80s (and sometimes 20s) Music Rules ~ Criminally Underrated Artists/Bands ~ Arin Ex (Scorbie)

February 20, 2021 by missparker0106

Everyone who’s gotten to know me over the years recognizes the fact that I positively adore electronica. When it started to gain traction in the late 70s and 80s, I was hooked. The evolution over the past few decades and the vast pool of gifted electronic musicians has given a depth of life and breath to this genre of music that few would have dreamed of in the beginning.

I’ve known Arin Ex (formerly Scorbie and also Aaron Hannum) for over a decade, thanks to FaceBook and the wide world of Interwebs. Music is my lifeblood and I’m constantly rattling around looking for new and inspiring tracks. I’ve been a fan of just about everything that Arin Ex has laid down during the past decade+. His music is both varied and cutting edge, moody and stabilizing, an escape and an in-your-face challenge to grasp tighter onto reality. It can ground you or set you free. The possibilities are endless and he’s not afraid to explore the dark crevices and poke the potential monsters that lie within.

Arin Ex’s latest foray into electronic is a collection of tracks titled Elektropolis ’21. Even though he’s been creating and distributing incredible music for many years, this can be considered the debut of his “Arin Ex” persona. And what an entrance it is.

From the opening notes of the mind-bending “Any Time, Anywhere,” until the closing strains of “Hikaeme (Edo Mix),” the listener is given an epic and unforgettable journey. Many people in today’s messed-up world are looking for a ticket out of COVID-created depression and drudgery—Elektropolis ’21 is the perfect escape. It takes you anywhere you want to go. Your destination is limited only by your imagination.

Arin Ex has agreed to give us a look into his interpretation, expression, and creativity via the awe-inspiring world of computer-generated music.

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MissParker: I just made the comment in a recent interview that to me, electronica paints a picture without the use of lyrics. What do you have in mind when you sit down to create a song? Is it a scene, a theme, a story—all of the above?

Arin Ex: It’s nothing so ‘artistic’ really. I just turn everything on with a vibe in mind and see if it happens. If it does, great. If not, then I turn everything off and my night is ruined. I seriously get in a mood. (laughs)

It’s different with my synth rock/vocal stuff. I get a vocal melody in my head, or a bassline, a groove, whatever, and try to make it happen. With the techno stuff I just run with it, tweak it, and see what happens.

MissParker: Tell us a bit about the equipment you use.

Arin Ex: Ahhh, who cares?! It all does the same sh*t. I have the full arsenal of Native Instruments plug-ins on my Mac. It’s great. But I find more inspiration from hardware synths.

At the moment, I’m using Novation’s Ultranova and Bass Station 2, Arturia Matrixbrute, Yamaha MODX6, ARP Odyssey MK1 (’73 Whiteface), ARP2600, and I’ve recently picked up Behringher’s reissue/copies of Roland’s TR808 and TB303. They’re amazing for techno—really inspiring kit at a fraction of the corporate cost.

MissParker: What musical training have you had? Did you have any formal training in using synths in particular, or are you basically self-taught?

Arin Ex: I’m 50 now and got my first Moog when I was 11. I was lucky enough to hear Bowie, Kraftwerk and Numan when I was very young, due to my mother’s DJ career in the 70s, and ended up with one for my birthday. I learned how to use it by ear.

I also love Frank Sinatra and briefly studied jazz piano in my late teens, only to learn how to play ‘All Of Me’ and ‘Summer Wind.’

MissParker: Who are your musical influences?

Arin Ex: David Bowie has always been number 1, followed closely by Gary Numan, up until about 10 years ago when he lost the plot.

A simple list goes like this: Bowie, Numan, Severed Heads, YMO, Brian Eno, Scott Walker, Skinny Puppy, Thomas Dolby, Kraftwerk, Orbital, Cluster, John Foxx, Ultravox (including Midge!), The Psychedelic Furs, DAF, Sinatra, Covenant, Japan/Sylvian, and so many others, usually from the 70s/80s.

MissParker: Is there anyone in particular that inspired the making of Elektropolis ’21?

Arin Ex: Band-wise? Obviously Orbital, Cluster, Music Von Harmonium, and Aphex Twin. Duh. (laughs)

MissParker: Tell us about some of the musicians you’ve had the opportunity to work with.

Arin Ex: Ha! Are you ready for this?

Billy Corgan of Smashing Pumpkins—an old friend. We haven’t talked in years but, yeah, we used to do Numan covers in my basement in Chicago in ’84. Then he went off and got famous.

Jay Younger from White Zombie. He taught me how to play guitar. He was in an old punk band in Chicago called Rights of the Accused. We hung out a lot. Legend.

I had an opportunity to work with one of the guys from Icicle Works here in the UK many years ago. Turned it down. Also had a chance to try out for keys with Peter Hook & The Light which I also turned down. A major regret, but family comes first. They tour too much!

I can’t claim to have ‘worked with,’ but certainly did two gigs with the legendary Steve Strange of Visage. This was due to being invited by my friends in the UK’s biggest electronic 80s tribute act ‘Electro 80s’ as support, while Steve was working with them. I not only had the distinct honor of applying make-up with him in the dressing room, which I pointed out (he wasn’t bothered), but also introducing him to the stage.

It was surreal. Here’s me: a mid-40s Ex-Pat yank in the UK, old New Romantic, introducing a legend to a huge crowd! I also played his tribute gig after his passing with original members of Ultravox, Visage, and Heaven 17. That was a big gig. Even had my oldest son, autistic and 12 at the time, on stage in front of 1000 people! Out of my depth to be honest, but it went down well.

MissParker: Are there any collaborations with other musicians planned for the future, or are you pretty much planning to remain solo?

Arin Ex: I’ve recently been invited to join the UK’s ‘premiere 80s electronic’ cover band. Seems fitting that I never quite made it and I end up in a very popular UK act with none other than Ade Orange, a longtime Gary Numan collaborator and synth player. I’m pretty excited, actually.

The guy who leads the band ‘Blue Electro,’ aka Dave Hamilton, a Scottish legend, invited me to support them on many occasions throughout the UK over the last 8 years. He had a falling out with the other members and kicked them out. So Ade Orange and myself are in.

Apparently I’ve made an impact on a few unfortunate souls in the UK since I relocated here from Chicago many years ago! (laughs)

MissParker: Do you sample voices or other common “worldly” sounds to use in your compositions, or do you let the machines do it for you?

Arin Ex: No and uh, I dunno. If you mean do I program all of my own sounds? Sort of. A lot of ‘synth’ guys will say, ‘I hate presets! I make all of my own sounds!’ That’s not always true.

Just like guitar players, us synth guys have an arsenal of equipment at our disposal, presets or not. But we still use what’s been designed and put in front of us. It’s what we do with it that counts.

We hear a sound, tweak it a bit, and stick it in and see if it fits. I have synths with presets and I also use modular synths that I’ve actually physically built myself. So what? I didn’t invent it. It’s an oscillator and a filter. It makes sound and I use it. It all comes down to the song.

Is it any good? Not usually in my case. If you plug a guitar into an effects pedal, same thing, not as much effort maybe, but same thing! Is the song any good?

MissParker: In addition to creating some fabulous music, COVID was a time of visual creativity for you, as well. “Buddha’s Testicle” is a hilarious send-up of martial arts films that you and your children conspired—um, collaborated on together. What inspired “Buddha’s Testicle” and what was it like working with the kids?

Arin Ex: OMG. When I was a kid, say 10-14, I did Karate and Kung Fu. I also grew up on all the Chinese Kung Fu films from the Shaw Brothers and loved Bruce Lee. Then I had kids.

Guess what? Martial Arts time! After Ice hockey naturally. (laughs)

So, lockdown one arrives. I’ve got all this gear: Pro Tools and an iPhone with a great camera. ‘Hey boys! Let’s make a movie!’

We already had a dojo in our dining room, and I actually have a Japanese-style garden I built over four years and some 14 bonsai trees. Yes, Mr. Miyagi and all that sh*t, so we decided to make a movie for YouTube. Visual and audio effects, the lot.

I directed and edited everything. The music, sound effects, etc. My oldest son Chris, who’s 17 now, helped with the plot, script, and camera work. I directed my younger boys to do the scenes and say their lines, but I overdubbed their dialogue to make it as terrible, rude, and authentic as possible. We had a f*cking blast! Well, I did at least. 🙂

It was hard work editing, overdubbing, and creating music for it. I added it up one day. Every five minutes of footage took me about 12 hours of work! Either way, it was something to do during the first lockdown and everyone on Facebook told me how great a dad I am, so it must be true! (laughs)

MissParker: Can we expect future family collaborations?

Arin Ex: The twins are almost 12 and approaching that age when anything ‘dad’ related might become very uncool. We shall see. Chris however, who is 17, is now studying film making in college, so that may very well lead to more bad Kung Fu movies with dad. Or maybe videos for me? Just thought of that! Hmmmmm….

MissParker: I don’t want this to sound like a stupid question, but do you support the idea of your kids following you into music, film making, or both as their primary careers? The reason I ask is because I actually know of parents who have discouraged their kids from following a similar path due to the risks involved.

Arin Ex: They will do whatever the f*ck they want. I’m here to provide a supportive, loving environment.

It’s not up to me what they do.

MissParker: Thanks so much for sharing some of your time with us. Please tell us how we can purchase your music and also be informed of any future releases.

Arin Ex: I’ve shut my website down due to downloads wiping me out. It’s all Bandcamp and SoundCloud these days.

https://scorbie.bandcamp.com/

Can I go now?

