Category Archives: Heavy Metal

Various - Plug Dub 2 (CDr)

Acid Sequencer Tom. MIX adjusts initial balance between waves. Lead Pulse Matt Park. Bass with feelings Ariel. Galactic Blaster Justin Reynolds. Heart Beat Justin Reynolds. Step Sequence C - G - rest - rest - C - A - rest - rest Sounds good with some reverb with a low-pass filter on the ver.

Klick Klack rujex. Sounds best for me in Arp at No. I enjoy adding phaser, chorus and reverb with an Zoom Mscdr.

A nice breathing acid bass tone. It's a pretty Various - Plug Dub 2 (CDr) patch with a lot of tweaking opportunities. The patch still sound. Random Metal V1 Synthesis.

Set your to random. Then record Various - Plug Dub 2 (CDr) same C note from on the sequencer. No swing! Random metal seq lfo. XK5 Quindar tone synthesis. Record a sequence or arpeggios, then set up a one note drone over top.

Tune with LFO Rate anywhere past 3 o'clock. Simple Brass - cloned Synthesis. Simple brass. Brass Lead. Basse LM. Sweeping Arp Paul. Pwm bass Synthesis. Be careful with this patch. It may destroy your headphones or speakers. Or your neighbours windows Bass Nello Biasini. Kind of Sub Oscilator That's some weird sh. Marshwarbler Steve Richard. Beat Drums. Saw this patch somewhere and thought more people should see and hear it. Supposedly taken from the Mother Selfgenerating Experimental.

Bass Mod Style - cloned crave bank. Sharp and agdressive. LFO rate master sync controlling t. Bass Mod Style Mariano Mart. Simple Arp DivingInSpace. Simple Brass Synthesis. The first thing you need to do is to set your sequencer to random. Then record the same C note from on the sequence. Bleeps Random Sequencer vintage scifi computer. Noise Baseline Petrus. Twisted Chances Oceans Resurrection. First create a sequence and select the Assignable output mode number 8 "Sequencer step random" see page 41 in the quick.

Filtered evolutive sequence. Wilder Steve Richard. OSC mod to move from squelchy to elastic. Simple note on note off works ok. Minimal possibility kamlot. WubWub Bass menbursa. Reso Bass 2 Tom. Gliding Moog lead Tom. Sync to Various - Plug Dub 2 (CDr), play with Filter and Tempo. Distorted Bass Spellfox.

Bass Plucked Justin Reynolds. Revolvin' Chords GastaK. Tune LFO to C. Melodic Techno Equal Sidez. The cutoff and LFO rate. MIX Assign Interpolate. Cyber-lead GastaK. Coffin Song GastaK. Mixed Power Rio Rattenrudel. The cutoff and mix pw, saw can be contr. MIX Assign. Stranger Things -ish GastaK. Rythmic yet chaotic self-playing patch that remind me of submarine sonar-like patterns.

To make it fully work, record a. Drone self-playing submarine chaotic. Drone self-playing. Sequencer Bass Mother Patch Rescue Metal Snare Mother Patch Rescue Basic Mister-Pierre. Color the third oscillator by playing with the Filter Cutoff and Resonance.

Great patch - try adding Mix 1 - Osc Pulse f. Three Oscillator Rumba Justin Reynolds. I usually use this t. Droner Bowmentum. Resonance and filter are key for overtones, and can be automated. Oscillator mix adds percussive overtones. Drone Bowmentum. Wah bass angstagainst. Play it with the sequencer Play higher notes Play with accents Play, play, play!

Play the notes between c4 and c7 Use some accents in sequence Use sequencer to get right groove Best wishes and fun and. MD2 Mark Dunne. Run this thru a chorus and a delay or reverb Play with Pulse Width and resonance Sequence parameters with external gear.

Drone Generative Noisy. Vienna The Complexity. High distortion bells Mato Li. A basic patch i wanted to save Hynamo.

Blade Funner DAR. Phat Multi Osc Tuned Dar. Really very very fat bass, 3rd octave, tune the LFO and play with the pulse width, shake the plaster off the walls. PWM Bass Filth. After patching all tune down to the lowes key Push the button and hold it for a short while. Melodic Techno Lead The oven. Techno Melodic Lead Stephan Bodzins. Create pattern with octave rangethe high freq notes are important. Plug patch cable in osc fm input. After patching play note and listen Industrial ebm bass angstagainst.

