This projekt started in december 2001 is merely inspired by
Coldwave/Minimal Electronik/New Wave/Cold Wave/Industrial. Vintage Analog Electronics are used
with a late70's / early 80's DIY spirit but in a more modern way.

From the need and visceral passion for Confidential & Underground Post Synth / ColdWave & Minimal Elektronik, Alpha Sequenz began to built his own studio called Shelter One Studios in 2001. First song written, First geometrical "hit". "Dawn lines". A perfect mix between Grey mood, DIY analog and early 80's coldwave.

The Formula was found and -since then- will never be left. Rigeck never kept working on a LP called "Axial Equilibrium LP" that endly saw the day in September 2008 ( contact the band directly to purchase this Gemm ).

In 2008, Rigeck changed rehearsal room, leaving Shelter One Studios from Shelter 2 Studios. The sound of the band changed, consequently.

The Receipt...sometimes instrumental & only rather acoustic ( Bass/Guitar/Voice/Synth ) or sometimes strictly synthetic ( Drum Machine/Synth) but always a sort of sensible source of diverse avant-gardist influences.

This music has been made with heart, feeling and no lies. it has been produced with references, from a wide range of music : Ambiant, Electronica, Krautrock, Psychedelia, Post Rock, Slowcore and much more.

No stamp needed. Alpha Sequenz wants to stay free.

Thanks to all of those who have supported Alpha Sequenz during all those years.

Merci.

a color or shade.
"verdigris is greenish-yellow in hue"
synonyms:	color, tone, shade, tint, tinge, cast, tincture
"seaweeds are found in a variety of hues"
the attribute of a color by virtue of which it is discernible as red, green, etc., and which is dependent on its dominant wavelength and independent of intensity or lightness.
character or aspect.
"men of all political hues submerged their feuds"
synonyms:	complexion, type, kind, sort, cast, light, stamp, nuance, aspect, character, nature
"men of all political hues submerged their feuds"

Dancing Kites is Tim Rogers exclusive solo work project. Until Tim finds a group of individuals to play with, all creative musical outbursts will be maintained under the Dancing Kites nomenclature. Please visit as often and and play the songs posted as frequently as you like. Please feel free to send critiques, comments and questions his way. He is using this as his small and humble stamp on society, and as a portfolio for any musicians interested in working with him, both on a production level, and musically.

Tim has influences in rock, blues, jazz, swing, funk, folk, funk, edm, bluegrass, country, hip hop and has been playing music in some form or another for most of existence on planet earth. Recently in the last 10 years his focus has leaned more toward production of music and less toward playing live performances. He is eager to get back to playing on stage. If you are interested in starting any sort of musical project, and enjoy what you are hearing-please don't hesitate to contact. 

Thanks for stopping by, and never ever stop grooving. Peace!

Green Diesel make noise. Old fashioned, new fangled, jumping around with a violin and a bouzouki sort of noise. And they will continue to do so until they run out of instruments.

Specialising in innovative folk rock, Green Diesel first emerged in 2009, determined to pair new interpretations of traditional tunes with their own manic compositions, and make them dance.

The sextet of multi-disciplined musicians from Faversham, Kent, take their inspiration from the depths of English folk lore and legend and the classic folk rock sound of the 1970s. Like their predecessors Fairport Convention and The Albion Band, Green Diesel's sound is born from a love of traditional English music and a desire to reinvent it for modern audiences.

Combining en every increasing number of traditional instruments with a virtuoso electric guitar, Green Diesel put their unique stamp on whatever they play, whether it is throwing a reggae twist into an old sea shanty or spicing up a jig with a touch of jazz funk.

But it is the ferocity of their live music that sets Green Diesel apart - the band puts its collective heart and soul into every gig, working tirelessly on and off stage to ensure audiences are entertained from start to finish. Whether playing to a crowd of one or 1,000, their classic sound engages even the most dedicated folk traditionalist while their contemporary repertoire has earned them a loyal fan base amongst nu folk lovers.

The band released their debut album 'Now Is The Time’  on the 11th of August 2012, which is available on iTunes, Spotify and Amazon. It is also available from http://www.greendieselfolk.com/ where you can also find a list of upcoming gigs.