Thanks! 🙂 xx

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It was genuinely a blast to work with Arin Ex and pick his brain for a look inside his creative process. Be sure to follow the links above to sample/purchase some of his incredible work. Oh, and by the way, he just IMd me (sorry Aaron–hard to keep a secret) that he misses Lethologica-type stuff…that it’s been too long and he’s getting an itch to go back to it… So, my best advice is, stay tuned!

Have a look at some of his visual creations/music videos:

Anytime, Anywhere ~ Arin Ex (Scorbie)

Buddha’s Testicle (pilot movie)

Scorbie – Traitor (from Lethologica)

Scorbie- DamnAge – Live – England March 2013

Electro 80s (w/ scorbie)- I Die: You Die, Manchester UK 01 July 2011

80s (and sometimes 20s) Music Rules ~ Criminally Underrated Artists/Bands ~ EDF and Colony Three Combined

February 10, 2021 by missparker0106

What happens when you combine the masterful electronic creativity of two incredibly gifted musicians? An explosion of sound that rivals the force of a detonated H-bomb. Don’t believe me? Keep reading…

Last year (2020) brought out the innovative acuity of many as a sheer survival mechanism when confronted by COVID. People like me became the ultimate benefactors of music, visual art, and the written word that flowed forth freely like the Mississippi River as an endless balm for our collective suffering. COVID may have halted live mass performances, but it did NOT stifle the imagination, artistry, and ingenuity that continued to give birth to innovative expressionism beyond our wildest dreams.

One such venture that has yielded a wealth of fantastic digital music that defies adequate description is the pairing of musical geniuses Rob Stuart (Electronic Dream Factory and SLAVE to the SQUAREwave) and Brian Dickson (Colony Three). The result is a brilliant collection of electronica titled Boӧtes Void that’s a computer-generated music fan’s dream. Put me at the very top of that list.

Boӧtes Void consists of twelve tracks of moody, ecstatic, in-your-face music. Each track weaves a riveting story without words. It’s such a compelling collection that once the last song fades, it leaves one’s soul thirsting for more.

But enough of my humble opinion. It’s best to get insight on the thoughts and creative process that went into Boӧtes Void directly from the masterminds’ own mouths. I had the honor of posing a few questions to Rob and Brian to better understand how such a classic collection came to life and am happy to share the results with you.

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MissParker: First, I’ve got to say that you two creating music together is an incredible confluence of electronic mastery. I’ve interviewed you both in the past regarding your own musical accomplishments, but never dreamed you’d combine your efforts to produce such a wonderful album. What prompted you two to get together?

Rob Stuart: I honestly can’t remember how this project came about. I defer to Brian for this one.

Brian Dickson: I defer to Rob on this…oh never mind…(laughs).

When Rob and I met it was pretty clear we had a lot in common musically, and we often shared hilarious stories about our past attempts at collaborations. Born from that was this concept we both agreed to, which was a “no rules” approach, which has worked out really well for the both of us and I think for the music, as well.

MissParker: The burning question that has to be asked—where did the album title originate from and what does it mean?

Rob Stuart: The album title was very last minute. So much so, that Brian and I did not have time to actually discuss it. I had read something or seen a video discussing something about The Boötes Void (or the Great Nothing) which is an enormous, approximately spherical region of space at nearly 330 million light years in diameter, containing very few galaxies. It is located in the vicinity of the constellation Boötes, hence its name. I thought it was something that fit our music perfectly.

Brian Dickson: Rob clearly put a lot of thought into the title, and I didn’t have the heart to tell him that I thought the title was about a lack of footwear (laughs). As it turns out, it was a very “fitting” title given our “style.”

MissParker: I have to admit—I was drawn in from the opening notes of Monolith, the first track on Boӧtes Void. I think I even smiled. It starts out so mellow and builds to an intoxicating crescendo. What inspired that track? Did it have anything to do with the monolith recently discovered in Utah?

Rob Stuart: I would love to say yes because that would be so cool but unfortunately not. The twelve tracks of the album were written month by month beginning in January 2020. Our only “rules” for this project were to compose, record, and produce a track with accompanying video each month resulting with a final album release at the end of the year.

Brian Dickson: Like Rob, I’d love to tell you that it was that thought out. This track started with a very short 8-second 4 track seed and grew into the final version after being passed back-and-forth a few times. As it was our first track, we were still working out the “how are we going to work together” on the songs and accompanying videos. I think my best memory of this song was that after it was completed, we both agreed that we were on to something.

MissParker: The overall mood of the album rises and falls from ecstatic highs to depressing lows. What sort of consideration goes into deciding the order of the tracks?

Rob Stuart: That’s an interesting question as that is something I usually agonize over when I release a SLAVE album. However, since this album was evolving from month to month we chose to sequence the songs in the order they were written.

Brian Dickson: Once the 12 tracks were completed, we did a few experimental changes on the track ordering, but we always ended-up back at the original. It wasn’t purposeful at the time, but now when I listen through the whole album, I’m glad we landed on keeping the order as it was created.

MissParker: I’ve maintained that lyrics are important to me. Obviously, lyrics don’t factor in at all with Boӧtes Void, yet it paints such vivid mental imagery. When writing electronic tracks, do you have a particular vision in mind that you’re transforming aurally?

Rob Stuart: I’ve always equated music with painting. The instruments are my choice of brush, the sounds are my colors, the canvas my bass and drums. When I write this type of music, the voice and words are replaced by color and tone. Even without someone singing lyrics I think the consideration for a human element is always there.

Brian Dickson: Like Rob I have also visualized music, but more so as a soundtrack to some imagery or a movie scene. A scene can be full of action, or sad, or contemplative, and that really helps drive a given sound and structure to a track.

MissParker: I’m so curious about the track “Ateoate’s Revenge.” I take it to be a play on “808.” If that’s so, and it’s not a trade secret, can you share what that means?

Rob Stuart: Bang on! That’s a track that Brian initially wrote and titled. It took me a while to figure out what the title meant. Duh!! In fact, I love the name so much I have convinced Brian and a couple of other synth friends to use this as the name of a new synth collaboration project we have started for this year. Stay tuned as there will be an “Ateoate’s Revenge” album release hopefully by the fall of 2021. BTW, it should be noted that Brian also put together the amazing video for this tune.

Brian Dickson: Yeah, I was trying to be clever with that name. The original track was something I created back in the mid-90s with an actual TR-808 (that I regretfully sold to pay the bills….sigh!)

I was so amazed with how Rob literally turned the original version inside-out and created this much better final track.

MissParker: It seems the overarching theme is space. Electronica naturally fits in with otherworldly motifs, and rightfully so. Do you see this genre of music defining more grounded concerns like love, life, loss, or even the political landscape?

Rob Stuart: Over time electronica has become more associated with space and otherworldly motifs but when I think back to the early days of Tangerine Dream, Vangelis, and many others, they were tackling politics with electronic soundtracks like The Sorcerer and Thief. Vangelis handled love, life, and loss masterfully in Bladerunner. I am still inspired by these great works today.

Brian Dickson: I’ve always viewed electronica as something that transcends history, race, and politics. I remember that when I was much younger, places like China, France, or Germany were so foreign to me. All of that changed when I listened to the fans cheering to the music of Jean-Michel Jarre’s Concerts in China or Tangerine Dream in Berlin and realized there were people all over the world with not only the same musical tastes, but also that deep-down we are all the same.

MissParker: The track “Machine Language” takes us through what sounds like a spirited conversation between members of non-human intelligence. Do your machines sometimes appear to have minds of their own?

Rob Stuart: Sometimes, yes! That’s usually because I don’t know what I’m doing. I’m a self-taught studio engineer and the way I’ve learned is by trial and error. So it’s no surprise I’ve hit the wrong button and the machine appeared to take on a mind of its own. On the brighter side, sometimes it can turn into a pleasant surprise and something cool will come of it. That’s always a bonus!

Brian Dickson: As a huge fan of sci-fi, I’ve always been intrigued by the concept of AI, but more on the cautionary side. When my gear does something unexpected, I try and turn it into a “happy accident.” Most of the time though, as HAL famously said it best…“It has always been due to human error.”

MissParker: Did you collaborate on all of the tracks, or was it more of a merging of the minds—Rob wrote some and Brian wrote the others?

Rob Stuart: Even though we were never in the same room at the same time due to COVID-19, this was a collaboration in the truest sense. Both of us shared old music riffs, partial songs ideas, 8 bar loops, or came up with something new and if anything inspired one of us, we would get to work on it. Then we would ping pong the track back and forth until we felt that it was finished while having constant discussions. The process was always very respectful and free of ego.

Brian Dickson: Rob’s response captures it perfectly! I’ll add that we both remain pleasantly surprised at how it all went so smoothly, only because we are so used to having full autonomy and control over our own tracks. I think what really helped was that Rob and I decided early on that honesty was key. If that fails, we just default to blatant sarcasm.

MissParker: In a traditional group, some members play guitars, others play keyboards, still others may play brass, and of course, there’s a drummer or two. When you put two electronic masterminds together, how do you split up the music duties?

Rob Stuart: There was never really any discussion about those duties. The relationship between Brian and I was so respectful that we kind of knew what to do and what not to do with each track. It may sound corny but usually the music would dictate what was needed and we both respected that need intuitively.

Brian Dickson: Rob and I wear all the hats in our other music, so we didn’t really land on playing specific instruments. Instead, we’d just add what we thought a track needed, either in the addition of new instruments or the composure of the song.

MissParker: Is Boӧtes Void considered a soundtrack, in that when taken together, all of the tracks combine to tell a single, complex story? Or is it more of a short story collection?