Bass industrial angstagainst. Hold the ruler on nthe edge of the table and slap it You will hear it bounce up and down again and again! Do you remember it? Play a two notes seq.

May the force be with you. I am a 63 years old technician and love to explore new hardware. Random noise smooth laser sounds Mato Li. PsychLead Monero. Cold Wave Monero. Unlike the previous tournaments where all you needed were some tables and chairs, running a convention was an entirely different matter.

Aside from a huge space, larger than what was taken up by tournaments, running a convention would need sound systems, electrical outlets, and booths that could be managed by individual retailers.

One of the largest and most popular malls at the time, SM Mega Mall, had a venue for such an event. In fact, it was a hall rented out to various non-hobby related conventions and for quite some time, was the venue of the Philippine Book Fair.

It was the Mega Trade Hall, 3 modular halls that could accommodate a huge number of people. All 3 halls were usually rented depending on the budget and the place was divided among the retailers. It was a bazaar of sorts as not only CCGs were sold but any shop that was closely related to the hobby such as comics, anime, and toys.

The convention enjoyed some success, at least enough to perpetuate it several times. I remember working for one of the retailers during the 3rd such convention and it was easily the place I satiated my desire to meet fellow anime fans.

Unfortunately, Novelty Entertainment would later fold as a business and with it this massive, multi-hobby convention. That's not to say there weren't events that attempted such a convention. I faintly remember a Star Wars mini-convention at the smaller Shangri-La atrium although I never really got to attend the event.

And then there was this Otaku Rave anime party hosted by Sterling Animation but it lacked a certain excitement for me and was more of a rave party for anime fans. Of course init was at that time that pockets of anime culture was being cultivated. Not only was anime hitting it mainstream thanks to Yu Yu Hakusho "Ghost Fighter" is the local dub of the show and Gundam Wingbut smaller events such as an anime film showing was behind held by various groups I cleary remember the Anime Arki shows in UP as well as the OraCafe screenings by Anima Anime.

And then inthe wish of every anime fan came true: we had a convention that was solely devoted to anime. The name of the event was entitled Anime Explosion and was held at the SM Mega Trade Hall over the span of three days it was a weekend and semester break for the students to boot. Related keywords: mp3towmaconverterwma decoderaac to mp3ogg to mp3ape to mp3decoderogg decoderwma to mp3rm to mp3oggac3 to mp3wav to mp3ra to mp3mp4 to mp3audio converterwma converterwave to mp3sound convertermp3 encoderflac to mp3ac3aperaaacwavsoundwaveflacaudioencodermp4rm.

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Despite all my considerations and doubts and perhaps insecurity I thought this was a great record. Now they did. In a short period of time this is the second collaboration with John Duncan, although his record with Jim O'Rourke didn't make it to these pages.

The cover of this album isn't black as in all black as in "It's like, how much more black could this be? And the answer is none. None more black. The vinyl itself is green. The shotgun holes leave traces of paper on the vinyl itself. Duncan made the source recordings and I assume they both worked on the end result.

On the side with the black label things are in a straightforward Merzbow-like noise manner. Loud, distorted, like a hundred records stuck into very dirty grooves, but mixed together with much consideration. Unlike a more average solo record by Merzbow, things here are mixed with a keen eye for variation and occasionally we hear the original sound sources, which seem to be field recordings of heavy weight objects in a large space, or maybe some sort of shortwave.

Maybe this more careful yet not always careful music is the reason why this is released under Akita's own name and not Merzbow? A pretty strong record if you ask me. Lots of variation, lots of consideration and lots of noise. Everybody wins. Their first two CDs I really liked, see Vital Weekly andbut was very much disappointed by their third release 'Valentine Lost Forever', in which they moved to a more atmospheric Various - Plug Dub 2 (CDr) like band with vocals that reminded me of Current 93, and that is, in my humble book, not a great thing.

Following a witnessed so-so concert I heard another record with Zsolt Sores and Jean-Herve Peron, with was quite all right. Improvised, rock like. Here is a new record, with again an extended line up, with Zsolt Sores now a main member, but also Olga Drenda, Hayden Berry, Ian Darlinson, Lukasz Kozak and instruments listed include field recordings, vocals, viola, guitar, samples, spoken word, clarinet, monosynth, and bass.

There is a large amount of spoken word and vocals on this new record, but somehow it sounds less David Tibet and more like their own voice. That is by far the best piece on this record, but I must admit I quite enjoyed the whole record actually.

