Tin Can Phone is an Austin-based rock/reggae group developing a signature sound that’s all their own. TCP’s live shows bring a house party feel, and deliver a positive message on topics including politics, destiny, and run-ins with the law. Their first full-length album “Adapter” was released on November 1st, 2011.

Matt, Josh, and Bert are childhood friends from the small beach town of South Haven, Michigan and have spent the last 15 years playing in bands all over the country. Soon after their arrival in Austin in 2007, they formed Tin Can Phone with Matt’s cousin Tyler. 

Tin Can Phone travels extensively throughout the region, and has shared the stage with such great bands as Passafire, The Wailers, Soja, and the Voodoo Glow Skulls. With the release of “Adapter”, a DIY home-studio project that beautifully captures the band’s live sound and energy, Tin Can Phone is set to catch some big waves in the near future. 

“One of the most prominent features of the band's new CD Adapter is fast and fancy guitar that sounds like a 21st century homage to the work of Dick Dale or Link Wray.” - Brad Goins, Lagniappe Magazine

“(Adapter is) the logical progression of experience, clarity, and inspiration, brought on by passion, a home studio, and a serious work ethic.” - Austin Independent Music Magazine

D.I.Y & D.I.T. - Fuck profit and rock stars

The Punk Post Punk Tribe was a collective made by Old school (We are just more on the punk sense of things, close to the roots, the spirits,The mind) Anarcho Punks, Post-Punkers, Positive Punk, Old School Goths for the fans! Yes, but still, what is it about? It's Music, Sub-culture, Art, Ideas, Activism! It's a zine! 

What is Post-Punk? Well The Post-Punk tree is huge and entails many branches 

Comprising genres as sundry as Gothic Rock, "Bat Cave", Death Rock, Trad Goth, Positive Punk, Death Punk / Dark Punk, Old school Industrial, Tribal punk, Synth Punk,, Minimal (in the way it stands for minimal) (and the list go on and on, not to mention in a wider scope a variety of more mainstream such as New Wave / New Romantic , Goth-a-Billy, Horror Punk, Psychobilly, Horror Surf, Cold wave, NoWave , Dark Cabaret, The impossible ones to tag who fit into Post-Punk (and the list go on and on, not to mention in a wider scope a variety of more Pop, Alternatif and Indie sounding artists and types) Post Punk is in fact one of the most diverse and inspiring music universes that sprung from the nostalgic decades. .. 

To cut a long story short and embrace the spirit of what it represents for us, we can say then that mainly all the branches emerged from the punk roots can be considered post-punk. 

In the late 70's, early 80's, it was not a surprise to see together Goth, Wave, Industrial and Anarcho-Punk (and much to some peoples misery sorry, yes, hippies) etc in the same troupe of subversive youths who created a counter culture, a resistance base and a surprisingly refreshing tray serving aspiring food for thought and change. 

In the late 80's the fierce force of creativity that designed the years of the post punk zenith weakened as other fads and conditions shaped the path the music and youth culture was heading to. Popular and danceable sing-a-long mainstreamed sounds were created to entertain and project the newer wave of kids into a new decade where fast consuming images and ideas were created and an inner sense of struggle and individuality fell subdued and outdated 

The 90s saw a moving staircase leading to other directions in the musical approach the new acts diverged enormously from the previously stated post-Punk character… new acts embraced defining traits focused on a lifestyle that impended a slowly forgetfulness of the roots of active resistance and struggle that favored an attitude turning inwards instead of outwards 

Unfortunately, this tendency is mostly felt nowadays… Blame the zeitgeist… but the sense of community and DIY spirit almost disappeared, and where bashed away by a new glorification of ego boosting, egoism and idolatry and profit. The whole Post-Punk legacy was brought to the forefront again and revived, but gradually it was twisted and turned as people pleased until it reached an appalling state of decadence (not a good one in fact)… the main focus of this once subversive style was transformed into a status machine where it became a system inside of the system, obeying to rules and regulations and structures that contradict the whole community/solidarity/freedom/individuality character of the earlier years – no more effort to work for a cause and pass messages and have fun, but to sell a shallow lifestyle where image and status and perhaps sadly money are the main focus and wet dreams. 

