Noir Magazine's Artist Biography 
      
    Name: Paul Dyne

    
    Crew or Affiliate(s): The Houston House Collective, Pen and Ink Recordings, Back yard Grillerz, Heights Music,        Underground Dance Music Archive
    
    Age: 34
    
    Home Town: Houston (born in New Orleans)
    
    Type of Musician (Producer/DJ/etc): Dj/producer/drummer
    
    Genre: House
    
    Skill Set (years): 18-19 years
    
    Links/Website/Myspace:  
    
    The Houston House Collective 
    
    Pen and Ink Recordings 
    
    My Myspace page 
    
    Booking Information:  pauldyne@penandinkrecordings.com
    
    Record Labels: Pen and Ink Recordings, Double Down,                      Heights Music Company                      
    
    
     
    
     
    
    1. When did you first enter the electronic scene and what was your first party?
    
    1986 in Houston at a club called NRG, the sound system was designed by Richard Long (Paradise Garage, Ministry of Sound) and it blew my mind.  Michael Degrace was the dj and that was all I needed to know.  NRG was an anomaly in that this place was able to bring together all types of people of all ages, races and economic backgrounds together and everybody came to dance and be merry.   It was at this point I knew what I wanted to do with my life.
    
     
    
    2. What were/are your musical inspirations that helped gear you towards being the musician you are today?  
    
    Erick Brown (Rip), Mark Vanover and Michael Degrace in the mid-eighties really helped broaden my overall scope regarding dance music, djing and sound.  Later in the early nineties it was definitely Rob Vaughn!  Also Paul Parades and Nathan Castle were essential influences.  The Hazy Daze, Derrick Carter, Jeno and The Masters at Work were the non locals that presented music to me in a way that was both mature and unique as well as it forced me to re-examine some elements or aspects of dance music with a new set of standards to compare and contrast from.
    
     
    
    3. Why are you a dj/producer/musician?
    
    To make my self happy is the first and foremost reason.  I love to play records for people and try to tell a story or take people on a musical journey when I play a set.  To see people unite under the disco ball and share the same experience is almost a religious experience at times and I like to share these types of experiences with other people.  There are about 23 other reasons I could give you but I will not waste your time.
    
     
    
    4. Who are you current inspirations?
    
    Style of Eye, Miles Maeda, The Inland Knights, Kinky Movement, Brett Johnson, Jt Donaldson, Lance Desardi, Phil Weeks, Dj Mes, Lucas Keiser, Jake Childs, Mike D-Day, Nathan Castle, Honest Cars, Kolour and Mike Whitelock, Chello and Housetown, Kelly and the SDC, Candice Elliot, Zach Vizza, Fred Everything, The Freaks, John Aquaviva, Jeno (in my opinion the greatest modern dj), diz, Don Tinsley, Lbo and jeff Simo, Seth Jones, Mike C., et cetera.  
    
     
    
    5. Do you play cds/vinyl or both? What do you feel the future of vinyl entails regarding the progression of the industry?
    
    I play both mediums vinyl and cd when I play.  Preferably two cd decks and three turntables is my ideal set up when it comes to gear to play on.   Unfortunately as much as I do not want to see it  I think the days of vinyl as a medium are numbered.  That being said though as long as there is at least one lathe/pressing plant out there pressing vinyl Pen and Ink will still be pressing wax.
    
     
    
    6. What equipment did you use when you began your career as a musician? What do you use today and what became of your old equipment?
    
    I had two 1200’s and a Radio Shack mixer back in 1987 when I started out.
    
     
    
    7. What changes would you like to see happen with the current electronic scene (local/nationally/globally)?
    
    I would like to see more local labels get started and see some more new artists get their material out there for the public to hear and experience.  I want to see my friends like Zach Vizza, Mike D-DAY, Candice Elliot and Nathan Castle playing gigs around the globe as I feel they should be.
    
