The Mateyblokes consist of 2 brothers Brian & Kerry.I'm the oldest of 5 brothers,Kerry is the youngest. Kerry hasn't contributed anything for a while because he's doing up his house. We grew up in Halesowen.
I left Halesowen in 1993.Kerry still lives there. I started making music when I bought my first synth in the late 1980s.I was inspired by Ultravox & John Foxx's version of Ultravox. I didnt have much money or any way of recording what I was doing. I stopped playing when I moved to Tamworth in 1993. In 2006 Kerry offered to sell me his Korg O1/w.I took him up on his offer. In 2007,inspired by what other members of the Metamatic forum had been doing with their own music I decided to have a go. The first tracks that I posted on our Myspace page were called Dark Water & Summer Rain. These were inspired by the floods of that summer. I continued to post a new track almost every month.
Kerry began making music in the early 90s when he bought a bass guitar. He played bass in a band called Mental Radio & did quite a few gigs in the midlands until he got married & the gigging stopped. He bought his first synth in the mid 90s & continued to create tracks in a spare room. Kerry's first tracks to be posted on Myspace in July 2007 were Lonely Seas & The Truth. We did try to collaborate on a track last year but the distance is the main problem. We tend to use each other as sounding board for each others tracks. The mateyblokes name comes from an old nickname a girlfriend gave me - Mateybloke. I'm currently working on another new song with vocals.
A solo project electronic musician from sweden that likes to make experimental and dark synth tunes and an interesting line of electronic metal cover versions outta mere curiosity :)
SUKI AND THE SCIENCE - THE BRAVE (NEW SINGLE - OUT NOW!!)
In a sea of trite and jaded pop Suki and The Science hail a return to a classic sound that is fresh to the ears but familiar to the heart. Their songs are expertly crafted powerful epics which are both addictive and unexpected by turns; timeless classics with just enough invention to keep you guessing. Suki embodies the strength and vulnerability of all truly great female artists, and yet she is an enigma, a wraith, something you can hold in your hands only briefly. The Science are one half wild child genius producer and one half robot man machine. The whole combination is like stardust to an otherwise dull and forgettable existence.
Members: Suki, DJ Perkins and Al ''The Clone'' Burne.
Regardless of race, gender or creed, each of us has a seemingly innate drive to accomodate our personal preferences. That is, we enjoy feeling certain ways and doing certain things, and we tend to do whatever we can to feel those ways and do those things as frequently as possible. This is perfectly natural, and is in fact one of those things that makes us human, but it implies something we would be wise to acknowledge: any time we devise a plan to approach this or avoid that, we must take care to ensure that it does not cage us in the long run.
Inevitably, these crafty strategies of ours dull into habits and nestle themselves into our subconscious. From that point forward, they rule our behavior. More importantly, they rule our behavior and we don't know it. We've totally forgotten that they're the result of one of these personal preference pursuits; instead, we begin to believe that they are absolute and compulsory, so we follow them without question. Bit by bit, our lives becomes more and more focused on these formulas rather than the desired states of being that had inspired them. Ultimately, if we don't call them into question with the intent to either update or abandon them, we find ourselves trapped in labyrinths of obsolete rituals, frustrated with, though largely willing to admit that, the fact that they no longer work. From here, we spiral down into a profound inflexibility characterized by obsessive attention to impertinent minutia, little things that any spiritually healthy individual would be willing to reconsider or compromise. Instead, we grow increasingly isolated and find ourselves at odds with those around us, and with the world itself. This in turn leads to all foms of violent oppression and insanity. This is bad.
Reconsiderate addresses this issue by directly confronting said "obsolete rituals" and mocking what he feels (or fears) they could yet develop into if left unchecked indefinitely. What he uncovers, both in himself and in others, are unanticipated or unacknowledged bumps in the road, repressed nightmares that have been itching to find their way to the surface. And he lets them out. In this way, Reconsiderate serves as a sort of midwife for a person's instabilities.
During these intense moments of confrontation, Reconsiderate's intentions are that the outdated and dysfunctional strategies be recognized as short-sighted and finite miscalculations, deserving only to be purged as we go back to the drawing board. This process of re-evaluating one's beliefs and calling one's perspective into question is reconsideration, a discipline that supports spiritual and psychological evolution, even at the expense of comfort.