Therefore, and to cut the long story short as promised, our desire is to build a place where we can cherish and revive an equal, friendly and passionate spirit of Post-Punk and all it represents in its true essence while indeed having the best time of our lives! .. Let the tribe increase! .. ..Notice:.. .. Fanzine/Webzine = What we are 'fans' of, it's going from Anarcho-Punk to Post-Punk, Positive Punk,80's and so many stuff etc... We want to keep this profile DIY and a community in every meaning of the word, so we don't add comercial stuff, big shops' profiles, etc...No ass licking, No status, No ego boosting,No bullshit ...We accept no advertising or solicit Music - it's of course great if someone sends a copy of something, but we are just as happy (or even more) to buy from bands. Yep, I think you already understand where we stand ;) - we share and show without profits and are ok to exchange or give some help all that just by passion - if you want to pay us anyway with a smile, of course that will be welcome! .. We do organise some gigs and live events from time to time, but we are NOT promotors or a company,we don't want to be popular or Big in japan or anywhere else, or make profits at the expense of People/Artists/Sub-cultures... well, we try that all is done in a very friendly and cosy way! .. If you see your band in the pics, videos or player sections and you don't want it there just ask and we will take it away. .. We don't really care about famous night clubs, fancy glossy magazines, mega-events, glamour "deathrock" or "punk" models or any kind of scene/supermarket, we don't pretend to be better than anyone else it's just not our thing... If you only want to promote your event or night club sorry guys this is not the right place to do it, myspace is already fuly crammed with this kind of stuff, so, sure you will find support easily. .. No racist, sexist, fascist, homophobic bands will be tolerated! Same for people who support that kind of craps!...

Notice:Only the tracks of artist who give me permision can be donwloded.