     
    
    8. When you were a child did you have any type of formal musical training such as playing the piano, violin, choir, drums, etc? If so, how many years and do you believe that     experience helped mold you to be the musician you are today? 
    
    I played the sax for three years in my middle school band.  I then played the drums from 11th grade and all through college in a couple bands (Kill you Television and That) and still play a bit.  I started messing with synths and such on my computer around 1999-2000 and still find the majority of my time occupied with writing new music on my laptop.  My sister was a classical musician and played in the Mexico City Symphony before taking on a career in nursing/emt, my mom sang in the church choir and my brother is an outstanding bass player.  Having music in my family definitely has to have helped me with djing and writing my own music because I heard so much variety in analog sounds growing up, especially in New Orleans.
    
     
    
    9. Do you consider being a musician more of a hobby or a serious career that you will continue to pursue?
    
    This is a lifelong pursuit…It seems.
    
     
    
    10. What steps have you taken to further yourself towards your goals as a musician? 
    
    I have pursued many aspects of music such as: playing, touring and recording with a live band, writing zines, djing, running record labels, throwing events and parties, working for clubs, promoting for shows, writing reviews for magazines, writing tracks for other labels, working in record stores and running record pools to help reach the goals I set for myself.
    
     
    
    What advice would you give to other aspiring musicians?
    
                    Be true to yourself and you will never fail.
    
     
    
    11. What are your most memorable electronic dance parties and why? Was it the performance by the talent, the scene in general or did you go just because all of your other friends went?
    
    Rob Vaughn at the Funky Techno Tribe show at the Austin Music Hall, Rob Vaughn at Disciples of Groove party in Austin, Jeno in Austin, Jeno in San Francisco in the celler of some hotel, Dj Duke, Richie Hawtin at the Axiom (SDC) in Houston, Derrick Carter in Dallas at the Hazy Daze warehouse, Lil Louie Vega in Iowa at the end of a three day party, Johnny Fiasco in Houston (chello), Mark Farina in San Antonio, Tortured Soul with Scott Pace in Houston, The list goes on and on
    
     
    
    12. Would you consider yourself a pioneer in your genre that could possibly change or influence the future of electronic a in general?
    
    Nope not really; I just love the music.
    
     
    
    13. Are you inventive and creative when it comes to the particular sound and/or style work to produce? If so, what are your techniques?
    
    I hope so; I do try to do things different every time while still adhering to some guidelines.
    
     
    
    14. Innie or Outtie?
    
    Both.    
    
     
    
    15. Do you actively pursue record labels who may be interested in signing your work? 
    
    If so, what advice would you give to any other starving artist who seeks the same?
    
    Yes and the keys to me are to package your material and be diligent.  Labels hear from their friends first so you really have to be persistent.  I would send at least twenty three to thirty emails to the desired record labels daily.
    
     
    
    16. Were you a candy kid? Come on, be honest.
    
    Nope, way to old for that; although I went to many, many parties/raves.
    
     
    
    17. Who are your favorite local artists and musicians and why? (Answer would probably be best if it wasn't "because he/she's my friend" ha-ha)
    
    LBO, D-Day, Candice Elliot, Zach Vizza, Winfred Johnson, Mike Whitelock, Simo, Seth Jones, Lukas Kaiser, Chello, Kelly Hertz, Sumo, Margret, Shina Rae, The Trade, John Durban, Texas Noise Factory, Daniel Taylor, Henry Chow, Tim Xavier, Andre Morant, Jake Childs and Josh Dupont.
    
     
    
    18. Who would you rate as the five best djs according to your tastes or live acts?
    
    Jeno
    
    Rob Vaughn
    
    Lil Louie Vega
    
    Phil Weeks
    
    Johnny Fiasco
    
    The Lawn Chair Generals
    
    Fred everything
    
    Luke Sardello
    
    Diz
    
    Dj Heather
    
    Nathan Castle 
    
     
    
    19. What styles influence or make up your own style of music producing/djing/etc? 
    
    All forms of House from Deep to Funky to Acid to Chicago just as long as it is the right place and the right time for that particular style.
    