Rob Stuart: I’d love to say that it’s some super, clever, complex story but I’m just not that well thought out.

Brian Dickson: It’s a super, clever, complex story.

MissParker: I’ve asked each of you separately at one time or another about your musical influences. This time, just focusing on making Boӧtes Void, who or what can you cite as your influences for this project?

Rob Stuart: My usual favorites such as Tangerine Dream, Jean Michel Jarre, Vangelis, Brian Eno, Underworld, Global Communication, The Future Sound of London, Carbon Based Lifeforms, Harold Budd (RIP), John Foxx, Biosphere, Synergy, etc.

Brian Dickson: Ditto on Rob’s list. I also watched a lot of Jean-Michel Jarre’s Electronica-related videos about his more recent collaborations with John Carpenter, Vincent Clarke, Yello, and others.

MissParker: We have the privilege of hearing Kim Stuart’s angelic voice on Slow Motion. It’s a beautiful, moving experience. Was the song made with her contribution in mind, or did you decide another layer was needed while in production and Kim provided it? Either way, it’s brilliant.

Rob Stuart: Brian had written this beautiful piece of music but didn’t know how to finish it. He sent it over to me and I instantly knew what to do with it as soon as I heard it. As I was working on it I was messing around with some voice samples when Kim came into the studio and said, “let me try something on it,” which I thought was a great idea. She did two or three improvised takes and I picked the bits that I thought fit best. It did turn out rather lovely!

Brian Dickson: I am totally amazed with Kim’s vocals on this track. I’ll never forget when I first heard the new version with Kim’s vocals, I exclaimed “It’s Perfect!” out loud; It reminded me of hearing Clare Torry on “The Great Gig in the Sky.” With Rob’s brilliant engineering of the vocals and final track it was the perfect match-up, and I’d say this track turned out to be one of my favorites.

MissParker: I hope to hear more from Kim in future releases. In fact, I hope to hear more from you both, Rob and Brian, whether individually, or collectively. Any plans in the works for upcoming collaborative or singular projects?

Rob Stuart: Since Kim is in the house while I’m working in the studio, she ends up being on a ton of different songs by default, sometimes not getting credit for her contribution; however, with the success of the “Feels Like Heaven” cover with E.D.F, we’ve decided to pair up and try doing a full album of similar songs. We are currently working on our next song and will hopefully have something to release by the end of the year.

Brian Dickson: Rob and I have talked about continuing with our collaboration, and we’re looking to feature other artists in upcoming tracks. As with what Rob is doing with E.D.F., I’m also continuing my journey with Colony Three, with this year being focused on the release of several singles that will culminate to an end-of-year album…not sure where I got that idea from (laughs).

MissParker: Thank you both for agreeing to talk with me and sharing your thoughts about working together to make Boӧtes Void.

Rob Stuart: Thank you so much for being a voice for independent music and for asking such intelligent and thoughtful questions about our music and process.

Brian Dickson: This interview was an amazing experience, Sandy. Thank you for everything that you do in supporting us and our music; it means so much and encourages us all to keep at it!

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Go to The Boӧtes Void Bandcamp page to preview the music and grab your copy now. Also, there’s a wonderfully creative video for each of the album’s songs on the Element115 Music YouTube page.

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Meanwhile, here are a few of the videos for your viewing/listening pleasure:

~Slow Motion (feat. Kim Stuart)~

~Ateoate’s Revenge~

~Machine Language~

~Lucid Dream~

80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ George Rondina/Imagination Machine

September 17, 2020 by missparker0106

If I’ve said it once, I’ve said it a million times: One of the best things (and there are so many) about being introduced to David Marsden’s live radio show 14 years ago, and then more recently (2014) to his free-form stream NYTheSpirit.com, is getting to know some incredible music acts and artists that I never would have been exposed to otherwise.

George Rondina is part of this treasure trove of talent. Three of his songs recorded under the moniker Imagination Machine that David has played on his live weekend show have absolutely torn me up: A Northern Evening, Dancing on a Highwire, and True (May the Road Rise). These hauntingly lovely songs are the perfect blend of an internal, aural, emotional journey highlighted by Rondina’s expressive and unique voice. Personally, music is an escape that makes the real world tolerable by pushing it aside and providing a safe haven in which to curl up and fantasize about what life should be. George Rondina’s music is that and so much more—it envelopes the listener within a protective bubble that promises salvation rather than mere isolation.

It’s my pleasure to share this interview with you and to hopefully pull more listeners into the ethereal world of Imagination Machine. Given the reality that we are forced to deal with every day, I believe this is an alternative that many will willingly embrace once its magic has touched the soul.

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MissParker: I’ve done some research about you online and am amazed at your accomplishments, most notably the Toronto recording studio known as Number 9 Audio Group. Before I ask you to expand on that a bit, I also read that you were part of several bands back in the late 70s. What can you share about that experience?

George Rondina: I’d like to say, thank you for having me and for the very kind and generous introduction. I started out as a musician and was in a couple of different bands in high school. Once graduated, the musical journey really kicked in and the 3 bands I was in toured Ontario and Quebec.

It was fun for the first few years, but living out of a suitcase in some not-so-swank hotels took its toll after about 5 years and I started to think of something I could do that would garner a bit more of a normal life. After much thought, Number 9 Sound Studios ( Number 9 Audio Group ) was born.

MissParker: So, getting back to Number 9 Audio Group—the name is intriguing, by the way—where did the name come from (I have a guess) and what prompted you to switch from performing to producing?

George Rondina: Ah, so the name Number 9 of course was a culmination of things—John Lennon’s infatuation with the number 9 and numerology, as he was born on the 9^th day of the month, and so was I. In 1981, for lack of a better name, Number 9 it was.

We ran the studio in tandem, with playing live on weekends, at first. When my first born came along, the rest of the band approached me about touring full time. I was happy playing weekends and running the studio through the week. It was a very hard decision, but I chose to keep the studio going, as I had no interest in going back on the road at the time and I knew it would have been very hard on my family. So that’s when the switch happened.

MissParker: The “who’s who” list of artists you’ve worked with at the studio is impressive, to say the least. Of the people you’ve worked with, who left the biggest impression and why?

George Rondina: Wow, that’s a tough one, as many of the bands like “The Barenaked Ladies” weren’t famous when we first recorded them. There are a few that I enjoyed meeting a lot, like David Clayton-Thomas of Blood, Sweat and Tears. David recorded 4 albums at Number 9 and we became quite good friends. Jim McCarty from the Yardbirds and Renaissance would be another. A real gentleman. The work we did with the Stones, Van Morrison, and Will Smith was either rental work or location recording—mostly arm’s length—never got to meet them directly. After almost 40 years there’ve been a lot of great experiences, that’s for sure.

MissParker: Who haven’t you worked with that would be high up on your wish list?

George Rondina: We could be here all night (laugh) . Of the living: Paul McCartney, Peter Gabriel, Pete Townshend and The Who (whom I have met but haven’t worked with), Pink Floyd, particularly David Gilmour, Genesis…The list is endless.

MissParker: I’m curious about your connection with David Marsden. How did you first meet up with him and how long have you known him?

George Rondina: I’ve known David from his radio shows since the 70s, but he’s only known me since about 2017-18, when I released A Northern Evening and he was kind enough to add it to his playlist.

MissParker: I fantasize about having been a part of the music world, but life seems to have had other plans for me. So I’m always curious—what got you interested in music and which instruments were the first you learned to play?

George Rondina: Feb. 9^th 1964 The Beatles played the Ed Sullivan Show. That night, I decided that music is what I wanted to do. I was just a young kid. I tried guitar but just couldn’t get the hang of it, where piano came much more naturally for me. Then came the other keyboards and synthesizers, which I have a nice little collection of my favourites now. The only other thing for me was singing. I started in choirs at an early age.

MissParker: Who were your early musical influences?

George Rondina: Well of course, The Beatles, The Stones, The Who, and the whole late 60s-70s scene. Later: Genesis, Pink Floyd, King Crimson, ELP, David Bowie, Tom Petty—the list could go on almost forever.

MissParker: Even though you’re a musician first and foremost, what planted the Imagination Machine seed?

George Rondina: I’d been writing songs all my life but pushed aside recording them to focus on the studio, raising my kids, and making ends meet. Later in life, which started around 2016, I recorded a Christmas song for a charity to help kids with depression issues. The song was called Shine On. After I finished recording that song, I decided that it was time to start on an album.

MissParker: To me, you have the perfect blend of synths and instrumentation to enhance your vocals on the gorgeous track “A Northern Evening.” The first time I heard David play it, I about fell out of my chair while grabbing my phone to Shazam this amazing song I was listening to. What inspired you to write that song?

George Rondina: It was a long time ago. I wrote the majority of A Northern Evening when I was in my 20s, and adding parts and lyrics in 2016-17 when I recorded it. By the way, I’m very encouraged and grateful by your kind words.

It was an experience I had while in Northern Ontario on a crisp, clear winter’s night while snowmobiling. We reached a peak and gazed into a sky full of stars with northern lights and shooting stars. It was an epiphany for me. I guess the belief that there is something more was confirmed that night and soon after came the lyrics and the song.

MissParker: I absolutely adore “Dancing on a Highwire.” What’s the back story to that song?

George Rondina: That’s a little sad I guess. My father suddenly passed away at 56 when I was 21. Literally died in my arms. The only death I’d experienced before that of someone that was close was my grandmother ( my Dad’s mother) the year before. I went into a bit of a dark place and was searching for something. Not to get too deep into the experience, Highwire is really just about the fragility of life and how we all have the courage to carry on even through the darkest of times.

