I enjoy performing solo improvised electronics, creating sound-design for installation, theatre and film, performing live with cabaret star Miss Roberts as part of "Rude Mechanicals". 

I started working life as an Oceanographer. Throughout this time experimenting extensively with sound, using modified reel-to-reel and self-built devices. 

His portfolio of compositions includes work for piano and "tape", live processing of soprano saxophone, video, theatre, dance and installations. His soundtracks have been heard on Resonance FM and at national events including the Manchester Short Film Festival, Newcastle Vain Festival, Sonic Arts Network Expo! 

MORE STUFF (if you really want to know)

Gear
The set up has several elements which are pretty interchangeable, but I normally use a 3/4 size electric guitar as a primary sound source with a Headrush loop pedal (because its very straightforward) processed through various effects units. I only rarely play the guitar conventionally, preferring to use preparations: placing objects between strings and rubbing and striking the strings or using devices like the ebow to generate sounds. The tuning of the guitar varies and often I deliberately detune during performance - some strings by around two octaves. If I’m collaborating with other musicians this is often the only instrument I’ll use as it’s quick to set up!

For a solo performance I’ll bring some more devices along - very much depending on the nature of the  event and how long I have to perform. Ive become fond of Korg recently and often use their Kaossiloator and Monotron synths as they are easy to slip in a pocket. I also like to bring along one of a selection of larger synths, self built/circuit bent or novel instruments. This includes a Stylophone 350S, a Wasp, SH101, a fretless bass tuned to low B, a child’s keyboard, contact mics, and a modded delay I made in the 80s. Rather than set all this up through a large mixer I like to use a small 4-channel microphone mixer and plug things in and out - probably because it adds to the danger and theatre!

Development
During the 80s I started using computers for music in particular a Yamaha CX5M and in the early 90s a Mac. Making music using these was slow (not quite as slow as using magnetic tape! But still sloooowww…) My interest was in electroacoustic music and combined samples and synthesised sounds. The level of detail I went into was borderline obsessive. Initially I was doing sound design for theatre, but then I started a post grad degree in music and found playing finished pieces in concert halls was an odd experience as no one was doing anything. So I started working with live performers and playing the pieces live myself.

It quickly struck me that the sounds and structures I had taken so long to achieve in the studio could be created spontaneously on stage. I used a AKAI S3000 to sample instrumentalists editing and manipulating on the fly. No only was there little sonic difference, it was more interesting  for myself and the audience. Computers in those days were forever crashing and I always found a mouse a rather clumsy musical instrument, so I’ve never felt tempted to use computers live.

Aesthetic
The unpredictability and ephemerality of improvisation appeals and for years I avoided recording my performances. Choices about what to use are made on the spot after arriving for a performance - sometimes using less than half of what’s brought. I enjoy collaborating - especially with other art-forms like dance and this extends to the audience who can be asked to choose what equipment used etc.. Often a series of shorter pieces of around 5mins can seem more satisfying that extending an idea for 30min. Recently Ive started using computers again for creating the sound element of installations - sometimes supplementing with live performance.

"...the strangely disturbed world of the Rude Mechanicals ...a great deal like nothing you ever heard before... "
-Tom Robinson BBC 6 Radio. 

"Sure, super vocalist Miss Roberts can do "Troutmask" style phrasing & much more, while squawks, squonks, intricate bass & guitar interplay abound to Zappaesque effect. After a while its artrock roots shine through - more than a little early Roxy, elements of Robert Wyatt, Father Murphy, the Pop Group, Rip Rig & Panic, XTC, & Henry Cow, or even oddball forbears like Kevin Coyne or the Bonzo Dog Band." -Den in Mudkiss Fanzine April 2010

Have you any idea how unusual it is for me to enjoy an unsolicited CD these days? And to want to hear it again? And then, as I type these words, another one appears: the Zappa/Beefheart theatrics of the free-moving RUDE MECHANICALS... because they love Bonzo Dog Doo-Dah Band, Here And Now, Lindsay Cooper, Make Up and Skill 7 Stamina 12 ... and you know how unusual THAT IS??? -Village Voice, Everett True, Hugs and Kisses No: 76
Gigs: https://bnds.us/c45fgd

The Guerilla Aspies podcasts. The author of the Guerilla Aspies - a Neurotypical society infiltration manual and the performer of the audience autism conversion show Guerilla Aspies.

The podcasts of the Neurodiversity Movement.

Composing and producing imaginative music to a high standard has driven me since long before 2007 when I began extensive use of sequencers and got involved in video soundtracks. I've produced and played drums on albums for Jowe Head, Gardyloo Spew and all the instruments on for Anthony Sobati and composed and assistant produced I am Meat's self-titled album. I self produced Poverty Keeps It All Together under the name Private Plebs, and followed it up with an album of songs and an album of instrumentals. During my BMus(Hons) studies at BIMM/Tech Music Schools and in commissions that followed, I've produced original compositions from briefs. Throughout lockdowns I recorded session drums at my home studio for Ceri James and Claus Buehler. I also upgraded my video editing skills and have had 2 recent commissions. As a drummer I perform with various artists including 10-piece band Perfect Stranger and for 5 years toured extensively with the Tiger Lillies. I'm also a music tutor.  I continue to study, create and learn in my own studio and in collaborations.

The Healing is an 8-track album I produced, composed and performed for singer and teacher Anthony Sobati, that connects it's themes of family connection and dedications through eastern and western genres including Iranian EDM and pop, bhangra, raga and piano rock ballad. If you are a label or publisher, get in touch for a private playlist.

Paul Wady Guerilla Aspies Autism Aspergers is following