Baroque Bordello was a Post-Punk outfit based out of France in the 80’s. The music consists of appropriately moody reverbed-out guitars and heavy basslines, carried along with powerful and emotional vocals. If that sounds like your cup of tea, give Baroque Bordello a shot below!
Formed in Berlin, Germany in the early-early 80’s by previous members of Mania D, Malaria!’s experimental gothy post-punk feels fresh even in 2017. It’s hard to find much history of the outfit online, but apparently they toured with The Birthday Party and John Cale, therefore making them one of the first bands to bring this particular brand of German music to the USA [source].
So get out your bug spray, because otherwise you’re about to be infected with… Malaria!
After feeling increasingly frustrated with Ableton Live over the past few years, I’ve recently been playing with PreSonus’ Studio One 3 (which you can download a stripped down free version of). After being impressed and discovering tons of things I *wished* I could do in Ableton were actually possible in Studio One, I decided to take the plunge and make the switch. I’m still getting used to the difference in workflow, but I’m starting to get the hang of it and become productive.
Here are a few things that caused me to switch:
Ability to edit multiple piano rolls for different tracks in a single window (AMAZING)
Much easier and precise tempo change editing
Ability to precisely type in specific values on automation curve nodes
Easier re-arrangement of the song flow with the Arranger window
The scratch pad window for non-destructively trying out different ideas
Visual/thumbnail reference to plugins and instruments
Pinning of Instruments/Plugins so multiple instruments on different tracks open at once
And here are a few things I wish it had (or maybe haven’t learned how to do yet)
Actual looping of clips (rather than duplicating clips)
Ability to create track presets (rather than just instrument/fx chain presets)
Ability to adjust tempo while track is playing without the audio stopping
Overall, I’m definitely impressed with Studio One. After learning the basics, I even created the beginnings of a new track. This track features PunchBox (Kick), Serum (Bass 1) fed through Studio One’s built in Arpeggiator, Predator (Bass 2), BFD2 (Drums) and the Matrix-12 (Lead).
I’ve created a new page with a ton of links to sites with free DAWs, plugins, instruments and utilities named Free Audio Resources. I figured this would make for a good springboard for anyone looking for some free goodies to play with. As I run across new stuff, I’ll add it into the list. Happy noise-making!
Today’s exhumation reveals a quite fantastic specimen out of Australia by the name of Severed Heads. The duo has been kicking out electronic music as far back as the late 70’s. They also have several fantastic videos with classic 80’s visual effects that are as pure as the music itself (unlike the ironic cheesiness of such effects we’re bombarded with today).
Hop on into the guillotine yourself below, and enjoy!
Welcome to a new category on the Nerve War blog: Exhumations. In this category, I will be posting electronic music from the past that I’ve only recently discovered with my metaphorical archaeology kit.
The first to be exhumed is KaS Product, who was (still is?) a duo based out of France. While the coldwave electronics of KaS Product are certainly catchy, it’s the remarkable vocal performances of Mona Soyoc that puts the duo over the top.
The past couple weeks have been pretty exciting when it comes to Nerve War. Sounds discovered, tracks completed, oh my!
Below are a few samples of some things I’ve been working on and playing with. I’ve got a lot more in the works too, but I gotta save some surprises for the album release, after all 😉
This first track starts out with an arpeggiated bass line generated by the Arturia SEM V, which is an emulator for the Oberheim SEM. Then comes in a light an airy medoly courtesy of the free VST Synth1. And lastly, on top of everything, is an arpeggiated lead from the Arturia JUP-8VJupiter-8 emulator. Overall this track is coming along nicely and will definitely be making an appearance on the upcoming album 🙂
This next one is a noisy as hell experimentation using the free VST TyrellN6 from U-HE. Not sure if this one will go anywhere, but I’m definitely keeping it in my back pocket.
Lastly is a track that’s giving me a bit of problem with synchronization settings (which you will likely hear). the bass line is generated with the Arturia MINI V filtered through the D16 Devastor. Towards the end Prophet V makes an appearance. Overall I’m digging the vibe of this one, I just need to figure out the sync issue (I’m sure it’s just operator errorrrrrr, drrrr).
For fans of Witch House and bizarre psychedelic electronics, the label Phantasma Disques out of Germany has a solid lineup of releases. Want to get your witchy-dance moves on? Then check out Sco and Morgve. Want to trip out on some down tempo creepscapes? Then give Drug Machine and Master Suspiria Vision a whirl. The label also has a large selection of vinyl, CD’s and DVD’s available on their website.
And yes, I just invented the word creepscapes. I kinda like the sound of that. Just like the sound of these tunes from this label. Hit play below and get witchy!
Today’s fruit of scouring the never-ending abyss of Bandcamp is Violet Masks based out of Long Island, New York. The artist is a bit of a mystery, going only by the name of Michael. According to the Violet Masks website, Michael has released over 40 albums since 2003 (whoa). Michael is also a visual artist, and from what I’ve seen so far, has created all of the artwork for the many Violet Masks releases.
The Violet Masks discography is pretty eclectic, ranging from spacious ambience, to pretty harsh industrialized noise. Some of my favorite moments are when whispy vocals are included in the midst, such as in In My Skull on the Alternating Series (Part 1) release and Heather on Skeletons (External).
I’ll be looking forward to hearing and seeing more from Violet Masks. If you like what you hear, make sure and pick up an album or two and support the artist on Bandcamp!
Hooo boy did I have a good time this evening with a few plugins I picked up from D16 Group. I started out with a pretty simple bass rhythm using the Phoscyon, which is an emulator of the classic Roland TB-303. For the drums, I also picked up D16’s sub-crushing PunchBox. I almost can’t believe how deep the PunchBox’s bass drum generator can sound without turning to mush. In this particular instance it’s also layered in with my good old standby BFD. There’s also a little bit of space phasing thrown in to add to the insanity, via Fazortan. All in all I’m quite pleased with my purchase after drooling over these D16 plugins, and I know already I’ll be utilizing the holy living shit out of them >:)