Great sound quality on this one. Very 60s for Dexdexter!

DexDexTer -  All the songs (except Cosmetic and Functional) as far as I know ...

Audio replaced 13/06/21

G's guitar on The Day After. F*** yep.
One of the few instances where Xav backed G, playing 2nd guitar during TDA, supporting chords / supporting choppy chord bass, and the reason G got even more experimental with the very end there. Which was great.
Also one of the songs where Colin Thurston's old bass chorus pedal unit later really shined, creaming this bassline to spatial perfection. 
And Gage's bassplaying here, against those off-kick drums, during TDA - it's like the swisswatch meets Mick Karn of bass-playing or something.

April 31st  & The Day After (1995 live cassette tape demo)

Left to right: Colin Thurston, Paul 'PK' Kendall, ..and a brilliant Australian studio assistant whose name I think was Neil / Neal. But I've been wrong before.
Roundhouse Studios, London Bridge, mid 1996.
Paul McCartney's studios back then, "yaknow".

Picture by Gage S.

This track was *very much* finalized by Paul Kendall's lone production.
He made my self-sampled, programmed drums, sound real, for starters, which is something we sometimes intensely pursued, for budget reasons.

Another song -recycled from an old synth track- mostly reworked from Gage's bassline riff, then rearranged / structured by Gage, G, and myself, drastically & overnight re-orchestrating all its sequenced stuff. 
I'd never seen a song transmogrify more than this, right before my eyes.

PIctured far right, my moog prodigy, and the 3.5" data diskettes box for my [exdemo] Ensoniq EPS sampler, next & atop - that sampler sounded awesome when it worked properly, the strings on Winter and most hammond / farfisa / digital sounds originally came from it, but being exdemo -and built by Ensoniq- it always had surprises in store and was itself sometimes resampled onto the S50.

Under both of those, the Emulator 4K which then was our studio novelty, but quickly got incorporated taking care of a lot of backdrop stuff as I slowly learned the machine operandus. 

Pictured far left, the display monitor for my [also bought on sale, in 1988, as 'old tech'] Roland S50, 12bit sampler. Best actual sounding sampler I probably ever had. Roland had done some clever algorithmic 'gap filling' computations on their AD/DA convertors, to compensate for the 12bit / 30Khz resolution, and the result was a truly umpthy + granular-sounding-like sampler, which handled like a multitimbral Fairlight III once I connected it to a small tv monitor with video input, pictured far left, but also had the crunchy gritty sound of the Emulator II / SP1200 12bit systems. So it became my trusty and potent sounding workhorse.
In the era of the all-in-one touchscreen coloured buttonpad digital controller, this may seem ancient, but it was the early days of the workstation. And 12bit still sounds better.
In them days, even drum machines with velocity sensitive pads were still a novelty. 

The Prodigy's Liam had the W30, the model that directly replaced the S50, and he felt the same way towards his, also for the longest time - as far as I know he still uses his.
Cause a 16bit Fairlight III sounded horribly unmusical compared to a 12bit S50 - and I didn't know this at the time and I wanted one. Lol.

'The reason Fellini's movies work, when the seawaves are represented with cardboard, is cause in art the cardboard version often works better, as symbolic representation' - Jean Michel Jarre.
The reason Winter's percussive sequence came out the way it did was the S50, first time I seriously sat down with it and plugged the individual outs + midi only Cubase, with an entire winter night in front of me, learning to like its digital filters and how to use resampling to 'self-oscillate' digital filters, assigning massive gated reverbs on the 4 outputs assigned to the few tamboura library samples it brought, mapping, truncation -such an important word in sampling tech then-, pitching them in extreme, as already '12bit cardboard replicas'.

Colin also had the later top model, the S770, and often lent it to George Michael - who spent rather a lot longer alone, in the studio, semi-engineering his own records, during the days of 2" tape, than he ever did 'being decadent'.

