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Born in Derby, Central England in 1967, he had a conventionally musical childhood, where both parents were musicians and with involvement in music at school, discovering modernism in music, Mahler, Bartok, Berg and Tangerine Dream from friends in early adolescence. Parting unceremoniously from school he moved to a local college to study ...music, deepening obsessive interests in modernism in music, Art and Architecture. Here he developed the early phase of what would occupy him for the next 20 years - the style of minimal line Drawing of Form and shape abstracted to Geometric Figures that came to be called Elementalism, becoming a branch of OP Art. After a Dangerous brush with Cancer in his early 20's and Reading Philosophy and Music at Warwick in his late 20's he held Major Solo exhibitions in London and Berlin, and has Large commissioned works in Liverpool Met. Cathedral, and in Oxford and Derby Universities, he retired from Art for the love of music aged 39. Music had followed his life as percussion, from folk bands to Solo work. He gave two recitals at the University of Derby in 2005 and 6. A man in the audience [2006] offered him recording Facilities and so came his first and second albums, being solo percussion albums under the then stage name 'Perpetuum Mobile' to distinguish it from the Art. In short order he set up his own studio facilities, His 'Drum Studio' and began recording in earnest. Percussion first, with the two PM albums becoming 7 'Drum music' or Dm Albums including his 'Five Sonatas' [Dm 2], and his 'First inventions for Djembe' [Dm 6] These works starting to employ multiple tracking and Electronics, 'Skyside full of echoes' [Dm3] even becoming 'Concert pieces' in a studied understanding of contemporary music. A number of albums featured sets of Solo Percussion 'inventions' for various instruments, consciously modelled on Bach's notions of instrumental invention, in 'the maximum from the least means', drawing out Techniques, textures and sonorities from all manner of Drums. Developing also studio techniques and electronics which would lead him far beyond percussion, with an upgrade to the new Isobel Studio. There followed an explosion of Creativity, he says: "It's like I had 40 years of pent up music inside me" - resulting in his spending the next four years continuously recording, at his studio and others. Drum music, Dm, was the first of his so called 'Tranches,' or 'Sections,' of separate musical research, that separated very rapidly out of the white heat of the earliest recordings, with equipment being set up recorded and mastered in quick succession, "it would be in the can before it could be even named", the only thing which preserved an order was the recording Catalogue number Rh X, for rhythm, later just 'Rh,' analogous to his 'Cw' notation for Art works; the last of which in the high 800's was just months before. So, it became necessary to organise his thoughts, into five working areas." Thus in the first of several root and branch reconsiderations, the notion of the Five Tranches was sealed, incorporating the Rh catalogue nos. as a bed rock chronology across all the Areas. These five ‘Areas of interest’/ research,’ Tranches’ or ‘Sections’ are, firstly, 'Drum music', Dm; and, secondly, another species of percussion, this time on metal, metal sonority and harmonics, with tuned and untuned metal objects and instruments, giving 'Metal Percussion music,' or MPm. With the first 7 albums Named as Dm 1 - 7, the 3 albums collecting the early pieces he calls the 'Metal shop', after setting up the studio in a dedicated area to make a lot of noise in deep in the nights, albums 8, 9 and 10 became MPm 1 - 3. And so the pattern emerged, compositing the next five albums, to encompass the works made thus far in his 3rd area of interest or Tranche. Music created by tape loops, set against one another to systematically create complexity and resolution in phasing effects, hence 'Phase music' or Phm. Thus albums 11 - 15 are called Phm 1 - 5. A music type for stringed instruments, with percussion and electronics, al la Klaus Schulze's 'X' [ten] and 'Trancefer 'was beginning to emerge, which, though still in its infancy , would be the push towards a recognisably Classical music and become an important strand in his music. Thus those proto Classical works were collected in albums 16, 17 and 18 as 'Music for Strings, Electronics and Percussion', or MSEP 1 - 3. The Last Tranche was a music that had travelled so far from its instrumental or environmental source, that it could be said to be 'Electronic music.' Thus last 8 albums in the organisation that set the these categories in Stone, gave albums 19 - 26 the subtitles of Electronic music or Em 1 - 8. From then on each new 'Album, that is 'CD length collection,' would take a designation after its content, to its tranche, and the next sequential number, in an irregular distribution over 120 or so albums. This last placement number, by album release not section is named after the record company founded to publish all this, DCM or 'Drowningcircle music' hence DCM number - itself named after his publishing Company founded with the Art in the 1990's 'Drowningcircle Contemporary fine Art’ or DCA, and yet Itself named after the small Artist's collective he founded in 1986 'The Drowning.' This Complex is the core of his working life, but surrounding this is an equally rich, if not richer layer of Collaborations with some very interesting people. The first of these, almost from the beginning of the music, was Jim Tetlow whom he met at an Electronic performance in Leicester in 2007, so beginning a long association with a group of musicians collectively known as 'The Leicester underground.' That first meeting became a shared stage, and an association to this Day as the Contemporary Duo 'Tetlow and Broadhurst,' producing some seminal work, over to date 14 albums. A couple of years after he met Jim Tetlow another figure came on the scene, the Cellist David Dhonau, with whom he formed D'juil - exploring in great depth aspects of the contemporary cello over, to date, 17 Albums, many of them doubles, and some of the most important music he would write. Lastly in his Leicester phase a short series of works with the Leicester based Polish Flautist Vocalist Ola Szmidt [and David Dhonau], as ‘OLArJ’ [pronounced ‘O lar ja’] and’ OLAU’ [‘O Lau’]. Their Double disc 'Cord of life' was played in full on American Classical music radio 'What’s next' - as were two works of D'juil. Falling a little out of sorts with Leicester, and restless for wider horizons he met the German wind specialist Markus Wenninger and through him Croatian Composer Jurica Jelic and Formed between them JJM, with one album, the double 'Breeze'. This short lived project separated into 'Wenninger Broadhurst,' a very important collaboration, with to date 7 albums, and the short lived, 2 album collaboration 'Anjelic,’ with Jurica Jelic and Berlin Sound Artist Marcus Beuter. Then another important international duo, ‘Konnyek’ formed under the umbrella of JJM [now as a publishing collective], with the Serbian Composer Pianist Marina Vesic, with five albums to date. Also, he formed collaborations with Leicester Vocalist Flautist Maureen Anderson, as 'Anderson Morning [2 Albums]; and With the English Percussionist Walt Shaw as 'Lords of the Dance. He has always felt his musical life could be expanded by working with others, and that his ‘Collaborative music’, his so called ‘Sixth Tranche’, Cm, was a life's work in itself.

