WeirdGear are a trio from East London / Essex UK who use classic analogue synthesisers, effects pedals and drum machines....all played live.
They are inspired to make music by the early pioneers of US Electro, Detroit Techno and Krautrock. This is fused with their love of 60s Garage, Disco, Psychedelia, 70s Glam, Soul, Funk, Film Soundtracks, Ambient House, Library Music and pretty much anything else they chose to throw into the blender to create their own sound.
The band are currently on a break from music making to enjoy being DJs again and taking on collaborative and remix projects in diverse fields. Sure they'll be back in the studio vsoon for the next round of music making. 
Anyone interested in any of their tracks, contact the band through the many channels / links below and they'll happily send it your way.

The History | 
WeirdGear were formed in 1994 by Paul W and Lee. 
They became a quartet in 1999 with Dave Panter (retired 2009) and Paul Barlow. 
Until 2006 WeirdGear were a musical collective who met for therapeutic reasons - making noise to combat the stress of daily life.

Releases | 
On 4th November 2013 brought the Cosmonautes Discotheque LP. 
This is a concept sci-fi soundtrack album for a film not yet made or seen. An outline of the story sits in WG archives waiting for a filmmaker to realise this vision. 

On 5th August 2013; Points EP was released with fantastic remixes by Paul Alty, Gagarin, Olley G, USRNM, Cloud & Owl, Wolfephunken and Sean Woolf. 
On 25th February 2013; Daytona 87 EP was released with fantastic remixes by Ben Glass, red collective, Stuart Russell, USRNM, The NKR and NEON. 
On November 26th 2012; Black7 EP was released by the B>M>W> (Barlow Maher Wolfe) trio with remixes by Phonic Voyeurs, Radio Phone-In, Derek FME and Kostoglotov. 

They have an album of treasured memories from 2006-2009 called 'Aurora' for sale on major download sites
Add to this the FREE companion album Aurora 'Bonus'. 
This is full of studio improvs which were captured on MiniDisc from 2002-2009. 
'Bonus' is a FREE download available by contacting the band.

All WeirdGear recordings listed above can be found on iTunes, Amazon MP3, Spotify, Shazam, CD Baby and many more digital outlets.

All WeirdGear releases are through the label, promotion and management company MMR (Magico Meccannisimo Recordings). 
This is owned and managed by the band and registered as a legal entity in the UK.
Check out the other MMR releases and artists at www.soundcloud.com/mmrecordings



I've been into synthesisers and drum machines for many years, but have also recently turned to guitars with lots of effects. I would say my influences range from Shoe-gazing stuff like My Bloody Valentine and Cocteau Twins, to the more electro Krautrock stuff like Harmonia and Cluster. My love of synthesisers began in the late nineties, when I was a big fan of Stereolab.

My current set-up includes a number of analogue synths and drum machines (I have no objection to digital though); an Alesis Microverb; a mid-range electric guitar with budget Korg effects unit; a Roland MC-909 for sequencing the synths and a Tascam digital multitrack recorder. I try to avoid using computers as much as possible, simply because there's no joy in staring at a screen for hours on end.

I composed these tracks. 
 --- Ur Om is Ur Art ---
He Ro, Pro tech, flylo jedi, byzantine, Psychedelic M0nk AllahDin, Davichi Code Great Sound Science Healer

I am struggling with the concept of animals with music.
音楽＋動物。っていうコンセプトで活動中。悪戦苦闘してます。

-Bio-
He sets up the studio in Yamaguchi Prefecture of Japan and releases works with themes of animals and nature.
Instruments used are Ableton, Logic, iOS, Guitar, Bass, Piano, Percussion, Drums, etc.
He is creating unique work that technology and nature mix together.
山口県にスタジオを構え、動物や自然をテーマにした作品をリリース。独特のアートワークの評価も高い。使用楽器はAbleton, Logic, iOS, Guitar, Bass, Piano, Percussion, Drumsと様々な楽器・ソフトウェアを使用し、テクノロジーと自然が混ざり合う、独自の世界観を生み出している。



-Discography-
1997 Galdog / Sunshin Day (Independent)
1998 Shigeharu Nakagawa / FASH & COlA (Independent) 
2000 Daft Son / Demo (Independent)
2003 Marble Music / Marble Music (Independent)
2006 Heavens People Band / Wave ep1 (Heaven Records)
2007 Heavens People Band / Wave ep1 (White label Recordings)
2008 United Electro / LiveMix (Independent)
2008 Heaven's People Band / 1,2,3,4,5,6,7,8,9,10,11,12,13,14,15,16 (Heaven Records)
2009 S-N / ImperfectRec Sampler#1 (ImperfectRec)
2009 S-N / E/t/u/t/s/ (ImperfectRec)
2009 S-N / Rhythm Slip (ImperfectRec)
2009 Split / Untitled Split (ImperfectRec)
2010 S-N / IR002 (ImperfectRec)
2010 Heavens People Band / Become Corn Flakes (ImperfectRec)
2010 Heavens People Band / Angels Cry (ImperfectRec)
2011 Roog / Droog Henchmans Trax (ImperfectRec)
2011 Galdog / Drive Someone's Car (ImperfectRec)
2012 Roog / Star Soldger (ImperfectRec)
2013 Paprikan / My 50 Pound Boombox (ImperfectRec)
2014 s-n / Machine (ImperfectRec)
2016 Shigeharu Nakagawa / Earths (ImperfectRec)

Equipped with a 95$ computer and Jack shit in my pocket, one fine day I decided to become an internet scavenger and collect as much free stuff I could find online. Free domain, creative commons, royalty free, you name it I collect it then recycle it. All the free samples, no DJ/Producer/Mixer/Musician/Juggler worthy of a name, would dare put their reputations on the line by using it. That's my scrapyard and go to workshop. 
Armed with a master plan to disguise the fact that I have no musical abilities what soever, I decided to make an album. 

Now the only way to pull this one off, is by creating my own style and genre. Now the genre is IDN (ignorant dance noise), and the style is DEAFTRONICA, because I'm not a composer, but a decomposer, all my pieces are decomposed in total deafness. I pick samples randomly and then cut/paste on a song editor (Audacity, my poor computer can't handle much more than that) and a vast amount of free VST effects (too backwoods to figure out how to use the VST Synths), which apply in complete abandon without having a fucking clue what they do. When I am tired of drawing geometric soundscapes while I am listening to decent music, comes the painful part, in which I have to listen to it to remix the finished masterpiece. Take as much shit out as I can to make it sound less horrid. If it's just about bearable, it's a club classic, if it's fucking dreadful, it's Nouvelle Vague/Avant Garde/Belle Epoque/Be bop a lula/Kiss my ass/Techno/Free Jazz, and if you're not into it yet, go fuck yourself, you're not worthy of kissing my hand. 

At first listen, it becomes quite apparent I didn't spent much time polishing my mixes for this album, which is in fact absolutely true, my entire life, creativity and me always had a fickle relationship. But what's also true is, even if I had spent more time, effort and above all listen to while I was making it, wouldn't make any fucking difference. 


What people are saying about this album 


"DEAFTRONICA is painfully pleasurable; Like root canal with no anesthetic and a blowjob simultaneously" Buzbebop 

"You have to be a complete fucking idiot to be a fan of my music" Buzbebop 

"I dare anyone to remix one of my tracks, and make crap sound good" Buzbebop 

"If ISIS hears my music, the'll send me an application form" Buzbebop
credits
released April 13, 2016 

Buzbebop

The Electronic solo project of Kid Mystic

WeirdGear is following