Colin would always also talk me into Kurzweil samplers, so had he succeeded, we'd have been more techy than Kraftwerk and YMO together lol.
I did get a Kurzweil K2600X years later - brilliant, and interesting 'sampling synthesis', but not for me.

Evan : drum programming, keyboards, sequencers, claps
Gage : bass, arrangements - as always, claps
G : guitars, backing vocals, arrangements, claps
Xav : vocals, backing vocals, claps

Flower Power - Produced by Paul Kendall and Colin Thurston

Mid 95 demo CD.

Pictured, Alfie (Alfie Doo), the photographer's dog.

Winter Again & Blue Planet - live cassette-to-CD 95 demo

Maybe I'm Not - live cassette-to-CD 95 demo

Classics Chapter 3

12" Vinyl

A1 - Eddy Mendez - Oriental Connection (Extended Mix)

- 𝟏𝟐" 𝐕𝐢𝐧𝐲𝐥: https://www.13monkeysrecords.com/producto/13mrlp005-eddy-mendez-bota-tenerife-25th-anniversary/
- 𝐃𝐢𝐠𝐢𝐭𝐚𝐥: https://www.beatport.com/release/bota-tenerife-25th-anniversary/4502355

Bota Tenerife (25Th Anniversary)

Get your copy

Eddy Mendez - Bota Tenerife (Suppa Hard Dope Extended Version)

Eddy Mendez - Bota Tenerife (Sekret Chadow Remix)

Eddy Mendez - Bota Tenerife (Adam Vyt Remix)

There's Only You



<a href='https://theartistunion.com/tracks/94b7cc'>Download for free on The Artist Union</a>

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WE R TRASH - SHOW ME THE BREAK (EDDY MENDEZ CLASSIC BREAK REMIX) FINAL MASTER

Really Slow Motion  - Edge Of Eternity

So back in 2011, one day i woke up and thought let me make a straight Disco House joint... and i wanted to sample my old piano since forever! so i went for it... and International Style was born! Did it in one day, passed it on to Eddy for mix & mastering & the rest its history.

credits: 
Produced by Real El Canario & Eddy Mendez 
Mixed & Mastered by by Eddy Mendez

REAL EL CANARIO - INTERNATIONAL STYLE

I did this remix of the queen of latin music back in 2007 when i headlined main stage of Santa Cruz Carnaval... it never got released but i gave it away on my website and it did quiet some damage. It’s been played by quiet a few big guys.

I just updated the break part. Always felt like that part didn’t need that EQ so I just took it off (June 25th 2017)

Remix Produced by Real El Canario & Eddy Mendez
Engineered by Eddy Mendez

CELIA CRUZ - QUIMBARA (REAL EL CANARIO CARNAVAL 2007 MIX)

Dexdexter Very Early Demo

DexDexTer - Chemistry of Youth

DexDexTer  - VD

ArtEfficient Intelligenz is a composer multi instrumentalist whose trajectory includes work with producers Colin Thurston (Human League, Bowie, Iggy Pop, Eno, Tony Visconti, Talk Talk, Duran Duran), and Paul Kendall (Wire, Piquet, Depeche Mode, Erasure, Recoil, Goldfrapp). 
His work has also been personally praised by producers Dave Allen (Human League, Wire, The Cure, Neneh Cherry), Ian Little (Roxy Music's Avalon, OMD's Dazzle Ships, Duran Duran), Stephen Lipson (GJ's Slave To The Rhythm, Propaganda, McCartney, A.Lennox, S.Minds), Chrissie Hynde, or Supergrass. ..Where the strange ones go.
 
Evan has played live at legendary venues like London’s Shepherds Bush Empire -supporting Pulp during the Common People tour at their request-, or the old London Astoria. He has studied sound production, synthesis, programming, composition and audiovisuals his whole life, having charted with a few hard-tech productions, while also long-time studio collaborating, at his request, with J. Parsons, who engineered and produced some of Alan Parsons' projects.

Master Of Nothing. Cue Metallica.

Flower Power - Produced by Paul Kendall and Colin Thurston

ArtEfficient Intelligenz

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