Glen Spardello is an independent singer-songwriter with a unique and raw sound that cannot be defined. With a distinctive voice that is not quite folk and not precisely blues, Spardello's sound will appeal to a variety of audiences who appreciate honest, stripped down music. Hailing from the smallest state in America, Spardello puts Rhode Island indie music on the map in a big way.

 

Raised on the sound waves of '90's alternative, and hip to the guitar riffs of '80's metal and '70's classic rock, Spardello has managed to fuse a variety of influences into a signature sound that won't sit still under any genre umbrella. Spardello's unadulterated song writing makes his debut album, 5IVE 2N9E (Five Two Nine), an authentic listening experience for those looking for honesty in today's nebulous musical landscape.

OOOM  was an original band in mid to late 90’s from Melbourne, Australia, supporting such bands as non intentional life form and other local bands. Unfortunately Ooom finished before they could begin with the passing of singer/song writer and amazing drummer Jason Wearne in 1999 the rest of the band Aaron o’brien And Nathan clouse going there seperate ways after nearly being sighted with road runner records and over 30 original songs co-written by all band members, Nathen also passed away in in 2018 due to overdose. 
The Former Drummer in OOOM was Jason Wearne, Rest his Soul 1999. All recorded material under the name OOOM or is Copyrighted since 1995 Aaron O'Brien. 
OOOM was Formed in in early 1990 by Aaron O'Brien and Jason Wearne, OooM played about 20 gigs in Melbourne in 1996 and 1997, The band was disbanded in 1999 after the unfortunate passing of Jason Wearne.
Aaron has also done other collaborations that may turn up in this profile and also performance sound and visual work done for art exhibitions. 
All artwork are original works produced copyrighted by Aaron O’Brien