Some of its content may be a bit gothic, such as the dramatic timpani sounds in 'Dream Your Dreams', but the fine mixture of improvised music, rock like sounds, vocals, spoken word and an occasional nod towards pop structures make this actually a very nice record. Sometimes dark and closed, but also at times open with the gentle strumming of an acoustic guitar.

Now his new enterprise is called Editions, and releases his own work. With this thick grey cardboard and two pieces of vinyl, this feels like a heavy package. The music is something different than you would expect from Kahn. Normally you'll find him with an analogue synthesizer, percussion or laptop playing minimally dense patterns of sounds; on this double LP he offers a collection of thirty-seven short pieces all recorded in Kyoto.

A Polaroid if you will from the city, 'exploring social space through everyday sound', and not just focusing on things you may associate Kyoto with, shrines and temples. Each piece is described on the insert, which provides some nice reading material.

I visited Kyoto many years ago, and it's a beautiful Japanese city - but I might be biased: I think I like Japan - so you could think these sounds are familiar to me, but they aren't.

It's been seven years ago and perhaps I was listening in the same way as Kahn did. However the sounds he recorded, the interaction between people in everyday situations, from perhaps odd recording perspectives, allowing sounds to drop in which you might not expect makes this a truly fascinating, aural trip to the city. Street sounds, shops, temples, pachincko, semishigures and other nature sounds.

Topped with Kahn's writing on the cover it might even make sense for those who never been to Kyoto. A beautiful product. It makes me wanna go back straight away ok, perhaps not in July, the hottest of all months over there, I believe. Perhaps that is a pity, I was thinking.

It fulfils my expectations - 'oh, another one of those very nice drone inspired releases of which we receive a lot' - but at the same time I must admit this is a release that I quite enjoyed. If not for its originality - it isn't - I think Connors produces his textured pieces quite nicely, with the right amount of variation, with lots of drama, but also with some extra bite in 'Our Bodies Draped In Moss And Cloud', with it's distortion gently weeping in the background, or the slow evolving loops of 'Bramble And Thorn', hovering in near silence.

Small variations in a well explored sound land. I quite enjoyed it on this somewhat lazy day. They play six tracks here and on two of them they are guested by Crys Cole on contact mics and objects. The tracks with her were recorded in Junethe other pieces in Lots of silence, small bursts of feedback sounds, crackles and sine waves.

You could hardly say this is easy music, as it requires quite a bit of your attention. Like much of these people's solo activities this is perhaps all more microsound than pure improvisation, but perhaps that's mainly due to the much used silence around here, as well as some more continuous sounds from radio waves and modular synths creating deep end drones. What I remember of those early Internal Fusion albums, is what I recognize here too. The music is heavy on the use of rhythm, mechanical and tribal or maybe that should be tribal yet mechanicaland swirling around that, organ-like drones, moving in and out of the mix.

An additional third component is where Latteux plays around with the effects, which is a signifier that a piece is going to morph into the next section. The entire piece is one, long driving force, going from mid-tempo rhythm to a bit down-sized one, going up, with lots of minimalist drones to accompany the piece.

Because the sound energy never changes, this is a bit of a hard affair to go through, but I enjoyed it all the same, especially when the beats showed a bit more tempo, especially those at the beginning, which was a curious mixture of tribal meets medieval sounds.

From to Attenuation Circuit organized the "Reflections" festival, of which 'R E' is the logo. Each edition saw the release of a CDR for those who went to see the concerts. The three tracks here are first time collaborations.

I started at the end because I feared some heavy noise there. I don't know. The Oval Language provides the vocal improvisations along with plink-plonking an instrument of his own making, which slowly builds in a most curious strange affair of sampled flutes, synthesizers, and towards the end a drum loop.

I quite enjoyed this piece for what it is, a first meeting that delivered a great conversation. That is the question here. It is a musician I know very well, appreciate a lot, and I know will deliver lengthy explanations. This time I put the explanations aside and decided not to study the Bandcamp page, not the covers and do a blind run first.

Sit down and play all four, stick a note on them with a few words and then find an order to discuss them. Maybe the order goes out of the window in this discussion. Overall, after hearing all four, the question is, why release it like this, four separate albums? Why not on one album with the best of each, and have an E.

He anticipated this question and answers his question. In terms of listening experience, he wants to keep all the tracks together that he thinks should be together. So, 'Beheadings 2' is the follow-up to number 1 see Vital Weekly and deals with analogue synthesizers and oscillators, straight to tape, and 'Will Dirty-Up Your Song' sees him singing again.