Woodzey has always had a keen ear for music since an early age.
After a friend lent him a basic DJ mixer in his early teens he was fascinated by how you could mix  2 tracks together. But trying to do this with 2 CD hi-fi systems, with no pitch control opened  his eyes to how a club DJ works & performs.
The next stage was pestering the parents for some turntables. Not as lucky as some people who had the luxury of 2 turntables and a mixer straight away, he had to start with a mixer, then 1 turntable and finally another to complete the set up he desired.  After grasping the concept of beat matching & timing pretty fast he thought it would be an idea to settle on a style of music rather than buying whatevers in the charts or whats on offer that week in HMV.
It was time to scrap following music trends and concentrate on what he liked. Listening to local DJs and live broadcasts on radio made him decide that the ''scouse house'' sound was the one for him. And after hearing DJ Discos - Stamp You Feet this was set in stone. Taping these radio shows and live broadcasts was a weekly ritual. the same way people used to tape the top 40. Gathering names of tracks that got played to take into town on the Monday to see when they were coming out. 
At the age of 15 he experienced his 1st taste of club life. Thursday night @ the aquarium night club. Seeing these DJs who he idolized playing records in the flesh was an experience. And in his eyes, better than on the radio. The seed was planted and every week until the clubs closure he attended religiously. Pestering, annoying  DJs like Lee Butler, Ian Redman for the name of the track  they were playing so he could go to his local record shop the following week to see if they had a copy.
Spending Saturdays in the record shops wasn't enough time for him to ask his questions  so bunking off school to visit these record shops became quite a habit. Sometimes even arriving before the staff. Being there when the deliveries came in, showing his knowledge, bonded a strong  relationship with the staff. 
After a good few years of clubbing and hanging round the record shops of town, he became friends with Rob Cain. A resident DJ at the Aquarium and worker in his local record shop, Plastic. Rob was a great help in his conquests, he knew Woodz had a good knowledge and gave him a couple of early chances. In 2003 he was then offered a job working with Rob in Plastic Records. Selling records on a daily basis to people just like himself. This was a great experience and was a good platform for him to show people what he knew. Although most of the shifts were a nightmare (Especially Fri & Sat) due to socializing in clubs & bars till all hours, sometimes straight from a club into work. Not the most healthiest lifestyle but sort of one that come with the job so to speak.
Plastic closed in 2004 and reopened as Phase not long after. A bigger better shop selling more genres of music, DJ equipment also. 
Working here he became friends with a local lad called Ian Redman (Ultrabeat), who he voluntary worked with after his shift in the record shop. Helping Ian run his DJ tuition school and his small record distribution company. Spending 7 days / nights a week around town with DJs & producers had its perks. 
Local to his home was the Masons pub were usually pre town drinks were taken place, and and coincidentally Rob DJ'd of a Friday night with local legend Alan Holt. Later he would see  himself hold his own residency on a Friday night with Rob. A great opportunity in fitting surroundings. 
In 2006 he accompanied Ian Redman on his yearly trip to Magalluf, Majorca for the season. Playing the Scousers favourite club Bananas & Winning Magalluf's DJ of the year within his 1st few months of being there. He decided to go out to Majorca the following 4 years. 7 months in the Sun (not that he caught much of it) was an opportunity not to be missed. In 2008 he gained  a residency in Boomerangs nightclub. Filling the 2 hour gap between 4-6am every Tuesday. 

Woodzey has been based in Liverpool now for a few years. Playing for some of the Biggest nights in the scene, with some of the biggest artists on offer. 
2013 stands in steed for a good year for him, becoming a Make Some Noize resident, and popular nights noticing his talent & knowledge and booking him for their event. 

To book Woodzey for your Event or to get in touch, please email estobanmusic@me.com or get in touch via twitter @estobandj

Hello :)

<p>

crashtv is the remixing arm of the band Slunq. London, UK (spelt Crashtv or crashtv, all one word, for obvious Google Reasons).



Or rather it WAS a band <a href="http://www.cdbaby.com/crashtv" rel="nofollow" target="_blank">www.cdbaby.com/crashtv</a> (2 CD or download albums if you have any interest - way cheaper than iTunes but we're there too).



Crashtv, or CRASHTV, or crashtv, or even ctv, is now a name-stamp for the remixes done by Peter (me) and Chris, the founder members of crashtv many years ago. These are a handful of the 40+ remixes we've done. Some have won competitions, some have got nowhere in competitions, some are done for fun, some are commissioned.



The ones WE like best are not often winners. We're only posting ones WE like at Soundcloud, apart from competition entries that require us to use this portal.



All remixes from us have a dark weighty flavour, like brown bread rather than white, ale rather than lager, Marmite rather than chocolate, stew rather than salad, salt rather than sugar, turd rather than piss.



