I’ve been busy recently, with pressing the last Untitled Render to vinyl as well as getting a cat (little Smelardo, if anyone is interested).
Anyway, here’s some music that I made this evening. I was listening to Bowie’s “Wood Jackson” before making it, although I’m not sure that transfers across, which is a crying shame.
There were problems in the render – one of the pots on my BassStation is on the way out and it made the filter jump like crazy. I like to render these things live because it give me a little more freedom and capture a slightly different feel.
Anyway it’s mainly drums and noise.
I’ve taken to posting what I’m listening to on my Instagram, it’s a cool way to here some of the tunes I’ve been banging on about. I’ve not forgotten about this blog, there will be multiple updates coming soon.
From the ashes of “Untitled Render 05” rises a new EP called Burro / Kingston. Two dancehall, ragga inspired popping joints. It all started when I bought an LP called “Soundbwoy Super Status Reggae Breaks And Beats” at the same time as a Chinese distortion pedal.
Tony Bernardo “Burro / Kingstone” Artwork
I’m not going to write big descriptions, but both are Jamaican Patois, hard as fuck drums and synths and shit. I find it pretty interesting to release these little demos and then the final edit a few days later, it’s something I hope to keep up.
I felt a change of pace was needed, so I tried my hand at something 150+BPM. Initially it was a straight 4/4 hardcore/gabber piece, but it eventually morphed into this.
Chopped the vocal from an old Dancehall LP I bought this week, sounds a lot like Burro Banton to me but I’m not 100% on that. Burro Banton is the fucking man, so I’ve got no issue crediting him with it regardless of his involvement.
Everything is sequenced on an old, tired MPC4000. Drums are Vermona DRM MK1 through a Voodoo Octave guitar pedal. Percussion is a Roland M-DC 1 processed through a JomoX T-Resonator II and couple of other guitar pedals. Synth pad is the Waldorf MicroWave XT with a Boss RV-1000 on top. Outro synth was Novation Super BassStation and a T.C. Electronics Fireworx. Master channel; Art Pro VLA II compressor and an old Akai PEQ. All recorded to tape for the dancehall feel (and hiss, mainly).
Anyting Test Man, Mi Clean Fi Mi Gun
It’s my intention to do a little more work on this (the mix still needs some adjustment), create a b-side and press it under a pseudonym this summer. Download links available this week after I’ve made something close to a final master.
Here’s a couple of tracks I made this weekend. Well, I say couple but one is a version of an older track called Piedmont.
“Color Adjust” is a long, sprawling piece. Lots of texture and very deep bass pinning down fluttering rhythms. It has an effective key change that I really like, and just sonically I find it quite interesting. Beware there is a lot of dynamics in this track, and its most effective with a subwoofer present.
“Piedmont Version” is a plodding, Moritz Von Oswald inspired remix of an ambient piece I posted here a while ago. I sampled everything from Piedmont in an MPC 4000 and tried to reimagine things a bit. This has sat on my HDD for a while now, but when I listened to it today I really liked it a lot. There’s something nice about it. I like the awkward rhythms and the overall deep feel around everything. Really hazy shit.
Again, all analogue instrumentation – no VSTs or software tricks. In fact the only software used is Logic X, and that’s only to record the stereo outs on the compressor. That’s become quite important to me.
You can download them here: MP3 V0 24BIT FLAC
What the fuck is this thing? Who are The Presets? Never having heard the original version of “Promises”, nor will I be making the effort to do so, I’m not going to say much about this remix.
I’m putting it up here for completeness really and as an oddity of a recording the I would never have recognised as a Luomo effort. If I had to make a guess, and far be it from me to put words in the man’s mouth, I would guess that VD didn’t much care for the source material given that the vocals are easily 6dB lower than they could be, and everything is deconstructed and layered in a way that exposes rather than beautifies. But, again, all conjecture on my behalf.
I woke up feeling pissed off this morning for no real reason, so I made some angry, horrible techno and drank some red wine.
The synths are BLAH BLAH BLAH. Drums done entirely on a BLAH BLAH BLAH. Mastered using FUCK OFF compressor and a SUCK MY BALLS EQ. As always, it was mixed into the mastering chain.
I have nothing else to add, cunts.
Tony Bernardo “Untitled Render 03”
I first heard this when I was driving through Milwaukee in the middle of winter. It still blows me away every single time I hear it.
Charlie Musselwhite “Stand Back! Here Comes Charley Musselwhite’s South Side Band”
Years ago I read an interview with Vladislav Delay where he mentioned that he had recorded a track for a demo CD somewhere. My memory isn’t great at the best of times, but what I recall was that he said that the track was entirely acoustic, and that he was surprised by the outcome and how closely it resembled is electronic works. Being the fanboy I am, I immediately wanted to hear this track – little did I know that it would take me fourteen years to track it down (if in fact, I have the correct recording).
I asked Sasu where I could find a copy, and he had no idea. Couldn’t even remember a track name, nor did he have a copy himself. This left me scouring forums and sites like Discogs.com for fourteen long years. Nothing turned up. Until last week that is.
Through a combination of blind luck and worryingly focused perseverance, I finally stumbled up what I believe to be the recording. It is from a demo CD, and it is fully acoustic (minus a Space Echo). However, I was under the impression that it should be a CD that was once included with a magazine, and this track was found on a label sampler CD. Secondly, it’s not entirely Vladislav Delay, it’s a collaboration with someone called Zeitkratzer (you’ll need to excuse me, my noise game isn’t what it should be). Make of it what you will, but I think this is what I’ve been looking for. I’m sure it’s as close as I’ll get.
Asphodel 2003 Label Sampler
Not knowing much (anything) about the Asphodel label, nor Zeitkratzer I can’t say much else. But here is the track, called “Self-titled”, in all it’s scrappy, rough glory. I wasn’t much enamoured with it on first listen (what can live up to a fourteen year wait?), but I like it more and more with each listen. There’s something lovely and raw about the recording that is rarely captured. It has all the magic of an early demo, no bullshit just music in the making.