Working in the liminal spaces between electronic and hip-hop music, Jamie Simmonds does much more than craft songs: he carves out sonic journeys worth revisiting again and again. Richly textured samples meet scampering beats along the way, plush synths form the perfect pocket for boom-bap loops, and before you know it, you find yourself deep in the wilderness of your mind. A Millennium Award-winning producer, audio engineer, and DJ, Jamie has worked with labels like NTone/Ninja Tune, K7, and Crammed/SSR, as well as artists like Alison Goldfrapp, Ian Simmonds and Pressure Drop.



Le Pop, Le Folk, Le Trash, Le Blah 
Our album is now on Spotify, Deezer, iTunes, Bandcamp

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¥REBELIOUS MIXTAPE DROPN 11/1

SPACELAND RECORDS AND PRODUCTIONS

A door handle falls off, floors are taped and demolished, the bathroom may be your mother’s wildest nightmare, but the music is raw and the booz is heavy. Welcome to Spaceland Studio Madrid pilgrims…

         Welcome to Spaceland Records & Productions’ Sound Cloud page. Here, we showcase a variety of different musical styles and levels of bands, artists, and musicians whom have recorded, composed, produced, and/or created music at Spaceland Studios Madrid over the span of its conception and evolution.
         Founded by composer and songwriter Robyn Green in late 2008, Rob’s Spaceland began as just that, a small operational studio for him to compose and arrange his own material in order to prepare original songs and works to be put into live performance for tours and produced into higher fidelity studio albums, most importantly keeping quality and originality in mind at its core. 
         Shortly after opening the studio, Rob was approached by some other bands in what was at that time, a very “makeshift” establishment compared to actual recording studios. Armed with only a Mackie mixer, Roland VS1880 Digital Workstation, and some microphones, recording projects were extremely limited to artists having their shit together and entering solely to record raw, uncut, material either as demos, or music that could later be worked on in studios that could provide adequate fidelity and easier work environments for artists to finish their projects. Nevertheless, the enthusiasm and comprehension of several who came in to work on music in the old space (at a just price given the quality of the gear) spawned an interest of newer upcoming artists in the Madrid area contrived of expats, Spanish groups, and foreign bands alike searching for a studio that would allow them at least to capture their music in its true state, without dissecting every track in a computer program or auto-tuning every sonic rarity that arose in vocal performances. 
        Limited options demanded higher degrees of performance, but the willingness for many artists to choose Spaceland over larger studios became a signature aspect to offering every artist a possibility of recording their music with owner and chief engineer/producer Rob Green in some concrete format as long as the artists’ sole intention was not to over-saturate the market with the same old redundant commercial pop, rap, R&B, and horrible dance remixes destroying great original bands’ songs. One philosophy heavily surrounding Spaceland as a studio is that this kind of music that has ultimately “killed” the drive for many bands to develop their own sound, while simultaneously wiping feeling and chance off the map in terms of being elements which strongly influence an overall record or performance.
         As much as raw, lo-fi recording capabilities had their own quirks and unique elemental advantages, Spaceland made the transition to computer-based DAWs by mid- 2009 incorporating Logic Pro and the adoption of plugins, while later bringing in a Soundcraft Analog Console to add more warmth to the sound design. This decision came as it only made sense to enhance fidelity, store more projects that would provide more compatible formats for bands and artists’ work to be carried to other studios, and to allow for the possibility of adding high-end outboard gear and audio conversion that would enable artists to be more content with the sonic results, possibly saving them bank in the long run from having to deal with pricier rooms and oftentimes pompous attitudes of sound engineers who believe they own the music industry based on the room they work as opposed to how well their ears hear.
         While upgrading studio equipment, demand that artists have their shit together (or a producer would be the only artist) remained paramount and projects were not forcefully polished, leaving the ultimate sound up to the artist unless they verbally indicated a desire to have production input for their project. This factor would be one of the principle aspects distinguishing Spaceland from other studios and business-philosophies. Rather than selling every word in the dictionary to bring clients into the studio and make money, artists only wishing to control the pop industry were encouraged to find another studio to do their music in. These proposals were not made in a way to demonstrate any degree of pretentiousness against those who want to be pop star queens, but to firmly indicate that Rob’s own philosophical belief in recording artists is that if he cannot in some way or another be passionate about what is happening, artists won’t attain the results they deserve after paying for the work.
        These key indicators were not to say that every group that has come to Spaceland has everything in their project pinned up against the commercial pop industry, nor that they were favorites to Rob, Rob Thornburn, or Woody Woodenman (two other producer/engineers), but that every artist had some sort of charisma, originality, or musical characteristic that was unique and in itself worthy of musically fucking around with and trying to capture great recordings. 
         Spaceland has since evolved in profound ways. Apart from being well-known by virtually all bands and artists whom have worked there as being a hub for disastrous carpet, broken door handles, occasionally humid and hellish conditions, and interruptions from other friends and artists buzzing in to drop by, Spaceland Studios strives to take a Lou Reed-like approach towards giving character that is not always pleasing but honest and blunt, where the attitude is definitely worth the rock n roll involved, leaving the posers aside and humiliating poor performances via honest critique, laughing them off even temporarily hurting some feelings. The studio further characterizes its reputation by bringing mobs of regulars in and drinking the Asturian bar across the street into the ground (or the musicians and Robs), while proudly representing themselves in the center of Madrid as the one-of-a-kind, all original alternative studio like no other in Madrid, and for that matter possibly all of Europe.
         At this Sound Cloud page, be prepared to throw headphones on, blast some speakers, maybe turn some songs off, or turn others loud to the top. Represented here are merely tastes of new and practically unknown groups of bands, musicians, and artists caught by the vibe of life and perhaps making a statement through their own honest interpretation of love for music. Love it, hate it, but most importantly, soak it up because by the way radio sounds today, this will all be gone tomorrow.       

Followers of B. Baxter