MissParker: Rooting around YouTube I’ve come across some other Imagination Machine gems that are both playful and lovely. Do you have any other songs in the works?

George Rondina: The other Imagination Machine Songs are Muskoka Trees, Blue Room, and I just recently finished a song called Still In The Silence. Going in the studio this week to start another new song.

MissParker: Please share how we can purchase your music and also be informed of any future releases.

George Rondina: It’s pretty well a one-man show right now. I don’t have a website or FaceBook page just yet for Imagination Machine. The other thing is since I started Imagination Machine there is a children’s group using the same name, so it may evolve into George Rondina and The Imagination Machine .

I think tuning into Dave Marsden’s NYtheSpirit.com is a good way to hear what is going on with Imagination Machine or my personal Facebook page. The songs are all available on iTunes, Apple Music, Spotify, Bandcamp, YouTube, and more. You can download from iTunes and Bandcamp, which is always preferred by the artist.

Here are a few links:

Muskoka Trees ~ Single ~ available on Apple Music

True (May the Road Rise) ~ Single ~ available on Apple Music

Blue Room ~ Single ~ available on Apple Music

Dancing on a Highwire ~ Single ~ available on Apple Music

Still in the Silence ~ Single ~ available on Apple Music

A Northern Evening ~ Single ~ available on Apple Music

And, before we end, I think it’s very important I acknowledge the musicians, engineers and studios that played a huge part in making our songs presentable 🙂. They are: George Koller, Vito Rezza, Graham Walker, Larry Bodner, Chase Sanborn, Reg Schwager, Ciceal Levy and Amoy Levy, Caroline Akwe, John Madill, Aaron Fund Salem, Arron Davis, Bridget Hunt, Carolyn Blackwell, Winona Zelenka, John Switzer, Samuel Bisson, Alex Toskov and Veronica Lee, Loretto Reid, Eric St-Laurent, Anne Lindsay, Bernie Cisternas, Brian Mcloughlin, Alex Lang, Number 9 Audio Group, Alex Gordon, Abbey Road Studios Mastering, Lacquer Channel Mastering, and Noah Mintz.

Thanks so much for taking the time to do this interview. It’s been a pleasure.

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It was truly a pleasure to learn more about this inspiring music maker and producer. Follow the links below to sample some of his incredible work. And, if you like what you hear, be sure to support George Rondina and Imagination Machine using the links he gave us above.

True (May the Road Rise)

A Northern Evening

Dancing on a Highwire

Blue Room

80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Colony Three/Brian Dickson

June 8, 2019 by missparker0106

I’ve had the enormous pleasure of being introduced to the delightful electronic music of Brian Dickson, a.k.a. Colony Three. I was asked to review a collection of 10 tracks titled Ergosphere. Wikipedia defines the word ergosphere as “…a region located outside a rotating black hole’s outer event horizon. Its name was proposed by Remo Ruffini and John Archibald Wheeler during the Les Houches lectures in 1971 and is derived from the Greek word ergon, which means ‘work.’”

This listening experience allowed me to take a remarkable journey that I look forward to revisiting time and time again; I know that I will hear more and experience different sensations with each opportunity.

The first five tracks lull us as listeners into a sense of peace and well-being—a journey that is both pleasant and without a hint of danger. Suddenly, with the opening strains of “Bad Gram,” the mood changes and we are thrust into a metropolis of sights and sounds that are both confusing and terrifying. As the music gathers steam, we are subjected to the aural awakening of the “fight or flight” instinct.

“Random Sparks” brings us back to a safe haven, giving us hope that there will be no other dangerous interludes until we reach the conclusion of our travels. But, just as suddenly as we feel that sense of calm, we are reminded by the dire melodies in “Collider” that the dangers we face are still all too real.

In the end, the pace of the excursion slows down, the dangers melt away, and again we begin to feel that perhaps this odyssey will have a positive completion after all. “Winds of Elysium Planitia” puts me in mind of The Man Who Fell To Earth when we are given glimpses of Thomas Jerome Newton’s suffering family back on his native planet. The final track, similar in scope by looking back on the previous tracks, evoke feelings of both relief and sadness—relief that the trip is over and we are still breathing, and sadness, because of a nagging feeling that the world will somehow be forever different.

I am so pleased to have had a chance to interview Brian Dickson to provide some first-hand insight into the origins of this lush collection’s creation. I hope you will enjoy reading what I learned about this man and what he has to say about his exquisite music.

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MissParker: I can sit here and list all of the influences that I hear in this brilliant music—from Brian Eno to Gary Numan to Underworld to Jean-Michel Jarre…but my opinions would be irrelevant. Let’s hear it from you–who are your influences and why?
BD: I’d say my biggest influencers are Tangerine Dream and Jean-Michel Jarre. In the early 80s I lived in a very remote northern town so my exposure to music was mostly through the one local radio station that played top 40 pop and country music. One day, I was digging through my older brother’s stuff and came across a cassette of Force Majeure, and listening to it was a life-changing epiphany. I’d never had an emotional response to music until hearing this. It wasn’t the harsh “bleeps & bloops” synthesizers that I’d heard in so many b-movies and radio shows, but instead an incredible audio landscape that took me on a fantastical journey. I became obsessed with finding more music like this and pretty much anything that pushed boundaries.

Thanks to radio shows like CBC’s “Brave New Waves” with Brent Bambury and CFNY (under the tenure of David Marsden), a whole new world of musical influence was made possible. Listening to bootleg cassette copies of CFNY played a large part in me moving to Toronto.

MissParker: I’m terrified of flying, but I do it out of necessity. Listening to “Approach” made me smile because it actually reminds me of the airplane’s approach to the runway for a landing. What is the true meaning behind that song?
BD: First, I love hearing about how you interpreted this song as it was always a dream of mine to create something that sparks the listeners’ imagination.

Certain sounds or songs create a type of visualization for me. When composing, I often start with a single sound and build on it, twisting and overlaying a few other sounds. At some point a scene forms in my mind and I often end up naming the track whatever was in this imaginary scene. In this case I had come up with the album name “Ergosphere” and thought it fitting that this song would be the approach into the Ergosphere and beyond.

MissParker: “Indifference Waves” has a lovely build-up to the brief spoken word segment. It puts me in mind of Gary Numan when he was

experimenting with techno in the 90s and ended up keeping it as his signature sound. Then it takes off into a fabulous confluence of electronics and raw drumbeat. I love that combination. What inspired it?
BD: “Indifference Waves” was born of a sample from a 1964 episode of Danger Man in which John Drake (played by the outstanding Patrick McGoohan) finds himself in a surreal village called Colony Three. Many speculate that this episode was the precursor to the iconic science-fiction series The Prisoner which finds McGoohan imprisoned in a mysterious village where everyone is known only as a number.

“Indifference” describes my interpretation of The Prisoner, which is the importance of questioning the status quo. I’m finding that naming the songs is almost as much fun as making them!

MissParker: There seem to be very brief, if any, breaks between most of the tracks. Was this collection meant to flow like a single soundtrack, or are the songs meant to stand on their own?
BD: Some of Ergosphere was composed with no gaps between the tracks, but I’ve found that some streaming platforms or audio playback software inject small breaks between songs. Spotify seems to play the album “gapless” while others are hit and miss. I’ve noted that artists like Jean-Michel Jarre now release large single track “continuous play” version of their albums to avoid this issue. I personally love continuous play albums as they seem keep the listener’s imagination and mood flowing throughout.

MissParker: I played a lot of Jean-Michel Jarre in the late 90s early 00s when I was a corporate trainer. I used his music specifically to soothe my classes while they were testing on the stuff that I’d taught them. I hear some of his influence in “Flight to Tadoule.” What is your take on Jarre’s music? Did he inspire you to create your own version of electronica and how?
BD: Jean Michel-Jarre is influential on almost everything I produce. In my opinion, Jarre has found the precise balance of classical composure and technology. His bold approach to musical and performance experimentation is inspirational. I was fortunate enough to go to Jarre’s amazing 2017 performance in Toronto and it was better than I could’ve ever imagined.

Jarre inspired me to start simple and build on it. If I ever got the chance to speak with Jarre, I always imagine that his advice would be “There’s no wrong way to do it.” Sometimes when working on a track I will literally ask myself, “What would Jarre do at this point?” which always seems to get me past the block.

MissParker: “Clearwater” has a remarkable intro that flows seamlessly from the close of “Flight to Tadoule.” It reminds me of a DJ making the perfect segue between songs during a radio broadcast. Were the two songs created in tandem purposely?
BD: Unbeknownst to everyone (until now) “Clearwater” and “Flight to Tadoule” were composed in memory of my mother and father. My mother lived her final years in Clearwater, a scenic town in the interior of British Columbia, Canada. Her last years there were the happiest of her life and it was always a pleasure to see her so happy there. One of my fondest memories of my father was when he took me on a flight in a Cessna to a very remote northern community called Tadoule Lake. I felt it fitting to have these songs sound very different on their own but also be somewhat connected.

MissParker: Up until “Bad Gram,” the songs seem to have a laid back and dreamy quality to them. Then all of a sudden we’re thrown into a random foot chase with pursuers hot on our heels. The urgency carries over into “Influence,” although not as intense. What brings on this change of mood?
BD: I really enjoy your interpretation of “Bad Gram,” and I think I hit the mark on this one! As the song was being composed, I started imagining a scene from a Michael Mann movie, like some of the amazing instrumentals that Jan Hammer had done for Miami Vice. After the lulling jazz-bar sounds of “Daydream on Pacific Avenue” I wanted to create an unexpected spike of adrenaline for the listener to snap them back to the rest of the album.