     
    
    20. What styles interest you but are not necessarily reflected in your music?
    
     Jazz, Funk, Disco and Dub interest me but are not necessarily reflected in the music I play or write.
    
     
    
    21. What do you want to be doing in a year or two from now? Why?
    
    Writing music, playing records with my friends and hanging out with my girlfriend  
    
     (Katie) and my cat (Biscuit).
    
     
    
    22. What are some positive features/aspects/parts of Houston that may be somewhat unique to either the city or unique to you?
    
    This is a young city so it is up to us to mold the culture in our own ways.  This city is still impressionable and we can take it anywhere we have a vision for.
    
     
    
    23. What do you believe can be done to make the music subculture of Houston better?
    
    We can improve Houston by sharing knowledge, going out and supporting each other at shows; as well as maintaining an open mind to new ideas, and sharing all the music we can as often as possible.
    
     
    
    
    

Hi I am Snows. If you enjoy a good success story, then I believe you will love this happening in real time. 2015 is my year, just as much as it is yours. 

I have been writing rap songs since I was 10 years old, 2001. I’m not really sure why I started. Actually, now that I am crunching this summary 4 hours and 36 minutes before class, I think I remember. I was being goofy. I was in my room listening to the radio and I started fake free-styling about how much I loved playing baseball over a single Nelly had out. As a teenager my music became an outlet for me to express myself, however I wanted. It was freedom. With a pen and paper I would get lost in how I felt. As time would pass I would ask myself why I wasn’t insane at spitting bars like Jay-Z or Eminem. I was constantly writing new songs through my childhood. I knew my songs weren’t great then (they were amazing compared to my peers in Middle and High School). That’s question has since been replace with confidence.
After High School I joined the Army. Being in the Army provided me with a sense of invincibility. This feeling would translate into my music. I felt, believed, knew, and rapped like I am. As in the military I needed to be the complete package, and know everyone else’s role. With that being thought then typed, I needed to give my all. You know the story. It doesn’t make much sense to me to do something halfhearted. You’ve heard the saying, “Go hard or go home.” In other words plan to exceed expectations and don’t waste time or energy if you aren’t serious.

I started recording “Open Bars” this past February. All my previous recordings weren’t consolidated as one project. I was just doing it to do it before, just to get some stuff off my chest. Sometimes I would write, because I was bored, or maybe I enjoyed people asking if that was really me. It has been an amazing learning experience.

Now I just enjoy writing altogether. There is an amazing sense of empowerment that I feel and have. Seeing my thoughts come to life. My poetic metaphors made me a better student, because I learned to think deeper in simpler terms, and my aspirations to be a great artist made me search out more knowledge, so I could feed my conscious and have more to share. I don’t record every song. Some songs or verses are just for me. Just knowing I can effectively write down how I feel made me realize anything I put my mind to is possible, literally. 


MUSICIAN / AUTHOR.

2013 TRUTH STORY ~ RESTING IN PEACE ON EARTH IN LIFE @ http://www.musivine.com/blogs/312 

http://thedorisalloyword.blogspot.com/2013/02/resting-in-peace-on-earth-in-life-first.html

http://outsideout.blog.com/2013/02/26/resting-in-peace-on-earth-in-life-part-one/

The Doris Alloy Sound began experiments in 1995 with a Sampler, a 4-Track recorder and Synth. Backward tapes. Occasional sampled voice. Drones. Elements of contemporary styles such as Jungle and Drum 'n' Bass crept into later recordings.
An early track (82 Eridani + Zeta Reticuli - edit) was included on the 1996 Spliff Tapes compilation 'Sensible People Live In Free Fish Tanks 4'.