<a href='http://gigs.gigatools.com/u/Bounce' target='_new'>NOOB's Upcoming Gigs </a>Saturday 22 June, 2013 <a href='http://gigs.gigatools.com/u/Bounce' target='_new'>Raschdingue, vilajuaga, Spain</a> <a href='http://www.gigatools.com' target='_new'>Powered by GigaTools</a> 
There must be something in the water in Bordeaux. Something that turns quiet kids into tasteful buttoned-up hooligan technophiles expert in ghetto house and the art of partying till you're brain dead while screaming their trademark "CHUI CHO" from the top of their lungs. First there was Bobmo, then Strip Steve, Djedjotronic and now we present to you the latest graduate from the Bordeaux school of hard knocks: Noob. 

It was Popof who first spotted Noob, and his remix of the well renowned "Serenity" became Form Label's first ever release. From that point on, Noob began receiving remix requests from some of the industry's most prominent figures and labels including Brodinski (Turbo), D.I.M. & TAI (Boyznoize records) and Zero 7 (for the legendary Atlantic label). Tiga himself also requested a remix for his weeks long top charted single "Shoes".

In 2009. Noob co-released his maxi single "Peanuts Club" on Turbo Records (alongside Brodinski). The pumpin house megahit not only grabbed every dance music aficionado's attention, but also helped define the sound of 2009 whilst getting plays by every major DJ back when high pitched synth riffs and tropical riddims ruled the clubs.

He then proceeded to deliver a handful of tasty remixes (for none other than heavyweights Tiga, Para One AutoKratz, Proxy, Style of Eye and Popof), as well as his immense Dinosaurs With Guns production for Yours Truly.

In early 2011, he majestically flipped the script by showing the world his obsession with intricate patterns and melodies through his "Crumble" EP, a very IDM-inspired warped tech house gem on the usually rather techno Form records.

Most recently, the Bordeaux techno villain released two massive tunes on Sound Pelligrino: "Spell", a groovy sure shot which combines commanding ferocity and a delicate class in a way reminiscent of Style of Eye's early work, but also hints at Noob's passion for IDM and mysterious- almost ambient melodies à la Lone, carried by a strong rhythm built on noble electro and house drums, unraveling the most 'hands in the air' breakdown since the invention of putting your hands in the air. The track generated an incredible crowd reaction and witnessed immense club success.

The second one being "Protein" was reminiscent of Oizo and b-pitch era Feadz production, as well as the dirty MPC-sounding, analog clashing against digital, grease-dripping electro funk of old favorites Letroset. It's weird, aggro yet minimal, always building up yet never blatantly exploding but rather keeping your feet on the floor for some seriously sweaty dance action. So far Noob has hit some of the world's most renowned stages, including Dour Festival dour ( Belgium ), Onzieme Osaka ( Japan ), Zoon Club ( Mexico ), Womb tokyo ( Japan ), Fabric London ( UK ), Sankeys Manchester ( UK ), D.Edge Sao Paulo ( Brazil ), Rex Paris ( France ), Festival Plages Electroniques Cannes ( France ), Kaballah Festival Itu ( Brazil ), Soul tech Festival ( Mexico ), Libertine Supersport Brussels ( Belgium ) etc. Apart from a vigorous touring schedule, studio sessions also keep the young Frenchman busy.

In fact a handful of diverse little side projects are underway for Noob... Stay tuned !!

Harbor Freight Coupon is in my comfort zone although I'm sorry I'm being so long winded. For those who want to purchase Harbor Freight tools online will not experience hassles because the company assigns FedEx, a well-known international shipping firm, to deliver all the orders of customers. Meanwhile, for the average price of $15.95, people can already order Harbor Freight Tools Air Grease Gun. Additionally, numerous retail and specialty stores in various nations feature and sell different Harbor Freight tools. To those who have interest in trying the different products and tools developed by the firm, they will not be disappointed since the company ensures that all of the materials that it uses in producing the tools are of high quality..