MissParker: I mentioned in the introduction how some of this collection reminded me of David Bowie in “The Man Who Fell To Earth.” My only complaint about the film is that 45 years later, the soundtrack (which Bowie did NOT compose) presents as a bit “cheesy.” Your music on Ergosphere, however, is as timeless as space itself. That said, did you have a “movie” playing in your head when you created these tracks?
BD: That is another really big compliment on many levels! I didn’t set out with a movie in mind for the overall album, and I think the timeless aspect is a result of a personal preference I have for simplicity in both the composure and instruments being used. My good friend Rob Stuart (of SLAVE to the SQUAREwave) and I discuss this philosophy at length, that so many of the timeless classics were created using equipment that was greatly limited by today’s standards. I believe these limits are what ultimately demanded the most creativity and best performances from the artists at the time. I used to think that because I had a 16-track recorder, I needed to make use of them all. (Maybe to get my money’s worth?) Now, my studio has the ability to mix and record over 1,000 tracks, but I generally use 10 tracks for most songs, which encourages me to focus on melody and dynamics.

MissParker: Is all of the writing and production solely yours, or do you have people that you collaborate with?
BD: For my first album, I made a conscious decision to go it alone as I ultimately wanted to own the outcome and find my own groove, so to speak. I did the writing and recording over the course of a few months. While the composing and recording was the fun and easy part, I was really struggling when it came time to master the album. Mastering is the final step in the process where the entire album is stitched-together and balanced for harmonics and volume levels. I’m thankful for being able to lean on Rob Stuart for advice during this journey as he has decades of experience in music composure and production. These great conversations turned have led to Rob and I collaborating on some new tracks.

It’s early days but we are both really excited about the outcomes and are looking forward to sharing them.

MissParker: Do you perform live? If so, where can people have the pleasure of being enveloped by your music in a live performance?
BD: I haven’t spent the time yet to research live performance in this genre…I’ve simply been having too much fun creating the music! I think my gateway into live performance would be through that previously mentioned collaboration. It would be the experience of a lifetime no matter what the venue.

Missparker: Where can people sample and ultimately purchase your music?
BD: For the latest information about Colony Three and to sample new music in the making, visit:

Instagram (@colony_three)
Facebook page (https://www.facebook.com/ColonyThree/ )

Colony Three music is available on all of the major streaming and download services including Amazon, Spotify, Apple Music, Google Play, and YouTube:

Missparker: Thank you so much for taking the time to share your music and your thoughts with us.
BD: Thank you for your support and for such a thought-provoking and fun interview experience!

I love your site and what you’re doing for all artists both new and established!

80s (and Sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Neurotic Wreck

July 14, 2016 by missparker0106

Anyone who has followed this blog over the years knows that I have a huge soft spot for 80s alternative music, synthesizers, musicians who think outside of the box, and sultry British voices. When Marilyn Roxie (founder/creator of net music label Vulpiano Records) asked me to review Neurotic Wreck’s latest compilation, I must say I hit the lottery on all counts.

Dan Wreck

Neurotic Wreck is the wildly successful cumulative and solo efforts of musician Dan Wreck. He is a one-man battering ram of musical and lyrical genius. The variety of styles ranging from electric-folk to synthesized electro could be a holy train wreck (pun intended) in the wrong hands—but it works flawlessly on his superb album called “Glow Ghosts.”

This wonderful collection of tracks transported me back to such tremendous musician favorites as Underworld, Jesus & Mary Chain, Depeche Mode, Kraftwerk, and a short-lived but fantastic group called Ashengrace. There’s even a covert reference to a well-known Gary Numan song, but I am not going to spoil the experience by disclosing which one. The tracks are relatively short, extremely captivating, and arranged in such a brilliant way that the segue from one to another keeps the listener glued to the playlist. And, the fun part is, the artists I’ve named here are by no means the complete list of influences that the listener will identify.

Marilyn Roxie

The best way to introduce you to the up-and-coming artist Dan Wreck (a.k.a. Neurotic Wreck), along with Marilyn Roxie, the backbone of his label Vulpiano Records, is to share some questions that I asked both of them. As this post goes to press, the intended release date for “Glow Ghosts” is July 14. This is a must-have for any 80s or even contemporary alternative enthusiast, and may be purchased via pay-what-you-want here:
http://neuroticwreck.bandcamp.com/album/glow-ghosts

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Sandy Missparker (SM): I’m going to show my hand up front and admit I was blown away from my first listen. You had me at “The Wakeup Call” which was, indeed, a wake-up call for me. Typically, I’m a bit skeptical when first asked to listen to a new (to me) artist’s work, but that all went out the window pretty quickly, once the playlist got rolling. So, I’m curious: how long has Neurotic Wreck been making music?

DAN WRECK: As Neurotic Wreck, I’ve been doing this since 2011; steadily putting out collections of songs compulsively to a deafening silence, a name known to literally fives of people. I’ve been in bands from an early age, though (as most artists worth anything have been, I know). There’re other projects I’m involved with, but it’s not fair to elaborate on those, (because) if I do that people’ll go “Oh Dan obviously came up with this bit” if they like what I’ve done here, and quite often the things people pick out as me having contributed–I haven’t!

SM: I clearly hear some of my favorite 80s artists influencing your music. I’d love to hear from you specifically who it is that influences the direction of your music, and what attracts you to theirs?

DAN WRECK: Here’s where I get to be tedious and nerdy!

You already picked out the Numan thing, and like recognizes like there: one autistic monomaniac has to recognize another. I first heard Numan as a teenager and went on about how great he was to very disinterested friends. Prince is another big influence on me, another case of like recognizing like; not that I’m as technically gifted as him, but like me he was an androgynous, sexually ambiguous weirdo and artistic control freak. Also from the 80’s there’s New Order, as you’ve likely picked up from the tracks where I’ve shamelessly stolen Peter Hook’s style of playing bass. On the subject of bass, there’s also Barry Adamson: stuff like Speak In My Voice and After The Quiet sort of bear his imprint. As well as having played with many of my favorites at some point, his solo stuff manages to be soul and jazz influenced while still being very North West English; and let’s not forget the North Will Rise Again.

Then outside of all the obvious synth-pop stuff, loads of 60’s girl group records like I Never Dreamed by The Cookies, immortal solid gold pop; the drama and the melody in them is what sticks with me. Scott Walker for similar reasons. Rowland S Howard, undoubtedly, lingers over everything I do, but I could drone on about him forever (and in an article on Dennis Cooper’s excellent blog which Google have in their infinite wisdom taken down for no reason, I do). Coil is another one; I’m not sure it’s apparent from Glow Ghosts, but Jhonn Balance is a similar spectre pacing through things I’ve written. Maybe it’s apparent from Rune Cloud and some of the more esoteric lyrics.

MARILYN ROXIE: Here’s where I have to chime in, because it is Dan’s influences that I shared as favorite artists, both literary and musical, that caused me to pay more attention to his music submission, which was from an email he’d sent to my old music blog A Future in Noise back in December of 2012 with his Leave Tonight – Mixtape Side 2. Not only that, but the way that he is able to integrate it all together with his own personal style instead of the hopelessly derivative way that some artists do–that’s what really impresses me. Our mutual love of Coil and Dennis Cooper were initial conversation topics and I immediately invited him to also release material on my netlabel Vulpiano Records, which I don’t ask everyone. Vulpiano is really my own little curated paradise of independent and unsigned artists who I really love; and now Dan and I are together actually as a couple, as well, so it is very exciting to be able to work together more closely on what is happening musically.

SM: I have a deep fascination for single artist “bands” (and even duo-artist such as Underworld) who create such intricate orchestrated melodies. What does your studio look like and what types of instruments/devices do you use to develop your music?

DAN WRECK: My studio is basically wherever I’ve plugged in my digital 8 track recorder: it’s a Boss BR-600, and basically all I do is record on that, then export the tracks onto an old Window XP desktop with the Reaper Workstation installed on it. There I mix, add effects, and sometimes add software synths into it; but most of the sounds come from an electric guitar with 4 strings, a bass with 3 strings, a Novation synth with a key missing, and an old drum machine. Most of my equipment is at least cosmetically broken. Being able to afford more expensive equipment would be great personally, but wasted on me because I’d just dither around with it trying to make cool sounds rather than writing songs. I have to work within limits.

SM: In order to take your music out on the road, would you be willing to train other musicians to play various parts, or is it something that you could reproduce live as a solo act? Is live performance even something that you would consider doing?

DAN WRECK: Live performance is something I’ve done with other projects and will continue to do so because I love doing it. But as Neurotic Wreck, it’s quite unlikely, frankly, for the time being. Never say never, but for now it’s not on the menu. I don’t see the point of getting other talented people in and then getting them to just play what I ask them to when they may well have better ideas than me. So, if it does happen, then it’ll most likely be me doing it solo. That said, who knows? It’s under the name “Neurotic Wreck” not “Dan Shea:” it could, down the line, become more of a band. It has been, briefly, in the past.

SM: What got you started making music initially? Did you wake up one day and say, “I’m going to be a musician,” or did a specific person or event set you on that path?