I was born in Belfast in 1967. My interest in music was awakened when I was 7 years old, during a holiday when my parents and I (I have no siblings) stayed in a guesthouse near Dublin, run by a family of musicians, which included the composer John Dunn. Inspired by the wonderful flute playing of the teenage daughter, I immediately began learning the recorder, with the help of my father. My father was not a musician, but he was the kind of natural student who could turn his hand to learning almost anything, and together we both learned to play the recorder from tutor books at home. I never looked back. I was completely smitten by music. When I was about 9 years old a wind quintet visited my primary school to give us a concert. This was an extremely rare treat. What was that gorgeous long, black instrument with the bell and silver keys which oozed forth the most heavenly, rich, oily sounds I’d ever heard? I was so entranced by it that I cannot remember the other four instruments in the group. Ah, the clarinet! Thus, I then plagued my poor parents incessantly for a clarinet. But, being the shrewd people that they are, they made me prove it was no fad by insisting I study recorder for another year first. This I gladly did, and then they kept their promise and bought me a clarinet. I was so happy I felt giddy!
All through my teens I worked as hard as possible, studying the clarinet and piano at the Belfast School of Music, and completing all the usual grade exams. I even loved scales! Yes, I found it a great releasing of tension after a hideous day at school to take my frustrations out on the poor scales by whizzing up and down them as loud and fast as was sanely possible. My poor parents – they were saints to tolerate the racket without complaint!
Now, during all these early years my head was constantly filling up with music that I knew was not anyone else’s. All I was aware of was an enormous, urgent, internal drive to get it down on paper. And fast! I did not even know at this tender age that this was in fact the beginnings of composition. Composers, to me back then, were long dead geniuses like Beethoven and Mozart. I actually didn’t care what it was called; I just got to work, writing many little piano pieces and hundreds of single line melodies that just kept flying into my head every day, demanding to be instantly written down. It filled me with wild energy and excitement every time I was at work on a piece (no matter how small or insignificant) and it quickly became an addiction. Every time something happened to me, whether exciting, upsetting or just ordinary, everyday events I had to write, at the very least, a tune to express it. I still do this now. With the constant listening to the great works of Richard Strauss, Mahler, Beethoven and Haydn, this drive soon became one to write orchestral music. Now there’s a hefty challenge for you, I thought, how the heck do I write all this mish-mash down? I spent years (and still do) hungrily studying the orchestral scores of the great masters, learning how orchestral sounds were translated into written music. It is a lifelong journey which never ends, I can tell you!
So, when I was nineteen I finally made it into the London College of Music – a dream-come-true. There I spent 3 years on the GLCM degree course, specializing in clarinet with David Campbell and piano with Renalda Mackie. At this stage composition was still the hidden light under the bushel. I was shy about it and found it rather difficult to talk much about it back then. However, despite the piano and clarinet being very much dominant, the urge to write would not remain suppressed and it began to seep out. I just kept on quietly writing in my non-existent spare time and was lucky enough at college to have a few orchestral pieces tried out by the college orchestra. While they were not played to performance standard, it was enough to help me realize that I must pursue this further. My harmony tutor, Michael Regan, and John McCabe, the college director, both gave me great help and encouragement in orchestration, which I am still grateful for to this day. So, my post graduate year was spent on a wonderful Diploma course in writing film music, under Francis Shaw. I adored this course and learned a huge amount. It was invaluable having unique opportunities to have my music expertly played and recorded. It was thrilling beyond belief, and after it there was no stopping me.
Throughout the 1990s, when I left college, I wrote constantly and was lucky enough to have very good musician friends who played and recorded much of the music. I received some commissions also and worked on these with excitement and relish. I also taught clarinet and piano at Ibstock Place School in Roehampton and this was a wonderful position which lent me marvellous opportunities to orchestrate and arrange music for the school band, orchestra and choir. I also met many great people there, a few of whom I’m still friends with today. I enjoyed years of exciting freelance clarinet playing in a wide range of events from shows, weddings, chamber music and orchestral concerts, some of it extending as far as Birmingham.
But sometimes life takes unusual turns. In July 1996 I went to work as a brewer of beer with The Firkin Brewery! Looking back now, I realise that in some bizarre and twisted way, my music needed me to make this change in order for it to actually grow and mature. I didn’t know that back then though, and it really did feel a very odd thing to do. But I went with my instincts, and ended up loving the new job. And indeed, I met Bob, who would one day become my husband! Bob played fantastic folk guitar. Bingo! Out came my penny whistle and, together with the fine, good ale we brewed, we embarked on a fabulous life of Traditional Irish Folk Music. This led us to meet many folk musicians and for years we played in pub sessions, concerts and ceilidhs all over the UK and Ireland. Needless to say I wrote folk tunes nineteen to the dozen, which we played along with the usual traditional session music.
In 2000, after sadly being made redundant from the Firkin Brewery we moved to Manchester where we soon got married and started our family. Bob retrained into IT and is now a highly skilled Network Manager. We had 2 beautiful children, Megan (now 11) and Edward (called after Edward Elgar and now 9). I stayed at home with them until they started school, while at the same time still practising and continuing to write music, both classical and folk. And that takes us up to where I am now. With Megan and Edward now both at school,  I’m  back into the music life again for real. I currently play clarinet/Bass clarinet/Eflat clarinet with the Bolton Symphony Orchestra and cello with the Bolton Chamber Orchestra, and am also teaching part-time clarinet/piano/ whistle to both adults and children.  Fancy a good tune? Well, you’ve come to the right place – the kettle’s on!

Hi all,

Where to start......, well we started off by creating BTS as a way of sharing the techno sets we loved with others, from there we got chatting to Fnoob Techno management and decided to embark on a journey of creating a radio show this resulted in Banging Techno sets Radio Show.

For us what keeps us moving forward in this journey is Techno isnt just a genre of music to us, its a passion, and a passion we would like to share with you all!

So from some of the biggest names, best and fast rising up and comers and to dj's you wont have ever heard in the underground techno scene. You will find your Techno here Banging and to a high quality!

Please note that all of our mixes can be heard in our group page which is linked into our side bar above :) 

If you fancy checking out some of our other website and promotional aspects have a look at some of the links above. You can hear our stuff every second monday from 9 - 11pm on Fnoob Techno radio 

If your interested in being involved with either doing a show or have promos please contact us on bangingtechnosets@gmail.com

Peace all! 

