spirit of sharing, I’ve returned to Twitter after a much-needed social networking break. It’s nice to ‘see’ some of the old faces.

Finally, Pinklogik’s remix album is out on Monday 20th February. Please do go and download it.

 

Some new music and some news…

After some inactivity, musically, due to an exotic mixture of work and back pain, I’ve been busy working on some early mixes of some new music. I’m hoping to get an album together for a Summer release in 2012, so there’s plenty of time to evaluate, alter and remix.

 

There are more things in the pipeline also: a new exclusive track for Pete Jackson’s December show on Dandelion Radio. And then, in February, a live session for Mark Whitby’s show on Dandelion and then another one for Pete Jackson later in the spring! I am so grateful for the opportunities that the folks at Dandelion Radio have given me. If you’re not familiar with the station, please do take a listen; their remit is to continue the spirit of John Peel through their broadcasts, playing obscure and independent music by ‘signed’ and DIY artists. You can make some great discoveries on there. They’re an internet only station and they rotate/repeat their shows throughout each month. Check this page for schedules. They also have an app for a well-known phone so you can listen wherever you are.

Also, in December, I’ll be releasing a free ep of remixes of my track ‘So’ by Pinklogik, Boffly and Toaster. They’re great and it’s my little Christmas present to anyone who’s interested!

Time Waits For No-one….

In the wake of the release of ‘The Hobbyist’, I’ve been working on some other projects as the days of summer start to slip away. I know that, soon, I won’t be able to devote quite so much time to making music, so I’m very focused on getting these projects completed.

The main point of focus is the ongoing Cwtch collaboration with Marie Craven. Marie’s sent me some vocals, so I’m now spending some time sifting through and recording. A new release will be available around September/October (date tbc).

I’ve also just completed a remix for James Reichelt’s Alone project. I’m really pleased with the remix, which is a bit of a departure for me, style-wise (or maybe not!). It’ll be available for you to hear when his new EP is released.

Coming up in the near-ish future: the release of new remixes for Pinklogik and Jewellers.

If you want to hear where some of my influences come from, or whether you want to spend a diverting hour listening to some cool and experimental music, I’ve put together the first of several mixes of my favourite music. These include New Order, John Barry, The Human League, Lalo Schifrin and many others. It’s my own little personal radio show!

Finally, many thanks to those people who have downloaded the album, it really is appreciated and drives me on to make bigger and better music in the future. Right, I’m off to record some Cwtch tunes…..

Big Block 454 – Recommended Listening – A Short Review Kinda Thing

I always tend to use this blog to try to promote my own music, but rarely talk about the music of others. This isn’t an intentional attempt to deny the existence of the work of others in favour of my own; its just mainly a time thing. I work to fund my music, unfortunately, my work also tends to take over my life, my weekends and evenings.

Anyway, as an attempt to rectify this to some extent, here’s a recommendation to music which has stirred me lately.

Big Block 454 are a collection of musicians from the Northwest of England. They’re seasoned pros, having played with, recorded with, or been involved with, a variety of familiar names from post-punk/’alternative’/rock spheres. They bill themselves as a Zappa and Krautrock-influenced band, but their music is so much more than that. I really like the way they actively go out of their way to defy conventions, to push boundaries in structure and sonically. They improvise and experiment, but they do it with humour and a sheer delight in what they are doing.
Anyway, they’ve got a new release in “Bells & Proclaimations”, a collection of 12 bizarre songs and noodles which stir the soul as well as making you smile. A particular favourite of mine is ‘The Cloud Of Unknowing’, a drone-like neo-Doors track, which grows and grows.

It has elements of Can, The Doors and Edwin Collins; which, I’m sure, is a great combination!
Please check this album out, as its an accomplished soundtrack to the absurdities of life, and bursts the bubble of pomposity which sometimes surrounds more left-field music.

Download it HERE. It’s a pay-as-you-want release with no minimum price.

Big Block 454’s Twitter.

Cleanliness – Why Not Stay ‘Dirty’?

What is it with cleanliness? I mean, we cover up our natural odours with totally unnatural ones (alcohol and chocolate, it appears); we try to keep our homes bacteria-free, when bacteria is the foundation of what keeps us healthy (within reason, that is); Christ, we even worry about the germs which exist on our soap dispensers, so we’ve invented soap dispensers which we don’t have to touch to get soap! It’s all a bit ludicrous.