That he didn't do much in recent years, but these songs he also did when he was one-man punk Belch. As Nitric Dierick plays his take on techno music, and in the Dierick imperium, nothing is what it seems. There is a certain sadness in these electronic pieces, which are covers from "an Idiot Savant, unknown artist", B. Stabs of a synth, one man singing slowly with a deep voice, and it somehow sounds the very early 80s. Not in a pleasant synth-pop way, but dark poetic stuff, with some strange undercurrents.

I was reminded of some Craig Burke's music such as 'Excavation Blues'. I think this is all pretty strong material, maybe a bit outside the world of Vital Weekly, but I'd say this is something that definitely needs further exploration.

In the 'Beheadings' series, he deals with synthesizer and oscillator sounds which he plays and commits straight to tape so that the fattest sound is achieved. These pieces are strict improvisation, and as with the first instalment, this doesn't result in some noise wank, over the top screaming wall of synthesizer sounds, but he moves around from deeper drone variations to scratches and clicks or even beats. I would think there are no further sound effects used here.

The A-side, with one oscillator, goes all over the place, and on the other side, it stays in one drone place, throughout the twenty minutes this piece lasts. The music consists of louder and softer fragments of his archive, stuck together in the fabric of sound collage.

Here we have loops of slowed down percussion and a wind instrument in a loud section in the first half, and something much more synth-based in the second half. When things are quiet, they sure are very quiet.

This piece ends with field recordings. Purely as a private listener, I think spoiler alertthis is my favourite of the four releases, but it is closest to my private interests in music. I like the sheer variety of sounds in this, the way it moves from loud to quiet and vice versa, the variations between electronic sounds and found sound, makes this a delight to hear.

Nitric is Dierick's interest in techno and rave music. There are some online releases, there have been some live sets, but as he says, 'it never went too deep'.

On this album, it is not about some straightforward I didn't expect this to beso no heavy beat music, but something that is stripped down, techno drones if you will rave without beats. The sort of thing you hear when you consumed too much alcohol or drugs and the beat goes on in your head, long after you went to bed and you can't sleep.

This is not happy-clappy music, but something that speaks of bad trips and nightmares. Not that I enjoy those particularly, but the soundtrack served by as Nitric sure sounds great. It is an entirely different kind of rave music and, obviously, Tuesday afternoon in rainy Nijmegen any sign of whatever party is far away.

That makes this an Various - Plug Dub 2 (CDr) different listening experience, but a most enjoyable anyway. I had not heard of French musician Nicolas Clair before, and here it is the usual 'no instruments mentioned', but again the press information gives away this, "bowed string objects, InRealLife plug-ins, Cristaline magnums filled Suze and Half-Satanic Sampling", if that makes any sense to anyone.

The twelve pieces are collages of sound, that much is easily! He bounces them around, and before the land, they have changed once again, or something leaps up out of the clear blue sky.

Sometimes this is as chaotic as it may sound, but also, strange as it may appear, it is sometimes quite organized. Maybe a self-regulating organization principle that is going on here? Hard to say, but it works quite well.

Gimme Some Muffin - Beggar - It Beggars Belief... (CD), Smear Campaign - Napalm Death - MP3 Stereo (CD), Electronic History (Future-Electro-Jazz-Mix By Nova-Spes) - Illusion Of Light - Ferngesteuert (CDr,, Into You (3D Club Mix) - Shauna Davis - Into You (CD), Eres Diferente - Los Cinco Latinos - Lo Mejor De Los Cinco Latinos (CD), Recordare - Wolfgang Amadeus Mozart - Irmgard Seefried, Gertrude Pitzinger, Richard Holm, Kim Borg,, Take Your Guitar, A.M. 180 - Grandaddy - Under The Western Freeway (CD, Album), La Cucaracha - Roland Shaw Y Su Orquesta* - Mexico! (Vinyl, LP), Alley (Radio Edit) - Ying Yang Twins - Say I Yi Yi B/W Alley (CD)

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9 Responses to Various - Plug Dub 2 (CDr)

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    BIJWERKING - TIJD (CDR, private) BIJWERKING - MUUR (CDR, private) About two years ago, there was a sudden cascade of releases by Egbert van der Vliet on his Non-Interrupt label (which was a continuation, after a twenty or more hiatus from his previous label, Interrupt), working under various guises, Pool Perverts, Kyntronik, and Klinikum.

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