A series of DIY cassette EPs followed (The Unpopular EP, The Lure Of Space, In Discordance With Doris, Old Wounds Torn Open, Doris Alloy, Devastation This Way, The Winter Collection, New Styles). 
A Drum Machine joined the line-up and the beats became harder and faster.

Emotive as I might be
As cold as I can be
This is a frozen wasteland
I'm caught in the ice

We're all frozen embryos
Waiting to be claimed
Waiting to be thawed out
.... Waiting

(FROZEN 1996) 

Original 1997 recording of Robots Rock released on In Yer Face Sampler 'And Then Some' in '98.

Doris Alloy also recorded as part of 3-piece bedroom-studio artists Peter, Paul And Doris from '95 to '97 (w/ Pauly Wauly and Andy D).

Recorded London Broil And Potatoes with producer Dave Ball (The Grid/Soft Cell) in '98. The track was eventually released in 2003 as the opening track on the Matthew Glamorre-compiled Kashpoint CD. 
Doris Alloy reluctantly participated in a video for the recording. Channel Five show UK Raw did a feature on the making of the video and The Offset, Glamorre's gang of fashion, music and artist hoodlums.

Terminate all bars
Terminate all beaches
Terminate all cars
Kill the drivers / teachers
Press the rest
The cherubs are speeding
Accidental orgasms
I always regret the waste

(TUNE INTO A NEW STRAIN 1997)

Debut 6-track CD titled Doris Alloy was recorded in the late autumn of 1998 nocturnally in a small eight track studio situated in the middle of a field of cows in Bedford. This included 3 instrumental and 3 vocal tracks; Frozen, Radical Chic, Razor Fish, Flanking The Tide and Lonely Rooms That Lock You In, as well as a self-produced version of London Broil And Potatoes. 
The CD was favourably received by some and totally over-looked by others. One review suggested Doris Alloy was almost good enough to have been signed by 4AD in 1980.

The follow-up CD Nattercan released in '99 featured the digitally recorded Better, Stronger, Faster (which combined the themes to TV series The Six Million Dollar Man and Charlie's Angels), and the low-budget Apoptotic, Samizdat, Nattercan, Something Futuristic and She Was Radioactive.

Everywhere I Go I Am Under Surveillance
Everyone Is Looking At Me Programmed To Transmit
I've A Feeling My Movements Are Recorded And Beamed ....
To Central Control.
Your Vision Is Blurred
Your Vision Is Bent
And Far Too Illogical
To Send As Your Agent.

(METAL FOR ROBOTS 2000)

Third CD collection Metal For Robots in 2001 was of 8 track studio recordings inc. Sex Somewhere, Deathcentric, Pornographonic, Pedestrian Rage, Latitude 50 / I Just Want That Doris, Metal For Robots, Jaunt and What You Think You Think Is Real. 
An enthusiastic reviewer raved that 'Doris Alloy is worth a 1,000 mini-moogs'.

During the six years Doris Alloy was recording on a daily basis he amassed an enormous catalogue of material. Some tracks were lost or recorded over when tape space became scarce but over 150 recordings have survived. From self-indulgent wonky beginnings to tight dramatic thematic instrumentals and songs; always original, unique, challenging, authentic and synthetic.

If You Drive A Lousy Car
It Doesn't Matter Who You Are
Your PM10's Are A Disgrace
We Shall Wipe That Smile Off Your Face
We're Separated By Metal And Glass
These Mobile Death Machines Will Never Last

(PEDESTRIAN RAGE 2000)

During the period 2002 - 2012 there has been one new recording by The Doris Alloy Sound - the 16 minute Bizarre Construct (formerly 'Lost To The Machine'). 