Reviews:

Next up (and bringing an enthusiastic crowd of fans), street poet and all round local legend Barnesy. He's got a nice knack of combining a sort of high speed, rap tinged vocal delivery with a surprisingly soulful voice on tracks like Estates Are In A State (his best song so far in my humble opinion and well worth a listen), a Gil Scott Heron of the Midlands if you like. And I do. (NB: the more I listen to this track the more I love it...this is seriously good stuff...) HEARING AIDE BLOGSPOT

Cockshure Kinksy-ness from bluesy bawler Barnesy is something worth noting. With both respect and disregard for the Queens English in equal measure, young Tom Barnes spins yarns of rationale beyond his years and an inquisitive eye for decadence. 'Estates in a State' is a Dylan-meets-Jamie T ramble with the haunting darkness of Johnny Cash. THE FLY

Barnsey is a Birmingham based acoustic solo artist whose fast paced delivery is a treatise on what has gone awry in our streets and hearts. He delivers a frustrated word spew at supersonic speeds that burns into our ears. He’s a poet of the British estates, a voice in the dark when The Flapper lights dip and leave him in the black and smoke. The future IS bright, when this is the kind of perfectly blended guitar and sharp, far reaching words that can speak for us. BLUE WHALE

Something of a local hero (there’s always an appreciative crowd at his gigs) he brings a touch of Ray Davies, a little Weller cool and (for the yoot) that easy street kind of style of singing that Jamie T’s trademarked. Standout track ‘Estates in a State’ is as good an encapsulation of what’s gone tits up in this country as you’re as likely to hear these days but, to be honest, there wasn’t a duff track in the whole set. It’s enough to give singer / songwriters a good name. GIG JUNKIES

He has the wry cynicism of Ray Davies thrown in with the bantering honesty of Jamie T, forming blunt and confrontational narratives of disillusionment backed by bluesy jazz chord progressions and accented with fancy work on his fretboard. His smokey, folky 5am comedown music has touches of Leonard Cohen’s stripped back, black humoured finger pointing that can be imagined decorating some hazy bordello before the whiskey hangover kicks in and the sleep deprivation starts to singe. BLUE WHALE

GOA PARTY MUSIC FROM 1984 TO 1993.
ANYONE INTERESTED IN MUSIC FROM THIS ERA PLEASE FEEL FREE TO DOWNLOAD.
A LOT OF THESE TRACKS WERE PLAYED BY DJ LAURENT AT THE PARTY'S DURING THIS PERIOD.

A musical role model of mine, little known outside of the psytrance scene, is Laurent, the French DJ who introduced electronic music to the beaches of Goa, India and played there regularly during the years of 1983-1993.

Part of the hippie traveler wave that flocked to Goa beginning in the 60s and 70s, Laurent took the early sounds of electronic dance music and, through a combination of clever track selection and customized digital tape edits, turned it into a futuristic form of sixties psychedelia. The extended edit wasn't a new thing (it had been done back in the days of disco), but he realized that by cutting out vocals and extending passages with nothing but synthesizers and drum machines you could create a ritualistic atmosphere, one especially suited to the Goa environment. An environment that was awash with acid and chillums, shot through with mystical trappings, and set outdoors in beautiful nature. As well as his editing skills, his collection and knowledge of music was beyond extensive, tapping a global network of friends for music that came from everywhere and every style. He drew from rock, dub, electrofunk, disco, new wave, industrial, house, experimental art-pop, and American techno from Chicago and Detroit. He would also incorporate European forms of techno like trance, the genre he helped create and in doing so, he eventually became part of a feedback loop going from Goa DJs to studio musicians and back again.