DAN WRECK: Well, I’ve been around music from a very early age: my dad is a very talented songwriter, so it’s probably in my blood. I didn’t set out to be a musician or a songwriter; in fact, sometimes, to be quite honest, I wish I wasn’t. I wish I could be one of these people who’s happy just to be a consumer, rather than a producer. Ignorance is bliss, after all, but that’s not the way it worked out. In fact, for quite a long time I thought everyone could do what I do: being autistic, as I’ve mentioned, I just assume everyone can write songs or play an instrument, because if I can do it, it must be easy! Then I’ve spoke to people about it and they’ve looked back at me like a dog being taught a card trick, so it’s only recently sunk in that I may actually be quite good at all this.

SM: How would you classify your music? In other words, does it fit neatly into one genre, or does it span several different types?

DAN WRECK: I’ll give you a short and a long answer

Short answer: Just call it post-punk; no one knows what it actually means, but it’s an accepted bit of terminology. And if you say “post-punk,” people just nod and assume you know what you’re talking about.

Long answer: I don’t think it fits neatly into one genre, but I don’t think a lot of music does. There’re so many genres out there and they exist more as a marketing thing than as any remotely helpful guide to what you’re actually getting from the music. I’d say genre is more the domain of the gate-keepers, if you will: journalists (who I like) and publicists (spits over shoulder and crosses self). It spills over a bit but I’d say mood is a more useful way of categorizing music than genre tags. It is for me, anyway. To each their own.

MARILYN ROXIE: Post-punk makes a lot of sense as a descriptor…also, experimental synth, a dash of neo-folk that goes counter to people’s expectations around that genre as it can be overly anti-fascist. I do agree that it isn’t necessary to think of genre when he can do so many different styles with ease.

SM: It’s not unusual for artists to evolve their musical direction over time, but there is an evolution of sorts that happens in the span of the 13 tracks of this one dynamic compilation, a la David Bowie. Was that intentional?

DAN WRECK: It may have been intentional, but it wasn’t my intention. I got Marilyn to order the tracks because I think if you’re looking at something as an album rather than purely a collection of songs (important distinction even if it is an irrelevant one for many people these days), then the order is incredibly important. You’ve just mentioned Bowie, so a case in point would be 1.Outside: at the end of what is a fairly heavy-going album, especially from a multi-platinum megastar, there’s “Strangers When We Meet,” which is one of his most moving songs and even more effective because of what it’s come after. If it had been in the middle, as an individual song it’d still be wonderful; but the right sequence of tracks, as someone who still believes in the album as a viable format, is utterly crucial.

MARILYN ROXIE: I’m obsessive about playlists so I spent a lot of time working with Dan’s tracks to get the order just right. I always knew that I wanted “The Wakeup Call” to be the first track and “Tell Me What to Swallow” to be last, but finding the right ebb and flow of the softer and punchier songs was a challenge and I’m glad the flow came through in the end. Many of these tracks are from totally different recording periods.

SM: What is the hierarchy of lyrics and music—for example, do you write lyrics and then formulate the music to enhance them, or is it the music that gives birth to the lyrics?

DAN WRECK: It changes from song to song, really. If the song has a definite purpose, then it’s usually the lyrics come first: “One Skin Too Few” is something very personal about my feelings on gender and also the treatment of the mentally ill, and “Speak In My Voice” is about these same themes. They both started from lyrics. “After The Quiet” became something very personal, but that started from the descending melody line after the lyrics are sung in the choruses and expanded outwards.

SM: The label behind the promotion of “Glow Ghosts” is Vulpiano Records. I’ve had the pleasure of knowing its founder, Marilyn Roxie, for about 7 years now, thanks to the magic of the Interwebs. Marilyn, you are an extremely gifted keyboard artist in your own rights, but you seem to get a lot of satisfaction promoting others. Can you give us a little background on what makes Vulpiano Records (and Marilyn Roxie) tick?

MARILYN ROXIE: Vulpiano started off just as my idea of having a place to host exclusive content from independent and unsigned artists that had submitted to my old music blog (A Future in Noise, now on a bit of a hiatus). It isn’t always easy promoting yourself and throwing your content out there and hoping for the best; in the past few years, a lot of blogs have ceased to exist and only the super-popular remain, so the whole landscape is really different than it was in the late 2000s as well. Creative Commons and places to host free and legal music like Internet Archive and Free Music Archive have persisted, however, and there are a lot of exciting online radio and podcast platforms. I’m always searching for ways to share all of the great music I have gathered up.

Vulpiano is really representative my personal taste and artists I have become friends with that I think are really interesting across genres and want to show to other people, though experimental, electronic, and folk tend to predominate a bit. I do have plans to do another album of my own, which I’ve not put out since 2009 with New Limerent Object, but it’s taken me awhile to really figure out where I want to go with my own music. I am gravitating towards drone and shoegaze a lot lately, but I don’t want to just copy my favorites. I am a little too hard on myself, like many musicians. I enjoy seeking out new and exciting material so much sometimes it is hard to stop and actually go back to doing my own music! I am also involved in video art now and thinking about ways to combine that with my own music. I’ve been making videos for other people, including Dan, so I may want to make an album that has a music video for every song, or something like that. I am really interested in doing something multimedia, at any rate, but I’m not entirely sure of the final form just yet. I hope to do this late this year or early next.

SM: What can we expect in the future from Neurotic Wreck (and please don’t say it was a one-off—that would be SO disappointing!).

DAN WRECK: Well, after the huge stream of free releases over the last five years, I’m finally charging for something: Sandalphon, which will be out on Small Bear Records on the 22nd of September, the Autumn Equinox. Sandalphon is something of a genre exercise; two years ago when I recorded the bulk of those songs, I started investigating the genre of neofolk. Again, as I said earlier, this genre tag is just a convenient way of linking things with a similar ethos together; but that influenced Sandalphon an awful lot. Although, not to worry, there’re no banjos on it, the guitars are still plugged in, there’s still lots of synth, and the drums are still as mechanized as God intended. So that’s what’s coming up next. After that, who knows?

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So, there you have it. I can’t emphasize enough the brilliance of this album, “Glow Ghosts,”, and urge you to add it to your music collection. The beauty of creative genius is that it keeps our lives interesting, gives us a positive outlet as listeners, and promises us always something exciting to look forward to.

Further information at Vulpiano Records and alternative stream and download options as Internet Archive, Free Music Archive, and Mediafire are here: http://vulpianorecords.com/post/147400571616

80s Music Rules ~ Criminally Underrated Artists/ Bands ~ Rob Stuart is Back with Electronic Dream Factory (EDF)

September 20, 2014 by missparker0106

Excellent music never dies; sometimes it just goes away for a while. And, like a treasured loved one, its return evokes strong emotions of joy, relief, and a reconnection with the universe. That’s what’s happening here, folks. And, I am delighted to be the bearer of the fantastic news.

Rob Stuart first graced Rave and Roll’s pages exclusively as a featured artist back in November 2009. Earlier that year, I had published an article about his Toronto-based band SLAVE to the SQUAREwave, followed by a review of their then-latest smashing release, The Money Shot. Earlier this year (Feb. 2014, to be exact), I was privileged to announce Slave’s return with a jaw-dropping, in-your-face collection of tunes called Asphalt, Sex & Rock ‘N’ Roll. Now, I am thrilled to deliver the trifecta: Rob Stuart’s long-awaited re-emergence featuring an entire catalog of synthesizer-driven musical goodness from his band, Electronic Dream Factory (E.D.F).

Rob agreed to be interviewed so that I can share with you all a little bit about the beginnings of E.D.F., its evolution, the inspiration for the music, and the reason for the decision to re-release the catalog.

When did E.D.F. make its debut in the world?

EDF studios circa 1983

Originally E.D.F was and still is the name of my home recording studio. I stole the name from a small British synthesizer company called Electronic Dream Plant which built a very cool monophonic synthesizer called “The Wasp.” My earliest recollection of my first home studio was back in 1981. I decided very early on in my “music career” that rather than pay other people to record in their studios, that I would just build my own and teach myself how to record, engineer and mix.

I was only sixteen back then and gear was incredibly expensive, so my first studio was nothing fancy. I would work three summer jobs to save up enough money to buy studio gear. I still remember purchasing the first real synth I ever owned, a Korg MS-20 for $595.00 at Steve’s Music Store in Toronto. I was so proud walking home with that synth tucked under my arm that day. It was once I started writing original music when I decided Electronic Dream Factory would also serve as a good band name.

Who were the original band members?

Greg Fraser, Rob Stuart, Rob Tennant (1992)

There have been many incarnations of the “band”version of E.D.F. Version 1.0 is me alone as a solo artist . Long time friend/musician/ artist, Greg Fraser was the first person to become an official member. Our first full-length self-titled album was just Greg and myself. Version 2.0 included Rob Tennant, who was the live drummer.

We soon added Maxx on guitar. Version 3.0 included Emerich Donath on stick bass and Rude Van Steenes on electronic percussion and vocals. I knew Rude back from the Vis-A-Vis days as I was an original member of that band .

EDF Version 3.0

Why synthesizers and electronica vs. guitars and…?

I’ve always been a synthesizer nut. Ever since I first heard early synth-based music like Tangerine Dream, Kraftwerk, Pink Floyd, Jean Michel Jarre, Vangelis, Throbbing Gristle, David Bowie, Brian Eno, Gary Numan, John Foxx, and early Human League, I knew I wanted to get into synthesizers.

First of all, they looked so cool and they could make sounds that you’d never heard before. That was really the appeal to me. I would spend hours messing around with my MS-20, plugging in cables, twiddling all the knobs, to come up with unique and different sounds. I’ve never been a person who is comfortable jamming in a rehearsal studio or in a band situation, which is why I don’t really consider myself a musician. I still don’t play that well, but writing, recording, and producing came fairly naturally to me. Writing music always was and still is a personal journey for me, so when MIDI came along it allowed me to create all parts of the music by myself, which I thrived on.

