Apetechnology practice

Triangle - Jungle Animal Posse

Feed the Mask - Jungle Animal Posse

messing with particle and the kaliedoloop feeding traktor, basically messing around but this could be a fun backtrack to a larger song.. enjoy, twist and mutate 

Your Naive Idiocy Makes Me Very Angry

Joint venture here between myself and Jeff Central.  Part of our exploration of the sub 90BPM zone.  A mix of maschine, iphone, ipad, animoog, assorted strangeness and more. Recorded live in one sitting while drunk.  Youtube samples at the end there. 

Slither

This track was composed on April 15th 2012.  It was entirely produced using the Korg Monotron, the Korg Monotron Dual and the Korg Monotron Delay.  Nothing else.  Three Monotron loops were recorded into a Kaiossilator Pro and a "live" track using the Monotron Delay was layered on top.  Enjoy!  

Monotron Waveforms

CQBL041 | WEDDING | ON BEYOND YUGGOTH | C30

Simultaneously moonstruck and fragile ritual noise from Karen Eliot (The Mumber Toes) and Clay Ruby (Burial Hex), opening doors for the Great Old Ones.

Winter Solstice MMXII
BRAVEMYSTERIES.COM



Wedding - Darkly-splendid World

Track One from the forthcoming Wire album "Change Becomes Us"

Change Becomes Us

Doubles & Trebles

Pre Order Ltd Edition

WIRE – CHANGE BECOMES US – pinkflag (pf20)

“Well, it seemed like a good idea at the time…,” laughs Colin Newman when asked to explain Wire’s original motivation for Change Becomes Us. While that might sound like the kind of feeble excuse you’d offer in mitigation when a drunken escapade goes horribly wrong, not only was it a good idea, it actually turned into a superlative one. 

In spring 2012, Wire’s plan had been to convene at Rockfield Studios in Wales to review the rudimentary blueprints of songs that had never made it beyond a few live performances in 1979 and 1980 – a time when the band-members were in creative overdrive yet the band was disintegrating. The aim wasn’t simply to resuscitate and record old songs – in fact, many of them hadn’t become proper songs in the first place, existing only as basic ideas or undeveloped parts. Rather, the objective was to approach that unrealised work as an oblique strategy, a potential springboard for Wire’s contemporary, forward-looking processes, a possible point of departure for new compositions.

This took place with Wire firing on all cylinders, as a four-piece studio entity again, the core line-up of Newman, Graham Lewis and Robert Grey now enhanced by guitarist Matthew Simms. Simms had played a key role in helping the band to cultivate and shape its new sonic landscape throughout the preceding year’s live work. Out of the exploratory Rockfield session and subsequent, extensive development and production at Newman’s Swim Studio, the ostensible source material became, in the classic Wire tradition, something quite other than what it may have once been or what it might have become if it had been pursued in 1980. 

“Love Bends” is a case in point. Its roots lie in “Piano Tuner” -- the raucous, octave-hopping number performed in February 1980 at the Electric Ballroom in Camden and preserved on Document and Eyewitness -- but it’s now morphed, improbably, into an irresistible, totally modern pop song. “It had to be turned into something else,” explains Lewis, “because it only really had one bit.” Just as improbably, the gently lilting “Re-invent Your Second Wheel” is tangentially connected to the notorious “Zegk Hoqp,” which was more of a one-time happening than a song at the Camden gig -- mostly shouting and banging, executed by a stage-full of Wire cronies in funny hats. “It was written for performance, around people with newspaper headdresses; not with music in mind,” Lewis emphasizes. Similarly transformed, “& Much Besides” is a six-minute oneiric-melodic interlude that gives no hint of its putative origins in “Eastern Standard” --  a dreary, obtuse three-minute geography lesson delivered with former manager Mick Collins at the Electric Ballroom concert.