By the beginning of the nineties, artists were traveling to Goa, hearing Laurent and DJs influenced by Laurent, coming home, and making music based on what they had heard. Trance, and what would become psytrance, owe much to his expansive attitude. He was a pioneer of the 'party as a journey' concept... dark, inward,focused music at night would fuck with the dancers' heads, and at sunrise, dreamlike reveries would bring them gently back to Earth. For those who dropped acid, this seems especially appropriate.
By his own estimate, Laurent played around 10,000 different tracks during his years in Goa. It's not entirely clear why, by 1994, he had quit DJing. The changing nature of the music may have contributed to it: Goa had coalesced into its own musical style by then, one that had been streamlined into a fast techno/trance hybrid. Full moon parties, trance dances, or just Goa parties were the terms before then, but now artists were making "Goa Trance" with its own particular motifs and aesthetic. This was incredible music, it brought much-needed colour, nuance and experimentation to a techno that too often limited itself to dystopian gray or was content to pound its listeners into submission. Still, Goa Trance (later called psychedelic trance or just psytrance) was too uniform for some old-schoolers, who missed the days of even wilder experimentalism. LSD was still the drug of choice, but some complained that you just couldn't dance all night to 140 BPM.
Perhaps, though, Laurent had simply done everything he had wanted to do as a DJ and decided that it was time to move on. He remains an enigmatic figure, posting on the occasional forum when it strikes his fancy. In a massive infodump, posted on discogs.com, he revealed 1,000 of the tracks he had used; all commercial releases, ranging from the extremely obscure to the very well known. I learned so, so much from that tracklist: it gave me many happy weeks on Youtube, swelled my record collection, and led to a tribute mix.
Looking at the list, I'm struck by how counter intuitive much of it seems. I picture juxtapositions of the most bizarre kinds... The B-52s and Front 242; Blancmange and Afrika Bambaataa; Thomas Dolby and Italo disco. Laurent's genius, I think, was to identify the shared transcendental impulse behind much contemporary music, and to put that under a sonic magnifying glass for all to hear.
By the late nineties, Goa was a fading scene. I started with the post-Goa psytrance movement, that had its epicenter in Israel and the UK.
in the deserts outside Tel Aviv and the nightclubs of swinging London, not a beach in southern India. From there I worked my way backward to learn the music's history and why India was so damn important, anyway.
Very important, as it turns out. The story of Indians from Goa, some of whom grew up with this music and later became producers of it, is another tale waiting to be told; from what I've heard, Goa is rife with both wonderful examples of coexistence and cross-pollination and less-wonderful examples of conflict and exploitation. But in its heyday, Goa was a case of First World spiritual seekers and party animals living in symbiosis with a newly independent Indian state. It was hot, dusty, and rough, and it created a new musical culture.
The early Goa scene took the artificially imposed distinction between 'head' electronic music and 'body' electronic dance music and took a sledgehammer to it, flattening it out into an open experiential field. It showed that EDM could be as trans formative, complex, and confrontational as a psychedelic trip; that it could provide, not just an escape from reality, but whole new ways of engaging with it.


Theo Charles is a DJ's DJ. Bringing the bravado of turntablism to the timeless aesthetic of house and techno; never one to shy away from challenging the status quo, the Colorado DJ has formulated a distinctive signature sound behind the decks. From Aspen to Africa, Theo Charles has made name for himself.

Theo Charles cut his teeth training under such decorated DJs as Dirty Digits, TJ Mizell and DJ Esquire. As a result, where other four on the floor selectors build a long, gradual progression, his fast yet skillful transitions translate to a more engaging audience experience.

Theodore Charles Liebowitz (who simply performs as Theo Charles) was born in Denver, Colorado; he and his family relocated to the ski town of Aspen where he spent most of his adolescence. From an early age he favored more subversive styles of music, whether getting in trouble for listening to hip hop as a child or immersing himself in counterculture through punk rock as a teenager.

Charles snowboarded competitively during his formative years. In high school, however, he attended his first rave: Hallowfreaknween at the Palladium in Denver. After catching a performance by The Crystal Method (TCM), his primary focus shifted permanently to electronic music.

If The Crystal Method had gotten Charles into electronic music, Z-Trip got him into DJing when he found himself in the audience during the latter artist’s set in Aspen. He was also fortunate enough to witness a performance by the late DJ AM, which solidified his decision to become a disc jockey.