Having said that, I’ve always been a guitar fan, so when I couldn’t fake a guitar part by myself or find the right guitar sample I’d have to bring in a guitar player. Of course nothing can replace the thundering sound and look of a live guitar player on stage. That’s where Maxx came in. He was a cool-looking dude with a great head of hair and a killer guitar sound which added to the live element and gave the studio recordings a little extra grit.

Was E.D.F. mainly a studio band, stage band, or both?

I’ve always been a studio guy, but you have no choice but to play live if you want to promote your product seriously. It’s a great feeling playing your own music live with 3 or 4 other people on stage with the lights, smoke, and (hopefully) crowds of people in the audience grooving to your tunes; however, I also derive immense pleasure spending hours in my studio just writing or playing music by myself.

That’s were the “other” side of E.D.F comes from, as I also record and release ambient, chill out, new age music which I never intend to play live. Our finest moment was playing at Pine Knob in Detroit, Michigan in front of 10, 000 people for a big end-of-summer music festival.

What or who inspired the music?

The “who” is endless. See all the bands named earlier. Inspiration can come from anything, really. It could be a unique industrial sample, synth patch, drum and bass groove or simply a nice chord progression. It’s piecing all of those elements together that makes it fun and challenging.

Did E.D.F. originally get the airplay it deserved, and if so, by whom?

The first E.D.F release was actually a cassette-only; but, believe it or not, we used to get airplay on the radio. CFNY 102.1 in Toronto was the first station to play our music. That station was a huge supporter of local independent music, led of course by the one and only David Marsden who still plays my music to this day on his new station http://www.nythespirit.com. With open-minded people like David and the good folk at CFNY, the song “So, What of Tomorrow” ended up being a winner on a CFNY talent search contest and was released on a compilation CD, which to us at the time was unbelievable.

Other places that would play our music would be University radio stations like CIUT (University of Toronto), CKMS-FM in Waterloo, and CKLN (Ryerson University) who were always great supporters of ours. Local DJs like Ronno Box and Craig Beesack would play us at clubs like Catch 22 and local promoter Billy X was also an early supporter of E.D.F

What’s it like to translate a concept in your head into music that you share with the rest of the world?

It’s fun at first, but it can quickly become frustrating when the business aspect kicks in. I won’t even talk about the music business these days as no one has a clue what’s going on; but back in the early 90s there were still labels you could shop your product around to. For our first album we had some interest from TVT Records which had just signed Nine Inch Nails. For the second album, “Drama Dream” we signed a deal with a label in Montreal, which went bad. For the album “Number 3” I had a distribution deal with Toronto’s The Record Peddler. Financially that was probably the most success I had with an EDF album as they managed to get distribution deals in quite a few different territories worldwide.

What made you decide to resurrect EDF?

One word: “Tunecore.”

Tunecore is a great service that distributes your music around the world to digital music stores and streaming stations. It’s really cheap and allows you to keep 100% of the earnings. They really do get the music out all over the world! E.D.F had a pretty strong following in its heyday, especially in Europe.

As I mentioned above, the album “Number 3” was released and distributed internationally by The Record Peddler. I used to get royalty cheques from airplay I received from places like Germany, Belgium, Sweden, Norway and many other countries. Over the past few years I decided to post some old E.D.F videos on YouTube and found that people were actually looking for the old releases. It seemed like a perfect opportunity to re-master and re-release the whole collection in a new package.

Hence “Industrial Catalogue:” All four E.D.F albums in one, 64 songs in total, reasonably priced at $8.99. I did the same with my ambient/chillout/down-tempo E.D.F music, as well. Four albums in one package under the title ˜Noise Control” with 60 Songs in total.

Are there plans for live shows, and if so, where?

At this point, definitely not. SLAVE to the SQUAREwave takes up all of my spare time with live performances and recording. The last time E.D.F played live was at a rave in the middle of a farmer’s field in Oakville, a suburb of Toronto. This was actually where I met Colin Troy from S2TSW, as we were both playing at the rave that night. I was performing my more “techno” E.D.F material while Colin was doing his Smokin’ Jehovah project, which was a mix of middle eastern music and house. Really cool stuff. We chatted through the night about our love for Bowie, Roxy Music, and electronic dance music. We became instant friends and SLAVE to the SQUAREwave was born.

Do you have any examples of E.D.F. music online that people can preview?

Here’s some of my ambient/chill-out music taken from “Noise Control”:

Will the entire catalog be available for purchase? Where?

“Industrial Catalogue” is available via Amazonmp3.

“Noise Control (Vols 1 to 4)” is available via Amazonmp3.

Both albums are also on Spotify, Rdio, Shazam, iTunes, Google play, Wimp, Deezer, beats music and many, many more on-line stores.

Can folks buy single tracks?

Yup! Single tracks are the standard 99 cents.

Will this inspire you to go back into the studio and create new E.D.F. tracks?

E.D.F has never really stopped. It’s just come in many different shapes and forms over the past 32 years and will continue to evolve. I’m getting more and more into the chill-out/ambient stuff as I get older, so you can most likely expect some more music in that vein.

What’s next?

I’m considering releasing some music by a duo group I was in back in the mid 80s called “silent GREEN.” It was an ambient project where the music was ad-libbed and recorded live. I played synthesizer while Bruce Bentley played “ambient” guitar. Bruce and I also had a synthpop band called “Ear Candy,” which was another CFNY-supported band. Tragically, Bruce passed away last year, so I’m thinking of releasing it in his memory. Some of that music is pretty magical.

Thanks so much!

Thanks for your support. I love what you do. You don’t know how important things like this are to a band/artist. You’re really doing a great thing here and it is most appreciated. XOXO

80s Music (and sometimes 10s) Rules—Slave To The SQUAREwave Returns!

February 23, 2014 by missparker0106

After a long hiatus full of whispered rumors hinting at disbanding, retirement, everything Slave to the SQUAREwave fans absolutely did NOT want to hear, something very exciting has happened—a new album release and a hot party at the Hard Rock in Toronto on February 28, 2014 hosted by David Marsden. That sound you hear is the collective thud of gob-smacked jaws hitting the floor—hallelujah and praise the music gods!

The album—Asphalt, Sex and Rock ‘n’Roll—where to start? These Slave-starved ears were ecstatic with the long-awaited product of a flawless, long-standing, and highly successful collaboration between Rob Stuart and Colin Troy. If ever a duo were destined to create beautiful music together, this is it, folks. The result of long hours in the studio is a perfect, fun-filled collection of music that will both kick your ass and caress your soul.

What should you expect? Here’s my humble attempt to describe the pleasure trip this album delivers to its listeners. Strap yourself in, slide your headset on, and prepare to rumble—this is way better than the best road trip you’ve ever had in the mightiest muscle car.

If asked to describe the opening track Middle Finger in one word, “funkalicious” is the closest adjective that does it any justice. It’s a combination of Max Headroom (without the stutter) meets the Funkateers that is the perfect warm-up for what’s in store along this welcome journey. Alive and Electric (Dedicated to Jodi) presents swelling synths and superb harmonies; it’s a truly pleasing blend of keys and strings that picks up speed and takes on a life of its own.

Next up is Texan Thugs and Rock ‘n’ Roll, a play on words rife with fast cars, a thrumming beat, and tough-guy lyrics. Who could ask for anything more? Then, wafting through the headset is a slightly off-kilter intro to The Big South that lures the listener into a poetic bop-fest of beat-driven goodness.

Not for the faint of heart, Zombie charges off the starting line in a sheer frenzy. Anyone who can sit still while listening to the exceptional synths and snarling vocals of this party-in-your-ear track needs to check for a pulse because they just may well be a zombie. Then, when you think you have a handle on what’s feeding into your brain, the Dr. Who-esque intro of Poor Man’s Fight draws you smack-dab into the middle of the fray, while trippy, fun lyrics bind you up and hold you captive.

Who wouldn’t wish for a Seven Day Saturday Night? Here it is handed to you on a silver platter—the penultimate weekend escape, complete with kick-ass strings that transport you straight into the party-hearty environment that you crave. From there, the bass-heavy opening of Bump promises—and delivers—heart-stopping percussive goodness.

Early Stone Roses anyone? Montreal is another foray into trippy melodies, sexy organ, and seductive piano. After the shameless seduction has left you breathless, you are thrown in front of a revving engine like a beast out of control. Amazing Grace threatens to spin out wildly; miraculously, traction holds you firmly to the road and catapults you along the autobahn of life and love.

The next track begs for Peace of Mind, but the direct and driven message is that it’s truly an elusive goal. To emphasize that point, Time is Running Out presents a frantic and breathless illustration that time for us is, indeed, running out. Perhaps we should stop and smell the roses?

Casino is a perfectly crafted analogy of love won and lost the hard way. Better luck the next time, baby. You see, everybody gets a little lucky sometimes. Destined to be a favorite, Alive and Electric (Rob’s Analog Electromix) would be ideally at home on any Ultravox collection. The vocals form a faultless partnership with synths that reach down into the soul and infuse a shot of divine life-sustaining energy.

Zombie (Sonix Mix) is a less-frenetic reprise of the un-dead anthem; a different spin on a great, rollicking song. Likewise, Texan Thugs and Rock ‘n’ Roll (Mad Flowers Mix) gives one last and different listen to what makes this collection a no-holds-barred masterpiece.