Bizarre Construct was composed Nov/Dec 2011 recorded Jan/early Feb 2012. It was based upon lyrics written while living in a tent, in a wood for seven weeks. 
However once arrangements of the music began and creative juices stirred and flowed again after a decade of abstinence from recording artistry and four minutes became eight and eventually sixteen. The original lyrics, The House Is A Machine, is now a fully formed song in its own right, but only exists in the mind of The Doris Alloy Sound at present. 

http://www.musivine.com/thedorisalloysound

Read ~ RESTING IN PEACE ON EARTH IN LIFE by The Doris Alloy Sound.

http://www.musivine.com/blogs/312

Jhuuu noe i am dne for anything tht is fun i aint that type of bitch to stay shut or just be all tlk i like chilling wit reall pplz i go to morton living the middle school life jhuu noe begin me starting my life begin free like yolo u aint got rime to waste it like hey u fall u rise u live u learn u make mistakes u cnt take bck anything u did or sed just stick wit it and move on be u no noe else ... thts all muwahhh 

Im awkward and normally found talking about cats. I waste my life watching old episodes of Malcolm In The Middle, drinking tea and trying to make fetch happen.

Tayfun Topkoc is the Group Chief Digital Officer at Bee’ah, the Middle East’s leading award winning, fully integrated environment and waste management company.

contact4booking: sonik303i@gmail.com

Italian DJ since 1992. 
From February 2017 member of Latitanz Reloaded
In the past member and co-founder of TRIBE UNItZ SOUND SYSTEM
Music styles: Tribetekno, Hardtek, DnB, Breakbeat

Dj since 1992. In 1991 , when I was 15 years old, I bought my first dj console: 2 Technics SLBD 22 turntables (with rotary pitch) and mixer Bst Symbol 10. 
Addicted to the vinyl records in the house began to play and experiment this "new world". From my beginning I was addicted to al kinds of electronic music. 
I used to buy and play hardhouse and house first, then progressive and ,in 1996, hardcore from Germany and Netherland . Then I went to my first free party and I
left all the others music styles. I moved to Tribe tekno...still now is my preferite style. The best for me is tribetek from sound of south of France , 
especially from Okupe and Lsdf.
My first DJ set at illegal parties was in Monterenzio Teknival 1997.
In the middle of the 2000 decade we founded Tribe Unitz.
Tribe Unitz festivals around Italy always driven by the large participation of people. A lot of well-managed collaborations with 
Puzzle Sound System, THC, Crop Circle, Crustek Machine Zapotek, Cromozome, Subaliens, Acid Factory, Sbandaobullets, Mutoid waste and Co.
In 2008 the last party of the first Tribe Unitz story. Then some guys of the crew left the scene.
After 2008, many more events where I played. In Spain (Barcelona) for squatt parties , with friends Acid Factory in Austria and Portugal for 
the Boom Off 2008.
The last Tribe unitz Parties were between 2012 and 2014.
From 2010 to nowadays I played in club parties, squatt parties and Clubs.
From February 2017 I became member of LATITANZ RELOADED managed from the old founders of LATITANZ SOUND SYSTEMm one of the most important 
sound system on the italian free tekno scene.

contact for booking is SONIK303I@GMAIL.COM

@sonikkkk
www.mixcloud.com/soniktribeunitz
freeteknomusic.org/mp3-archive/t/t…tz-system/songs
sonik303.altervista.org/

 Triple A Orchestra is a french combo whose key values are Blues, Money and Orgies at the I.M.F.
The band, reduced to a duo following an extensive social plan (to protect the profits of its prestigious shareholders), distils a blend of Evil Blues and Nuclear Garage Rock serving money markets. Executive comitee members are:

- Yves: drums – CFO and Middle East specialized consultant.
- Mrej: guitar/vocals – Chairman and head of the ”Low cost audio" department.

After some demo tracks and many shows, Triple A Orchestra made its Initial Public Offering (IPO or for connoisseurs) in January 2015 with its first low cost LP, Waste Earn Blues, which has been fully outsourced to a country where labor regulations offers more "flexibility".

You surely noticed that Triple A Orchestra knows how to keep up with the times.

Kori Silvester is following