I wrote a song on a toy keyboard and a year later I was performing in a coffee house in Oklahoma, across the Texas Panhandle and informal gatherings to Berkeley California where I became a street musician. I often changed my artistic mediums from music to visual art, video performance in grad school, miniature sculpting years later. Many years later I was managing  coffee houses in New York, but my real involvement with music is the creative process of song writing. I still move back effortlessly between music, spoken word, prose and visual art.

all of my old shit from like 2011 - 2013/2014
when my old pc died i lost a lot of motivation to continue this, so i stopped completely

holy shit i was weird LMAO

Griffin Riley, commonly referred to as The Dark Crustacean in his aspiring musical and photography careers, is a rising phenomena, touching the souls of all he encounters. 

One of the lasting impressions he always left on his peers is his masterful craftsmanship of unique and varying sequences on the fly with is proficient beat-boxing techniques, originally honed in during his 5th grade year, and later being completed in his 8th with his learning of dubstep beat-boxing techniques. Along the way, his interest peaked in various EDM genres, particularly in the dirtier rising mainstream dubstep acts such as Skrillex and Flux Pavillion, with some peaked interest in house tracks. 

Powering through life at home and school with bountiful amounts of motivation found only in the EDM nation, his aspiration into becoming a producer himself arose with funds being saved, penny by penny, dollar by dollar, to eventually achieve his ultimate goal. Along the way, he met other individuals passionate about music and created a group with them by the name Childish Minds, with their first tape, Immature Thoughts, to  drop later this year.

This brings Griffin Riley, the author of this miniature auto-biography, to where he is now, a young man setting his sights on the mainstream music outlets and to go where no others have dared before, to sleep. Good night. This was finished at about 2:16 AM on 7/3/2014, or for the non-American crowd, 3/7/2014, while listening to "Under Control" by Calvin Harris & Alesso.

Growing up in Suffolk surrounded by open space, farm machinery, cattle and birdsong, Choo naturally became interested in removing and utilising back ground noise, this sonic exposure is evident in his work. 

As a sound engineer Choo has experienced many aspects of sound production including mixing and setting up the live sound Cardiff MET summer show. The performances of which included spoken word, poetry, drama, dance, live music and a DJ set. During November 2011 Choo assisted Steph Fleming mixing Eddi Readers live sound in a theatre setting at the ‘Town House’ in Hamilton. 

Performing as a bass guitarist in many acts from the age of 14, most notably the Cardiff based act DavidDavid and as part of Qi. Choos style of musical performance and production changed evolving a more electronic sound utilising samples, sound effects, synthesisers and production techniques. Having graduated with a Bsc (Hons) in Music Production Technology, from Cardiff MET Choo continues to adapt and explore new sonic avenues. This includes the miniature concept album 'Mostly Water' based around the economic climate and the digital switch over of broadcasting media. More recently Choo has been exploring the concept of micro-tonal/experimental scales and frequencies, using graphical development environments. This culminated in the creation of a Max MSP patch for micro-tonal detuning of any given piece of standard twelve tone MIDI information. Looking forward, Choo continues to develop as a sound engineer along with producing  music utilising a wide range of instruments, sounds and audio modelling technology. Currently working on new material encompassing a wealth of electronic style and swagger.

Glen J likes to play music, he thinks its rather rad. Sometimes he likes to make music as well, although finding time can be difficult, especially with miniature golf practise 4 days a week. He is considering changing his name to Sir Paul Von Daniel James the Third....... however only time will tell if he does.
Mr Echo, as no one calls him, has a love for Tech House, Techno and Progressive House. He also has a love of nature... combine the two and he's as happy as Larry. Sometimes when he is in a club he wishes he was in a field, barefoot and fancy free..... and sometimes he is.



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Introducing Samuel Stewart

As the music on The Beginner clearly shows, Samuel Stewart has a unique new pop music voice. The album’s five songs are richly atmospheric - now ominous, now dancing wildly out of control with an irresistible energy that’ll have you up and moving in seconds. Classic pop songs that sound like they’ve come from some forgotten 30s musical, rub shoulders with unruly gypsy punk rock rave-ups and heartbroken love songs that recall a melancholy French chanson. “Like many Englishmen, I have a dark sense of humor,” Stewart confesses. “In England, we’re bred guilty. I’m not religious, but the images and issues of Catholicism and sin are very interesting. I like darker songs, songs that can get you moving and make you think.”The songs on The Beginner are the work of a master musician. The album’s darkly humorous lyrics, vibrant arrangements, and Stewart’s tough, but vulnerable vocals, produce music that sounds both timely and timeless. These are messages from the front lines of love’s ongoing battle, where men and women join in battle trying to discover some meaning in the insanity that surrounds us all.