As a band we've moved on to a new project - a band called Slunq (sort of goth slow nightmares - guitars and eletcronics) which is coming along nicely after a year (2009) wasted with a female French singer who turned out to be lazy and a totally mental self-obsessed weirdo in the bad way. Album scrapped, a year's damn work!

We are now graced with the talents of Mr Daniel Knowler. Something of a famous fellow in the UK underground dirty noise arena and genre. He is excellent and not a spoilt brat. Slunq lives!



see <a href="http://www.myspace.com/slunq" rel="nofollow" target="_blank">www.myspace.com/slunq</a> in case we do something. It'll be there before it's at the actual site: <a href="http://www.slunq.com" rel="nofollow" target="_blank">http://www.slunq.com</a>



Best described as The Birthday Party (Nick Cave) meld with Nine Inch Nails and become a big fat thing that sits on Radiohead.



SO ABOUT REMIXES...



We play things live for recording wherever possible. If we use synths we usually do our best to make them sound broken (it's what we're used to with all our hardware).



A lot of our remix thoughts come from enjoying music from such nobles as:



Nine Inch Nails



Philip Glass



Cardiacs



John Carpenter (film trash)



(no point listing everyone).



We use Macs :: Logic7 and Reason4.



Guitars :: Ibanez Iceman and a Line6 guitar-modeling guitar. Marshal amp and Guitar Rig software.



Bass :: Traben Chaos 5 string and Peavey rubbish 4 string.



Drums :: All software but programmed by me, a drummer of many years, Addictive Drums, Superior Drummer, BFD Drums, own Yamaha 500 jazz kit samples. I gave that kit away to a London youth project seeing as I never seem to play it.



Synths :: 7 billion software ones. No hardware ones remain alive.



Effects :: All of them.



And that is that. 



Find crashtv for remixes at



<a href="mailto:crashtv@virginmedia.com" rel="nofollow" target="_blank">crashtv@virginmedia.com</a>



ALL our remixes are at our website in a player. Any one of them is available free as AIF (WAV) on polite request to DJs or interested listeners :)



<a href="http://www.crashtv.co.uk" rel="nofollow" target="_blank">http://www.crashtv.co.uk</a>.



Peter



crashtv



a spoken or written account of a person, object, or event.
"people who had seen him were able to give a description"
synonyms:	account, explanation, elucidation, illustration, representation, interpretation; More
the action of giving a spoken or written account.
"the emphasis was placed on explanation rather than description"
2.
a type or class of people or things.
"it is laughably easy to buy drugs of all descriptions"
synonyms:	sort, variety, kind, style, type, category, order, breed, species, class, designation, specification, genre, genus, brand, make, character, ilk, kidney, grain, stamp, mould; More


The Memphis quintet Mouserocket, a sort of supergroup made up of members of such esteemed outfits as Vending Machine, the River City Tanlines and the Memphis Symphony Orchestra, is supposed to be an afterthought. Tanlines (and Lost Sounds and Black Sunday) leader Alicja Trout started the group a dozen years ago as an outlet for some quiet songs. And to this day the now-more-adult-oriented group, which performs sporadically, still finds itself competing with its members other side projects.

Even with a established name and fan base (its last record, 2008’s Pretty Loud, earned an impressive 7 rating from online hipster Bible Pitchfork.com, Mouserocket only set aside a scant five days to record its recently released third album, Cicada Sounds.

In light of the finished product, available in local stores and through Bandcamp, it seems clear that the haste was more for aesthetic or financial reasons than a gauge of how much commitment and thought members of Mouserocket put into the project. In fact, the new record may well be the pinnacle of achievement for all involved, a catchy, smartly crafted alternative rock album that stacks up with the best of recent memory.

Featuring the excellent rhythm section of Robert Barnett on drums and Hemant Gupta on bass as well as the invaluable stamp of Jonathan Kirkscey on, most significantly, cello, at its core, the appeal of Mouserocket still remains the tension between the songwriting styles of Trout and co-front person Robby Grant (Vending Machine). The two have clearly had an impact on each other.

On songs like “I Can’t Keep My Hands Off You” and “How To Say No,” Trout, whose hooks still retain a spark of the band’s youthful inspiration, shades her usual hard-driving rock style with all sorts of intriguing harmonic shifts and unexpected progressions. In contrast to Trout’s five songs, Grant contributes only two (the eighth, set closer “Flying Saucer Home” is from Brooklyn musician Timothy Feleppa), but they may be the collection’s best, with the ever quirky tunesmith not over thinking things on tracks like “Take More.”


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