Slave to the SQUAREwave delivers raw, unbridled musical joy with each and every collaborative piece that they create. Don’t miss out on a chance to experience truly artistic genius at its very best, while Rob and Colin still have the passion to make it happen. And, if you are lucky enough to be in the greater Toronto area whenever the sun, moon and stars align in perfect combination, be sure to see the dynamic duo Rob Stuart and Colin Troy, along with supporting band members Doug Lea and Craig Moffitt, for a live performance. It’s definitely on my bucket list.

A very limited supply of 200 Asphalt, Sex and Rock ‘n’Roll CDs will be available at the release gig at the Hard Rock Café (279 Yonge St, Toronto ON) gig on Feb 28^,2014. After that, an “Expanded Edition” will be added, which includes these outstanding bonus tracks: “India”, “Stereo Orthophonic High Fidelity Victrolis (SOHFV),” and “Alive & Electric (Kernel Chiptune Mix).” Also, for the first time, S2TSW are making The Money Shot (another absolute personal fave) available with all bonus tracks. Both albums are for sale starting Feb. 28, 2014 at the locations shown below.

Gary Numan ~ The Amazing 80s Icon is Back Stronger Than Ever

November 25, 2013 by missparker0106

From the “it doesn’t get much better than this” department….Gary Numan’s live set presented by KCRW in its total exquisiteness.

This was merely a warm-up for the mini-eastern US tour he was about to embark on, and the later more extensive UK tour.

Unfortunately, I missed Numan in Sunrise, FL when he opened for Trent Reznor and Nine Inch Nails on October 30. I had a ticket, but circumstances way beyond my control prevented me from attending.

Next time…and there WILL be a next time, so I hear. Perhaps in March 2014.

Until then, there are always quality videos such as this–and my dreams–to sustain me.

With thanks to Andrew Lister for calling my attention to this video.

80s Music Rules ~ Criminally Underrated Artists/Bands ~ I Start Counting

February 10, 2013 by missparker0106

If you’re lucky, you’ll remember this short-lived electronic band from North London. If you’re like me, you haven’t a clue who they were, but after listening to them, you’ll know you missed out on something really good. Fortunately, a dear rare 80s blogging buddy featured them on his blog Mine for Life a few years ago, otherwise I may never have had the pleasure of experiencing them

Electronic, poppy, somewhat dark, somewhat trippy….all the major ingredients for 80s music success, right? Once again and in this case, something was definitely missing in the equation; like so many other talented artists, this band went totally under the radar.

I Start Counting was actually a duo made up of college friends David Baker and Simon Leonard, who, according to Wikipedia, shared a love of pop music. The Wikipedia article goes on to report:

Baker and Leonard had met at Middlesex University; both had affection for pop music. In 1982 they began to DJ together which led to them to form the I Start Counting project. Leonard specialised in the technology side and Baker was biased toward the musical side of the project. They approached Daniel Miller with some demos of their recorded material. These demos led to Mute Records signing the duo in 1984.

In 1986, I Start Counting recorded and released their debut album, My Translucent Hands. This accomplishment led to them becoming a support act for Erasure the following year. They released a second album in 1989, Fused, which included a new version of “Lose Him” comprised entirely of sampled voices.

The duo would morph into two more groups, Fortran 5 and Komputer, migrating to a different sound and experimenting with the dance/techno genre. Needless to stay, the enduring success they deserved eluded them, and they faded into 80s rarity oblivion.

Purchase I Start Counting music here.

Discography

As “I Start Counting”

1986 – My Translucent Hands (Mute Records)
1989 – Fused (Mute Records)

As “Fortran 5”

1991 – Blues (Mute Records)
1993 – Bad Head Park (Mute Records)
1995 – Avocado Suite (Mute Records)

As “Komputer”

1998 – The World of Tomorrow (Mute Records)
2002 – Market Led (Mute Records)
2007 – Synthetik (Mute Records)
2007 – Intercom (Self-released)

I Start Counting ~ Letters to a Friend ~ via YouTube user GeneLovesBowdie:

I Start Counting ~ My Translucent Hands ~ via YouTube user The Jesbel:

I Start Counting ~ Modern Sunbathing ~ via YouTube user MilesFiles2008:

80’s (and sometimes 00’s) Music Rules ~ Introducing Martin Eve

June 26, 2012 by missparker0106

I have had the great pleasure of meeting Martin Eve through our mutual love of 8os electronica. I was searching for Fiat Lux’s “Photography” on YouTube, somehow Martin found out, and he ended up uploading a copy for my enjoyment. In getting to know Martin, I have found him to be charming, engaging, and an extremely talented electronic musician. Martin has graciously agreed to be interviewed for Rave and Roll, while waiting for the imminent release of his latest collection of music. Be sure to check his music out on SoundCloud, under the user name 4th Eden. I believe you’ll be very impressed.

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How long have you been a musician?

Well, I guess since my teens, as I studied music at school which was in the late 70’s. I really started writing in the early 80’s, the time of the electronic music explosion. So, I wrote music with my friends on our synthesizers.

What/who inspired you to become a musician?

I have to say my first music teacher inspired me to begin with when he played me Tomita’s – The Planet Suite. Ok, written by Holst, but all done with synthesizers…awesome. He also played in class a guy called Mike Oldfield. So, Tomita and Mike Oldfield are an unlikely inspiration together, but that’s how it began.

Tell us in what way that inspiration influences your music.

I try not to be influenced by music I listen to but it’s always going to be there in your subconscious. Inspiration however, is all around me, particularly where I live in Mid Wales. One moment I will write about the Welsh Hills and the next about a burial chamber. Real life and people inspire me, as well. I was recently inspired to write a piece about George Mallory (the man who almost made it to the top of Everest).

How would you describe the genre of music that you create?

I don’t stick to one genre, so I guess I genre-hop. With my influences from the 80’s with bands like Ultravox, there will be the electronic pop feel; but then I really like the folk/new age side. However, I do enjoy writing in a Cinematic dramatic way, where possible.

What current artist/group do you listen to most often?

At the moment it’s Ultravox – “Brilliant” the new album after 28 years away! But I also am listening to School of Seven Bells – “Ghostery” and Polica – “Give You the Ghost.”

Which decade of music do you feel is the most influential on current up-and-coming artists, and why?

The artists I listen too are influenced by many different decades of music. They then make it their own to make it sound bang up-to-date production techniques.

If you could spend your time doing anything at all, what and where would that be?

Hmmmm…. walk, live by the sea, and write music…as I say on my forums, “Composing Until I’m Decomposing.”

Do you prefer the studio or performing live? Why?

I’m a studio musician…the thought of performing scares the hell out of me.

What is the nicest compliment you’ve ever received?

I rarely get compliments!

What type of equipment do you use?

I use a variety of software based instruments and samplers with my Digital Audio Workstation, Sonar. These are all connected to my Korg MIDI keyboard. Favourite instruments are probably Omnisphere and Kontakt. Once a track is finished then my preferred location for publication is Soundcloud where fellow Soundcloud members can comment on my tracks.

Do you work alone, or do you collaborate with anyone? If you collaborate, what is their role?

I mainly work alone but recently I have been collaborating with a singer in Los Angeles, a musician in France and another musician in Sweden. It’s great collaborating; it pushes you further out of your comfort zone, but can be more time-consuming.

I generally find that my role will be mainly to write the songs and then produce them, but this depends on the other artist. If they want more involvement, then I’m happy for a role-reversal.

Where can we go to listen to/purchase your music?

You can listen to my music on my SoundCloud page at http://soundcloud.com/quietman. A new CD is imminent, but I cannot mention where it can be purchased from yet until it’s finally released by the record company. However, it will be available in our cafe’ (that’s the day job) at the ‘Wye Knot Stop’ Cafe/B&B in Llyswen in Wales.

Rave and Roll Blog

Uncovering 80s obscurity ~ one song at a time.

Tag Archives: Electronica

80s (and sometimes 20s) Music Rules ~ Criminally Underrated Artists/Bands ~ Arin Ex (Scorbie)

80s (and sometimes 20s) Music Rules ~ Criminally Underrated Artists/Bands ~ EDF and Colony Three Combined

Go to The Boӧtes Void Bandcamp page to preview the music and grab your copy now. Also, there’s a wonderfully creative video for each of the album’s songs on the Element115 Music YouTube page.

Meanwhile, here are a few of the videos for your viewing/listening pleasure:

~Slow Motion (feat. Kim Stuart)~

~Ateoate’s Revenge~

~Machine Language~

~Lucid Dream~

80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ George Rondina/Imagination Machine

80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Colony Three/Brian Dickson

80s (and Sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Neurotic Wreck

80s Music Rules ~ Criminally Underrated Artists/ Bands ~ Rob Stuart is Back with Electronic Dream Factory (EDF)

80s Music (and sometimes 10s) Rules—Slave To The SQUAREwave Returns!

Gary Numan ~ The Amazing 80s Icon is Back Stronger Than Ever

80s Music Rules ~ Criminally Underrated Artists/Bands ~ I Start Counting

Discography

As “I Start Counting”

As “Fortran 5”

As “Komputer”

80’s (and sometimes 00’s) Music Rules ~ Introducing Martin Eve

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Go to The Boӧtes Void Bandcamp page to preview the music and grab your copy now. Also, there’s a wonderfully creative video for each of the album’s songs on the Element115 Music YouTube page.

Meanwhile, here are a few of the videos for your viewing/listening pleasure:

~Slow Motion (feat. Kim Stuart)~

~Ateoate’s Revenge~

~Machine Language~

~Lucid Dream~

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Discography

As “I Start Counting”

As “Fortran 5”

As “Komputer”

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