Samuel Stewart is the son of Eurythmic Dave Stewart and Shakespeares Sister Siobhan Fahey. “I grew up in North London with my brother,” Stewart recalls. “There was a lot of music playing around the house, but I relied more on my friends for my musical education. My mom has great taste and introduced me to Roxy Music, T. Rex, and the Stones. Since she was in the original wave of punk rockers, she was obsessed with the Clash, Blur, Pulp, Mazzy Star, and Black Grape (Shawn Ryder’s band after the Happy Mondays). When I was 12, my mom’s boyfriend got me into Smashing Pumpkins, and the Pixies. Siamese Dream and Doolittle became my favorite albums. I discovered Leonard Cohen, the Beatles, Morrissey, The Smiths, and Bowie too.

“I don’t remember this, but when I was two, my parents bought me a miniature drum-kit. They say I used to play along to my favorite records until I started (grammar) school. Then I decided to be a film director, which lasted till I heard Nirvana’s live album, From the Muddy Banks of the Wishkah. My dad bought me a nylon-string, mini-acoustic guitar and the From the Muddy Banks of the Wishkah songbook. I got serious about playing.”

Stewart and his best friend, William Cameron, started jamming and put together Blondelle with two other pals, drummer Mike Deegan and bass player Rory O’Donnell. By the time they were in high school, the band was getting playing gigs. “I dropped out to study record production when I was 16,” Stewart says. “It was a total waste of time, although it helped when we produced our albums.

“(Blondelle) started like Nirvana, then got into metal, then indie rock like proper teenagers. At the end, we all liked different music and were moving in different directions. We got signed by Columbia, Japan, and did really well, with a Top 10 record. We got signed in Europe, where we toured a lot. We did well everywhere except the UK. We all lived together in a house in London, but the end, when we were home, we were all in different rooms.

“I was the one who said I’m gonna leave the band. It was obviously over; I’d just broken up with my girlfriend of six years, and I was bored with music and the London indie scene. I planned to visit my dad and my younger brother in LA for a week, but I liked the town, so I went home, got my stuff and moved here in late 2008.

“The first friends I made were Josh and Justin who have a band called The Petrovic Blasting Company. They’re from Nashville, but play Eastern European and Balkan gypsy music using accordions and percussion. They were a big influence on me when I started writing songs.”

Stewart’s brother had a band called Django James & the Midnight Squires. Samuel agreed to produce some demos for them. “My brother has an amazingly soulful voice and writes great lyrics and arrangements. The band was really talented, but when the demos were done, Django went back to London. On the bright side, some of those musicians are now playing with me when I do gigs.”

In LA, Stewart’s songwriting took off and he quickly moved from Garageband demos on his Mac to a proper studio to record The Beginner. Stewart’s gigs, both with his band and as a solo acoustic artist, have been getting good notices. He’ll soon be hitting the road for a national tour to support The Beginner. With another EP finished and an album in the works, Stewart’s ready to take his show on the road and make his mark.

I HAVE MORE MIXES TO DOWNLOAD FOR FREE AT:

http://freakonomix.com/dj/djspillz/

DJ $PILLZ was born in Pensacola, FL. He moved to the Philadelphia area when he was 5 years old. At age 7, $PILLZ fell in love with music after his uncle Scott from Pensacola, who managed a record store, sent him Beastie Boys and Run DMC cassette tapes. After that young $pillz began building his collection of music. He would make his own remixes using 2 or 3 cassette recorders at once. Then he would make mix tapes and pass them out to all his lil bratty, punk ass friends for their listening pleasure. At age 10 Young $PILLZ put his music a side for a little and moved to italy to became a five star chef. He cheffed up some of the finest cuisine ever tasted. People would come from miles away to taste such dishes as his: Aged bologna spagetti topped with a pickled hard boiled egg sauce and lets not forget the all so famous spicy Jamican pigs feet over easy wrapped in miniature lambs tounge with a sprinkle of yellow-tailed woolly monkey urine, (very rare). But his passion was still music. He gave the chef life up, the money, cars and women, everything and moved back home at the age of 11. He had also become quite a fat ass living in Italy and had to join a gym to lose the extra 237 pounds he had put on. Speeding things up, $PILLZ finally got to spin on turntables when he 17. He fell in love! At the age of 18, $PILLZ bought a pair of Technic turntables. He then began to learn the fundamental skills of scratching and mixing. Soon after, $PILLZ began spinning at house parties, later moving onto bars and clubs in the Philadelphia area. For a change of lifestyle and scenary, $PILLZ decided to move to Orlando, Florida where he met DJ DoctaDawe and Philthy Phil. $PILLZ, DJ DoctaDawe, and Philthy Phil created Deafening Audio, where they began throwing parties and obtained residency spots all over Orlando. $PILLZ spun for various events like MTV's Reality Bar Crawl featuring cast members from Real World and Road Rules in Tampa, Florida, WMC events in Miami and clubs all over the US. Currently, DJ $PILLZ lives in California. $PILLZ belongs to a dj crew out of Orlando called "Orange County Concepts". He works full time for the govt. but still spins any chance he gets. DJ $PILLZ makes his own remixes and is always making new mixed cds. Do you like how this whole bio was all in the "third person" but it was really me the whole time? Enjoy my mixes. There'll be more to come including video mixes.


Mensenkinderen

A surprisingly intimate project by Bas van Nienes, lead singer of Anderson

One might call it a luxury problem. Bas van Nienes had travelled all over the world over the years, together with his musical companion Jeroen van der Werken (the other half of their electro-pop duo Anderson). Tokio, Berlin, Los Angeles and Stockholm: been there. The hippest clubs and festivals, radio and TV shows: done that. Loads of new friends and acquaintances: bought the T-shirt. 
After the intensity of touring – seemingly endless flights, hours and hours of driving, surviving on fast-food and sushi, adrenaline days, sleepless nights – the trip would end where Bas had started it: at home.
Home. Drab Monday mornings in a terraced house in Ridderkerk, the Netherlands. Getting used to a fresh family life with a newborn child. An agenda full of blank pages. The transition couldn’t have been more abrupt. Nevertheless, Bas rather enjoyed it this way.

Just recently, he’d felt completely lost, at a fancy function on top of a Hollywood skyscraper. He didn’t feel like he belonged there. He wanted to be back in Holland, with both of his feet in solid Dutch clay soils. That would feel so much more familiar.
 
Bas had lost the desire to take on the world. Maybe the time had come to drop his former career plans and start on something new. He got into his garden-shack-turned-recording-studio and locked himself in. And as he did so, his darker doubts and fears soon started surfacing. 
 
Bas decided to turn to his old diaries and rediscovered his own ponderings of years before. There was unmistakably a bit of poetry to be found in those scribbles, too. He remembered the country of his youth, back when his world was yet small, but his faith knew no boundaries. Very gently, whispered glimpses of new melodies introduced themselves to him.

So Bas moved a cartload of instruments into his back-yard barn and locked himself in again. He needed some background tracks for his stormy stream of consciousness. 
No high hopes, no excited expectations. He wasn’t going to put together any elaborate pop songs – and he wasn’t going to subject his writing to any radio editing either.

Fortunately, blood is thicker than water. Before long, Bas had completed a set of sublime miniature pop songs, breathing Anderson’s familiar indie-electro style, but much more intimate and ramshackle. Bas named his new project Mensenkinderen (Children of Men). Its compelling melodies and frail arrangements remind one of The Innocence Mission’s dreaminess, Sufjan Stevens’ multi-layered arrangements and Loney Dear’s crafty nostalgia.


All of the lyrics are in Dutch, as a tribute to his home country. Some of them were taken directly from his own diaries. Some of them are from his grandfather’s travel logs. Some are stories of nostalgia, fragments of what could be children’s songs – and all of a sudden a robust refrain for a song of faith bubbles up, which would be well in place on the weathered pages of a long-abandoned village church songbook.

There’s a lot of melancholy to be found on Mensenkinderen. At the same time, it’s also disarmingly playful and full of an almost childish sense of hope. This cheerful ambiguity starts right in the opening song – see if you can stop yourself from smiling when Bas sings about his fantasy world, accompanied by a Nintendo-like bass line:

A house built out of Lego bricks
A cut-out cardboard car
A church made out of plastic
Melting in the sun
An airplane in the distance
Soaring on paper wings
I’m writing my own Bible
On an island far away.
 




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