The word itself, "reconsiderate", can be understood as an adjective that means "able and willing to adapt". It is rightly applied to anyone who understands that every aspect of his being, from his most lofty ideals down to his most basic assumptions about life, is subject to infinite scrutiny and is destined to be torn down eventually, razed to clear space for What Will Follow. Reconsiderate folk know when it is their time to go, and they resist not at all. They work with The Little Death, knowing that some immutable facet of their soul survives it, and that only this immortal aspect of the soul is worth their time and attention in the first place. "Why bother with anything else?", they reason. There is no permanent tangible self, so those who agree to change and evolve as the world around them changes and evolves survive. Contrast this with the fate of those who hold onto the constructions of previous selves and chase impossible fantasies...
My first album 'Googolopolis' was released on a minor in '94 which was playlisted in clubs in London, San Fransisco, Sydney and Moscow of all places. It was instrumental and in the same genre as Orbital. It was rated as one the top five 'intelligent techno' albums alongside Orbital's Brown album in Russia. I never saw a penny despite the honour of sitting next to Orbital on a chart. :) Over the years I have grown up with, worked, collaborated or had a drink and jammed with - Tom Ellard/Severed Heads, Jay Yeunger (White Zombie), Billy Corgan, Preston Klick, Matt Skaggs and Jimmy Marcus.
My last album (Fracture) is in the same neighbourhood of Gary Numan's work over the last fourteen years i.e. Sacrifice/Exile/Pure and Jagged with a bit of Replicas/Telekon thrown in for good measure. I am a self-confessed Numanoid for about 30 years now. The influence is obvious, but still mine. There just isn't enough music like this being made nowadays. Too much screaming and noise, not enough melody. Since FRACTURE I've been moving in a more electronic direction. For the new album 'Dust' (due out summer 2009) I'm still using a mix of real and electronic drums but making the synths even more dominant. Also a dash of crunchy digital noise and nastiness. As if Fracture and Beyond Evil met and did horrible things to each other in a dark room. The type of things that would make it hard for them to make eye contact the next morning. I've always felt that I should have explored the path 'Evil' should have taken me a bit more, and the musical jump to Fracture was extreme. So I see Dust as a possible missing link between my last two albums, but still a progression from them.
ION (remixed by THE GLIMMER ROOM) - PLEASE BE QUIET
Ion is a solo venture by the established UK musician, David J. Hughes.
The track 'Please Be Quiet' is from the Ion remix disc to be released later this year entitled "Shimmer". The disc will include some remixes by The Glimmer Room.
Most people will know David as the founder member of T-Bass and the last man standing in the SkinMechanix collaboration. Both of these ventures typify the Hughes approach to making music. In other words, foot-on-the-floor, pedal-to-the-metal, full-on electronic power tracks with only an occasional nod towards slower, more romantic moods and feelings.
Ion cuts off at a tangent and is, according to Hughes, an attempt to get back to basics, to shift the emphasis away from keyboard chops and screaming solos and towards a more symphonic and, dare one perhaps suggest, a more mature and maybe even a more relaxed state of mind. David is, after all, getting on a bit these days and needs to take it easy.
So how did Ion develop? The sleeve notes on Future Forever tell the story...
"The Ion project came about more or less by accident during the long, hot summer of 2006. In the midst of testing our recently developed ZEIT Step Sequencer someone (probably me!) forgot to hit the Stop button on the hard disk recorder and, when the mistake was discovered, we found that we'd accidentally recorded more than 20 minutes of random, sequenced noodling, which had no real structure and no real direction. However, rather than just delete the session, we decided to listen ... and came away with the feeling that the music had a raw and unprocessed feel, it was completely natural, unforced and unhurried, the sound of a musician happy to do nothing more than aimlessly wander down strange and previously unexplored pathways in search of nothing more than nothing in particular."
The end result was the track The Silent Scream, which was editted down from 20 minutes of ambient indulgence to just 5 minutes of actual music. The chords and the lead lines came a few minutes later, composed on the fly and in one pass, with successful takes simply cut and pasted together to build up the layers.
And, after just 40 minutes of work, the piece was finished and available for download on the Infection Music web pages.
"We were stunned by the realisation that it was possible to write something that was just about halfway decent in such a short space of time, and the music of Ion grew out of this new-found fascination for tightly controlled rhythmic patterns coupled with the joy of re-discovering the lost art of improvised electronic music."
Listen to the music of Ion and simply enjoy. Synth music doesn't get much better than this.
