Industrial

electronic, frantic, dense and multi layered. Detailed percussive motifs and hardware based synthesis.

jovian hailstorm

A microtonal industrial sketch. Microtonal music or microtonality is either music employing the use of microtones (intervals smaller than a semitone, also known as a "microinterval") or any music using intervals not found in the customary Western tuning of twelve equal intervals per octave. The microtuning employed here is a 21 note per octa...

A microtonal industrial sketch.

Microtonal music or microtonality is either music employing the use of microtones (intervals smaller than a semitone, also known as a "microinterval") or any music using intervals not found in the customary Western tuning of twelve equal intervals per octave.

The microtuning employed here is a 21 note per octave scale known as "Tonos-21 PIS" (Diatonic Perfect Immutable System) where the tone ratios are:

8/7, 16/13, 4/3, 32/21, 32/19, 16/9, 2/1, 32/15, 16/7, 32/13, 8/3, 64/21, 64/19, 32/9, 4/1.

This tuning was applied to the U-He Bazille modular synthesizer.

The track also features the Regrader VST plugin for obliterating echoes.

intermission #4 - a vulgar lapse

Algorithmically generated composition fed through several different modular synthesis configurations to sound like the final clash of two insect colonies. Modular synthesis provided by the Make Noise 0-Coast....

Algorithmically generated composition fed through several different modular synthesis configurations to sound like the final clash of two insect colonies.

Modular synthesis provided by the Make Noise 0-Coast.

scutterblotch

Revolving around a percussive pattern and bass riff created by the Ploytec PL2 synthesizer, this track is an exercise in early 90's computer sounds, modular synthesis and stuttering beats in an overall sci-fi feel. Part of the experiment was to have a dark, murky palette while maintaining separation between all the actors. A bit like requesting to...

Revolving around a percussive pattern and bass riff created by the Ploytec PL2 synthesizer, this track is an exercise in early 90's computer sounds, modular synthesis and stuttering beats in an overall sci-fi feel.

Part of the experiment was to have a dark, murky palette while maintaining separation between all the actors. A bit like requesting to be able to run through water.

Aural weaponry evident on this recording :

Ploytec Pi Lambda Squared (PL2) synthesizer for torn bass sounds. Make Noise 0-Coast modular for everything freaky.

pulseworm

Based on a forgotten guitar riff used years ago in a poorly recorded song. By ditching the originals "drum 'n bass metal"-vibe and adopting amore sci-fi approach to the instrumentation. The composition was reimagined and extended to sound like the accompaniment to a large moloch, endlessly ploughing forwards. Aural weaponry evident on this recordi...

Based on a forgotten guitar riff used years ago in a poorly recorded song. By ditching the originals "drum 'n bass metal"-vibe and adopting amore sci-fi approach to the instrumentation. The composition was reimagined and extended to sound like the accompaniment to a large moloch, endlessly ploughing forwards.

Aural weaponry evident on this recording: Ploytec PL-2, Electro-Harmonix Super Ego combined with NI Reaktor Blocks. Recorded and produced in Bitwig Studio 2.

intermission #3 - vexed

A short workout featuring the jagged, lo-fi sound of the Ploytec PL2 (Pi Lamba Squared) synthesizer almost exclusively. The PL2 is a "lo-fi" synthesizer in that it features extensive sound shaping options creating heavily aliased square waves, basically degrading a signal beyond acceptable levels of fidelity. For additional interest, a meter of 5...

A short workout featuring the jagged, lo-fi sound of the Ploytec PL2 (Pi Lamba Squared) synthesizer almost exclusively.

The PL2 is a "lo-fi" synthesizer in that it features extensive sound shaping options creating heavily aliased square waves, basically degrading a signal beyond acceptable levels of fidelity.

For additional interest, a meter of 5/8 has been employed along with an algorhitmic composition using diminished scales. This composition has been generated using my Molecular Music Generator-program which was based on an algorhitm by Duncan Lockerby.

This track also functions as the soundtrack / auditive pulse for the short film "Erasure - the right to be forgotten".

barren

The track revolves around a 9/8 rhythm and is based around the Hungarian Minor scale, though by deriving its modes it provides a more Arabian than gypsy flavour. The lo-fi output of the Ploytec PL-2 synthesizer provides a jagged texture in the bass line that revolves around more crisp ambient sounds, derived from several recorded guitar "accidents...

The track revolves around a 9/8 rhythm and is based around the Hungarian Minor scale, though by deriving its modes it provides a more Arabian than gypsy flavour.