Now, before you start thinking, “What is this, a rant about personal hygiene ?”, I’ll explain. I’m not entirely sure what my point is…or if there is a point to start with! But I’ve been thinking about this a bit.
I’m actually referring to the obsession musicians have with a ‘clean’ sound. Particularly when recording their music. And, yes, I’m generalising; because I am aware that there are many musicians/producers/DJs who favour the noise, dirt, and interference that comes with acoustic and electronic music production. And I’m not referring to the musicians who use vintage kit, distortion and effects to create walls of sound, or fatter chords, or ‘retro’ music, etc.

Let’s start by considering the studio. The modern professional studio is a mystery to me. I’m talking about commercial studios here; soundproofed and stuffed to the gills with electronic boxes and computers which, on their own, are probably worth more than your car. This has always been the case… rooms full of equipment which is state-of-the-art (this was as true in 1973 as it is today); enabling the cleanest, phattest, most polished sound imaginable. Compressors, aural exciters, reverbs, delays, mixers, limiters, filters, eq units fill these rooms, normally accompanied by an engineer who has been trained to use the damned things. And sofas.
The result of using all this to record your music is impressive. It can turn a mediocre piece of amateur music into a professional-sounding, sparkly slice of magnificence. And, most mainstream musicians are striving to achieve this…so, more power to them…. I guess….

However, how often do us musicians who are making music on a budget, without backing….us amateurs, semi-professionals, or ‘unsigned’ artists…..how often do we wish to use the magic of the commercial studio only to emulate our heroes? Not necessarily to mimic them, but just to evoke their music-making process? How much of this is down to the accepted notion that it’s ‘the done thing’? My question is…is it really necessary?

There’s a commonly-held belief that the music industry, as it was and has been since the 1950s, is changing. Not by choice, you understand…no, the industry would rather keep things just as they were, thanks. Making money off the creative endeavors of talent. Playing percentages, hiring & firing, moving only with fashion, perpetuating the status-quo, rejecting innovation for stability. That’s all changing. Apparently.
The “music industry” no longer refers to just major labels or large independents; it now also refers to bedroom musicians, gigging musicians, buskers, DJs and producers who are embracing the punk-ethic…the Do-It-Yourself attitude. Only, now, or for the last 10 years or so, the technology has become available for people to ‘do-it-for-themselves’. Malcolm McLaren espoused it; the acid-house crowd did it underground, the KLF did it, albeit by making the music at home, in order to get a record deal….then they wrote a book about it. But now, we all can do it, for real. And many are doing so.
We, you, they, are the “music industry”.
Who needs distribution when we’ve got sites like Bandcamp? Who needs promotion when we’ve got Twitter and Facebook? Who needs to publish/copyright their music, when ownership has become of secondary importance, when people share, and when Creative Commons exists to protect the artist’s rights without compromising the ability to get the music heard?
And who needs commercial studios when many people can now create, mix and master their own music to a decent quality (in some admittedly rare cases, to an equal quality to that produced in a studio) at home?
Aren’t commercial studios just part of the previously accepted hegemony of the music industry? Or am I being a bit too general? After all, I’ve not experienced the comforts of the studio myself. I’ve never heard a professionally mastered piece of my music. I’ve never played with the toys, or had an engineer to ‘fix’ and polish my music. I’ve never sampled the thrill of the 4am mixing session in plush surroundings, drinking Panamanian coffee, or knocking back a few cold ones on a deep leather sofa while my bandmates snort cocaine off the thigh of a Belgian prostitute…….oh, hold, on….I’m saying this out loud, aren’t I? Got carried away…sorry.

Maybe I’m just envious.

Anyway….my point is: its never been easier to get your music heard…if you’ve got an idea, share it, record it, stick it on Bandcamp, get in touch with a netlabel, Tweet it, post it on Facebook and Youtube. Nothing may happen…… but then again, something might. You’ll have spent nothing but your time and energy, and it will be worth every second.

“Olive Walls” – New Cwtch Release

Here’s a new song released today by Marie and me.
Click on the links to download. Thanks.