Newman’s writing and production reimagines the past in ways that ultimately break any substantive connection with it, making entirely new pieces; and these songs themselves enact Wire’s restless drive to become other, often thriving on a fundamental tension between opposing sonic characteristics. With its stop-start, soft-hard, quiet-loud structure, “Adore Your Island” veers between what Newman describes as “prog and unhinged punk rock,” never quite resolving itself; the drama of “Attractive Space” hinges on a progressive splitting of the song’s personality, between its calm expansive, anthemic orientation and an increasing sense of intensity and claustrophobia. 

Change Becomes Us encapsulates the paradoxical essence of Wire’s creativity. The tendency of these new songs to refuse a single, settled identity is emblematic of the band’s ever-evolving aesthetic -- one that’s always hinged on sustained tensions and oppositions: between the familiar and the unfamiliar, the comfortable and the unsettling, the melodic and the brutal, the cerebral and the visceral, the smart and the moronic, the obvious and the inscrutable, the rational and the absurd. This intrinsic, core ambivalence generates the essential otherness that has characterized Wire’s most memorable, distinctive work -- from the epochal innovations of Chairs Missing and 154 to the electronic-pop deconstructions of A Bell Is A Cup to Send’s postmodern-punk expressionism and the widescreen lyricism of Red Barked Tree.

Change Becomes Us is an undeniable part of that illustrious lineage. Definitely more than just a good idea at the time.

Wilson Neate


Love Bends

New solo material that I've been working on.  This particular mix was recorded shortly after coming home from the hospital.  I enjoyed 10 solid days of dilaudid; the only thing that kept me from extreme pain, or at least thinking about it.  I find this track particularly soothing but make up your own mind.

Jeff Central 52712 exp1 mix2

I've been recording alot of bit experiments lately.  This little gem makes me think "china, mao, process, order, army, do what i say not as i do, etc.."  Something about this track makes me think GO in absolution sort of mindset.  Sure it feels distinctly russian as well.  I dunno, fun though.

The beats are generated by Kaossilator2, pumped into Maschine and processed by The Mouth, then sent back to the S4 with additional elements.  

MAO PROCESS

10-Speed Guillotine
Profiles


Jeff Chenault (Central)  Don’t leave this man alone with a tape recorder.  Well trained in tactical subversion, he is the master at technological manipulation.  Untrained on conventional instruments, he instead concentrates his maniacal energies on bending tape recorders, synthesizers, percussion and pure noise to his will.  
     Being very much into the underground cassette culture, he is the founding member of the I.T.N. label (short for International Terrorist Network).  In addition to releasing his own tapes under his own name and various collaborations, he also has numerous tapes done for labels around the world.  His first vinyl appearance was when a collaboration track between Jeff and Chris Phinney appeared on the Hands To/Mental Anguish split LP.  This album was issued as a limited edition of 250.  Since then he has appeared on two CD compilations “Music For Shopping” and “Adventures In Modern Recording”.
Both are compilations of electronic musicians from Central Ohio released on the Black Music label.  Since meeting Andrew Izold in 1990 they have released a plethora of audio mayhem under the names 10-Speed Guillotine and Resonance.  Jeff also currently plays out live as Central Inhabitants to showcase his dark subsonic nightmares in sound.

Andrew Izold (Alois)  The straight man; the safety coating on a bitter pill.  Andy has worked in all styles of musical formats, on any number of instruments.  The more conventionally trained of the two, he has played drums for the R.C. Mob (on Warner Bros.), and produced as well as engineered the first Scrawl album on Rough Trade.  He has played guitars, drums and synthesizers in numerous country, punk, experimental and rock and roll type bands.  He also creates music for various video productions and owns his own recording studio the “Pleasure Lab.” He has also appeared on two aforementioned CD compilations “Music For Shopping” and “Adventures In Modern Recording”.
After graduating from Akron University with an electronics engineering degree he now resides in Cuyahoga Falls, Ohio.  He still works with Jeff Central creating soundscapes under the name of Resonance and continues to pursue his own eletro-alternative sounds under the guise of Full Load of King.


Monotron Waveforms

Jeff Central

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