He moved to New York City for school and attended the famed Scratch DJ Academy, a school for turntablists that was founded by the late Jam Master Jay. During his time in the NYC battle scene he was brought into the culture of grassroots hip hop, art, finesse, and was afforded the opportunity to perform at the world-famous Webster Hall in 2011 as a newcomer in a city known for it's no nonsense approach to music and nightlife.

After returning to home, Charles reached another milestone when he was billed as the official DJ of the 2011 World Cup in Aspen. He also regularly performed at Belly Up, Aspen that same year, and delivered the first of what would turn into annual performances at the transformational festival Burning Man.

As he started taking his DJ career more seriously he relocated once again to Denver, as it stood out as a bigger hub for music of all kinds. During his time in the Mile High City, he’s performed at such nightlife destinations as Beta Nightclub, Vinyl, Bar Standard, The Church - as well as traveling to perform at such events as New Mexico's decomp event at Taos Mesa Brewing Company, Festivals such as Global Dance Festival, and alongside industry icons such as DJ Dan, Billy Kenny, Shiba San, Option4, Booka Shade, Kyle Watson, Left/Right, and even his hero Z Trip, amongst others.

In an era of pre-planned (and often even pre-recorded) sets, Charles differentiates himself by improvising every single performance. He only plans out sequences of tracks insofar as a boxer plans out one-two combos, leaving the audience in control of where each mix dovetails. In addition, the crowd’s response to his tasteful implementation of DJ tricks indicates that such novelties are certainly not lost on fans of house and techno.
If you fancy yourself a fan of real DJing in any capacity then Theo Charles is a name you need to know.

Contact: sirtheocharles@gmail.com

Hello 

First of all, all my Virus Ti sounds are entirely my own made from scratch, and if you hear a patch you like, you can have it for free.

I am a 33 year old guy from Copenhagen, Denmark.

Selected Equipment
-Clavia Nord Lead 2X (best virtual analog  in raw sound)
- Access Virus TI2 Desktop (best virtual analog in raw power)
- 1992 Japanese Ibanez S Series guitar with custom DiMarzio Pickups (recording guitar)
-TC Electronic Powercore PCI DSP Card (for effects)
-MOTU 896HD HD Recording Interface
-RME OctaMic Microphone Preamp



I have been playing music since I was around 14 years old. Starting simultaneously with acoustic and electronic musik by both getting a guitar and a computer with a soundcard with an onboard sample based "synthesizer" (like a simple rompler) with a simple sequencer program. I had no keyboard so for a long time I enter music with the mouse.

During the last 10 years I have painstakingly saved up and piece by piece bought the equipment of my current setup. It is nothing fancy but everything is professional grade equipmant like MOTU, RME, Clavia, Access, Yamaha and ADAM. I have deliberately chosen not to buy cheap equipment and in stead waited, saved up and bought quality gear that I would not get sick off and have to replace later.

Here is a picture of my current setup:
http://imgur.com/0kYroF8

When I make electronic music I play everything live on keyboard and then edit the MIDI data if required. That includes drums. I never enter notes with the mouse  Sometimes I only record af few bars at a time (and do some retakes) if the piece is very difficult and/or  very fast. I can't really play "normal" keyboard, like LIVE in a band, only every basic chord stuff, but I am sure I am not the worst keyboard player amongst electronic musicians, although surely not amongst the best either.

My older electronic stuff was made up on the fly and was mostly basslines with basic chords on top. Some liked it.

Now I write some music on guitar seperate from the recording process, and when I have something that I like I start adapting the guitar piece into synth riffs and record drums etc. The track "Resonant Reconquest" is the first example of this new process. I prefer working like this as the results are more musically interesting.

Because the electronic stuff started as moody guitar piece the result is a sort light/poppish trance mixed with some house elements. I would call it "Club Trance" of "Soft Trance".

My favorite euiptment is:

Clavia Nord Lead 2X (virtual analog synthesizer)

Native Instruments Maschine MKII (software sampler with dedicated MPC-style controller)

MOTU 896HD (rack-mount harddisk recording interface or "soundcard")

Powercore PCI MKII (DSP card for hardbare VST effect plugins)



User 954872225 is following