The lo-fi output of the Ploytec PL-2 synthesizer provides a jagged texture in the bass line that revolves around more crisp ambient sounds, derived from several recorded guitar "accidents" fed through multiple delay lines.

The resulting composition sketches a "brooding feel of ruin and abandonment in a desert". Disney wouldn't have any of it for Aladdin. 

point-blank

Morse code-style percussive sounds provide the rhythmic backdrop for a hyperactive arpeggio repeated on both bass guitar and bass synthesizers....

Morse code-style percussive sounds provide the rhythmic backdrop for a hyperactive arpeggio repeated on both bass guitar and bass synthesizers.

squelch (Tasty Chips Piggy demo)

This composition acts as a demo showcasing all the possibilities of a particular instrument. Apart from the percussion all sounds evident on this recording stem from a Piggy, an Arduino-driven monophonic synthesizer developed by Pieter van der Meer of Tasty Chips Electronics. Apart from occasional use of overdrive and delay, all sounds were ...

This composition acts as a demo showcasing all the possibilities of a particular instrument.

Apart from the percussion all sounds evident on this recording stem from a Piggy, an Arduino-driven monophonic synthesizer developed by Pieter van der Meer of Tasty Chips Electronics.

Apart from occasional use of overdrive and delay, all sounds were recorded dry, showcasing the sound of a Piggy as it is delivered from its output. This highlights the dynamic range of the synthesizers ADSR envelopes, FM modulation and resonant filter,

There are a total of eleven Piggy tracks, of which four are harmonizing with eachother either creating chords or multi-voice melodies.

the sentry

A blend of metallic industrial percussion, jagged beats, a hefty dose of pulse-width modulation and ethnic instruments. The narrative of this track shouldn't be unknown to those familiar with the horror that is Geoff Crammonds "the Sentinel" : opening with an ominous drone outlining the tension one feels when desperately trying to remain discreet,...

A blend of metallic industrial percussion, jagged beats, a hefty dose of pulse-width modulation and ethnic instruments.

The narrative of this track shouldn't be unknown to those familiar with the horror that is Geoff Crammonds "the Sentinel" : opening with an ominous drone outlining the tension one feels when desperately trying to remain discreet, this suspense lasts for a few measures only until it is interrupted by an air raid siren setting the pace to ramming speed as the protagonist is found in the shadows.

The middle section outlines the inevitable clash which leads back to a more positive portrait of the initial conflict theme...

...but was the actual outcome indeed positive ?

heliopolis

Arrives at your ears in three parts: An eastern-tinged opening, in which low flute-esque sounds pair up with percussive glass sounds and wooden hits. This slowly leads into the drumbreak section where filtered slap bass coupled with effected guitars and washes of synthesizer pick up the pace frenetically. This part moves steadily towards its end w...

Arrives at your ears in three parts:

An eastern-tinged opening, in which low flute-esque sounds pair up with percussive glass sounds and wooden hits. This slowly leads into the drumbreak section where filtered slap bass coupled with effected guitars and washes of synthesizer pick up the pace frenetically. This part moves steadily towards its end where it breaks down into a piece that is best described as "stoner dub", where off-beat hits complement the percussive sounds of the piece's opening, accompanied by abstract noises for a downbeat outro.

ganymede

Kindly remixed by Mike Senior for the December 2011 issue of Sound on Sound magazine. Multi-part composition: starts off with a wall reminiscent of being inside a ballistic object breaking through the clouds while being met with chants during it's descent ( it happens, you know ).The main part ( "ascension" ) features low string-esque pads paintin...

Kindly remixed by Mike Senior for the December 2011 issue of Sound on Sound magazine.

Multi-part composition: starts off with a wall reminiscent of being inside a ballistic object breaking through the clouds while being met with chants during it's descent ( it happens, you know ).

The main part ( "ascension" ) features low string-esque pads painting a moody melody, paired with "spaceship engine" sounds propelling the cosmonauts forward into a crunchy guitar chord crash ( playing Rachmaninov-style inversions of minor chords ) predicting catastrophe. After a repetition of these parts it descends into a demented dance that sounds like a drooling monster tongue tripping over itself.


Aural weaponry of interest that is evident on this recording: a velocity-layer sampled toy piano which was bought off eBay ( the piano that is, the sampling still had to be undertaken ), that appears in the second occurance of the main theme, along with a SH-101 synthesizer which, after having it on loan for months, ends up being used just to go 'bip-bip-bip'...