Very elegant track! This brings out the rich and well-rounded capabilities of the M32.

beautiful. patch sheet? remarkable sounds. my Mother is waiting.

thanx for something like this! this gives synthesizers right to get involved in music forever!

good classic ambient. reminds me of The Ambient Cookbook.

Shop theft, joy riding, hot pursuit, glam fashion, house party all one afternoon in of the life of a sticky fingered rascal

Before The Red Lights Change

There is this recurring dream that I have. At some point in my future, everything I grew up with and everything I know about my past—the places, the memories, the pets, my family, my friends—are replaced with a sprawling empty city, devoid of any life. I drive around at night, homesick, frantically looking for any sign of my past but can only find an orange glow of city streetlights, and a maze of buildings, concrete, and asphalt—all in decay. It's taken me years of reliving this dream to finally realize what it was trying to tell me, with the help of Alan Watts: "The past and future are real illusions, that they exist in the present, which is what there is and all there is."

I started writing music for Lost Hills as a way to set free this illusion of past and future, to let go of the nostalgia of my childhood and release the persistent, crippling anxiety over what is to come. Lured back to the memories of my 1980s youth, Lost Hills is a collection of weird, slow-motion future-retro synthpop saturated with Betamax-modulated, reverb-drenched synths, delay-soaked staccato guitars, obsolete nu-disco grooves, ice particles floating above peaceful harmonies, along with intimate stories of loss, unmanageable fear, and paralyzing regret. A record inspired by the synthpop of the past, and a sentimental dream of synthpop from the future. Lost Hills is depressing music you can dance to.

Portasoul

WIRE - released April 13th 2015

pre order album here - https://pinkflag.greedbag.com/buy/wire-10/

Wire

Joust & Jostle

Split Your Ends

Every sound is sourced from the RME, tracking Midi notes to Logic then controlling the RME as it plays the sounds, one track at a time. Audio mangling from real-time control of Eventide H3000. Post processing with delays and backwards reverb, and editing within Logic. No other synths or audio sources used.

1.Recalcitrant Malfeasance

RME makes the main sounds, especially the pulsing sequence pulses, noise percussion and distorted lead. Some drum samples in Logic help the rhythm, but most of the rhythm comes from multitrack RME. The distorted lead is RME tracked live through Metasonix Butt Probe with voltage control and active knob twiddles, plus H3000 delay. The cloudy metallic lead is played through an EoWave Resonator (an electro-acoustic metallic speaker.)

2.Netaplexy

The bulk of this piece comes from two loops made up from RME melodies played  into a Line 6 Echo Pro, mixed in and out from each other. The bass notes also come from RME. The slow-motion drum derives from mangled Dumbec loop, and the ending cloud comes from layers of PVC flute.

3.Not Lost But Hiding

Unknown Arrival

Live looping doodle with two lovely Mothers going into a bunch of lovely effects pedals.  No sequencing or overdubs and parts played using M-32s built-in keyboards.  Effects used - Strymon Deco, El Capistan, DIG, Big Sky, EHX Pitch Fork and TC Ditto Looper.  Hope you like what I'm trying to do.

Moog Mother-32 x 2 Doodle #1

Our second single featuring Kerry Devine (backing vocals) and Anna Scott (cello) off our upcoming album, due out at the end of July 2012.

Moog Mother-32 x 2 Doodle #1

moodscaper

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