Dead Legacies, a Heavy Metal Band from the north east of England (UK) who love metal from ages gone by. Sad that the musicians they idolize are slowly moving off to the great gig in the sky one by one they came together to try and make their style of music live on by being reborn in the modern era through them, sighting many artists such as Ronnie James Dio, Jimi Hendrix, Cliff Burton and Cozy Powell as influences their style can not be pinned down to any specific genre other than the umbrella term "Metal". The band, deeply musical, all have cut their teeth doing the same BTEC national diploma in music performance and have a deep understanding of their craft, using as much complex musical theory and technique as possible without forgetting the feeling of the songs.

    Most of this soundcloud will consist of snipets, riffs, ideas, and the bare bones of songs I am working on. My goal is to have a full demo finished by the end of the summer, probably about five songs or so, all written, recorded, mixed, mastered, and produced by myself. I'm new to pretty much everything aside from noodling on the guitar, so I'm assuming a lot of it is going to sound extremely amateurish. Nonetheless, this is what I have to offer, and a project such as this has been my dream as far back as I can remember. I don't know what genre I would fall under, but for now I call it Buttmetal, Progressive Metalcore, and Melodic Death Metal, as that seems most fitting.

Kind of a non-sequitur, but somewhat related, one of the things I enjoy is watching the bonus clips in a skate video. Mostly because they show what a skater has to go through in order to get a trick, which is a lot of bails. Essentially, my soundcloud will emulate that, as a lot of what I will post will be bails. You will hear me struggle with songs, timing, production, and everything in between. Hopefully, it will result in some songs that are the culmination of all my efforts and meet my expectations.

    At any rate, I hope you enjoy what I have to offer, and those who follow me I thank you. I imagine you will see somewhat of a progression, and if you don't I have failed not only you, but myself as well. Any constructive criticism is welcome, so long as it doesn't fall under the trolling umbrella.  My wish is to give back to the music community, as it has given so much to me. DIY recording was a senior project I embarked on in highschool, and I half-assed it, and even though I got a good grade I always felt that I cheated myself out of something; now is the time to make it up to myself, and I hope some of you come along for the journey.

For those interested in gear: 
--Recording gear: I use a Focusrite Scarlett Solo as my interface, Cubase LE7 as my DAW, and a digitech RP350 processor for tones and drum samples. I imagine I'll graduate to better and more specialized devices, but this is essentially my starter kit.

-- Guitars: I have an ESP LTD V-350 (18v Seymour Duncan Livewire active mod) tuned to drop b, an ESP LTD F-50 (Crappy stock passive pickups--probably going to do a swap soon) tuned to drop C, a Schecter Damien Elite 7 (EMG 81-7 and 85-7) tuned to drop G, as well as a Blueridge acoustic tuned to drop d. 
 --Strings are either Elixer, Earnie Ball, or Cleartone. 
--Mics and amps: haven't mic'd any amps yet, but when I do it will most likely be my Marshall 100HDFX (head) with a slant cab. For micing the cab, I may use my Scarlett Studio CM25 compression mic, or I might use my Tascam DR-07 recorder. 

Any suggestions in relation to gear, especially regarding what I already own, are more than welcome

Thank you,
--D-bon1349


The music and literature of Traix Heiden reflect many interests, including Japanese poetry and court music. Consequently, Traix’s music often involves expanded musical gestures that manipulate time and timbre, and his literature shows the influence of narratives originating from Japan. His output includes works for small and large instrumental ensembles, choral music and keyboard music. Much of his music is directly or indirectly related to his creative literature output. An ongoing project is the composition of a large multi-movement work for wind ensemble and narrator, based on one of Traix’s original stories, a novel in progress, which is part of an umbrella project codenamed “Saralied.” This project seeks to encompass many genres of both music and literature, often intertwined and cross-pollinating. Myriad styles and genres influence his work, notably the Western and Japanese classical traditions, metal, and literature from the science fiction, fantasy, and horror traditions. Traix has studied under Warren Gooch and Mara Gibson, and is currently studying composition at Truman State University under the tutelage of Charles Gran.

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