Blind Before Dawn is primarily a dark electronic act who operate within the boundaries of the gothic and industrial/EBM scene.Though they are not afraid to cross borders into rock music either. Having drawn influences from both the musical likes of Apoptygma Berzerk,Nine Inch Nails,Clan Of Xymox, ( plus the influence of living in the oppressive city of Manchester -taking off from the heyday of Factory Records ). Blind Before Dawn are out to create something new,something refreshing ,to do away with the cliched ubiquitous sounds of the music scene,and be themselves in a sea of copyist acts out to emulate their favourite artist.
In 2006,after several failed incarnations of BBD.Founder member and sole survivor of the original lineup of BBD - Davi Lovatt - was propelled on by a barrage of new darker and heavier material in the wake of the learning curve album "Distance" , BBD recruited a songwriter , singer and guitarist in David Novan. This is generally seen as the "rebirth of BBD" a MK II if you will. As very little of the original elements of BBD remain in this matured ,more inventive lineup. Novan was the lead singer and visionary behind the UK band Narcissus. The pair had always respected each other's bands and even had admitted to being a fan of each other's music, so it was only a matter of time before they paired up and worked together. Novan has proven to be one of the most longest serving members of the band to accompany Lovatt both live and on CD.
During mid 2007 the band begun recording their follow up single "Breaking The Haloes" featuring the title track, plus a re-vamping of the song "Disintegrity" (originally penned for the Distance album but ultimately was dropped from that release because the band no longer liked the original studio recording).Plus remixes from several established bands. The single received good reviews,but minimal exposure, it was always seen as a pre-cursor teaser for bigger and better things.
Having endured a long and strenuous battle in the face of being overlooked and underrated - the band have worked their way up to a well respected level both in the studio and their growing amount of live acts. often hailed as one of the hardest working underground bands on the goth/EBM scene - they have fought tooth and nail to get where they are,never backed down and never will. They were hailed as being one of the most interesting,hardworking,melodically crafted, underground British playing within the UK gothic scene in 2008. After completion and release of "Breaking The Haloes" -the band soonafter began talks with Rebco Records on signing the band to a sister label called Mandrax Industries ( as the other side of the coin for Rebco - Mandrax will expand upon the gothic and alternative rock end of the spectrum in the goth scene) ,which had been very hush hush until recently.BBD are the flagship of Mandrax- and will release the forthcoming "Regress / Progress" album with the label. Regress....will chronicle the best 10 years of BBD from outtakes and revamped old songs, carefully selected songs from the now deleted "Distance" album. Plus several remixes and 3 brand new songs showing diversity,and depth shooting straight for the jugular. The band has recently been joined by Machine Wraith's vocalist/programmer Mat Lahan on synths and future production with the next proposed CD.
REGRESS / PROGRESS - THEIR FIRST RELEASE WITH MANDRAX INDUSTRIES / REBCO RECORDS TRACKLIST: 1. DROWN 2. FACE IN THE CROWD 3. UNITED FOR A DAY (CHAMBER) 4. FUTURIST 5. STRANGERS 6. SAMUI 7. FAR AWAY 8. BREAKING THE HALOES (SINGLE VERSION) 9. ECHELON 10. ONE BULLET 11.IN DEINE AUGEN 12. BREAKING THE HALOES (TO 11 REMIX BY CRYOGEN SECOND) 13. STRANGERS (REZUMAKI REMIX)
Founded his first band THE POLYPHONICS in 1984, after five years of piano lessons and first steps with a commodre C64 computer and some synthesizers. He was the songwriter, lead singer and sound-designer of the new wave / synthpop tunes. The band built their own Studio where they recorded, besides many other swiss bands, two own albums: The quadrophonic 'In Memory of Ganymed' was recorded for the National Exhibition "Space Science in Switzerland" in 1986. With their second album 'Undulating Ways', released in 1987, they had about 30 concerts all over Switzerland and became airplay on the swiss radio stations 'DRS 3' and 'Couleur 3'. After finishing teacher's school, he studied theoretical physics and mathematics at the University of Berne. In 1991 he studied sound engineer at the SAE School of Audio Engineering in London. During the same year he produced his first solo album, a rather melancholic collection of new wave / synthpop tunes, called 'Five Years'. Eva learned visual merchandiser and studied at the School of Arts in Berne. Steve and Eva married in 1992. In 1994, Steve opened ANALOG SERVICE, the only swiss company that shipped synthesizers, modular systems as well as other vintage electronic musical instruments to international customers. One year later he founded the TECHNOSAURUS company and began to produce the SELECTOR high-end modular synthesizer, the MICROCON analog synth and the CYCLDON analog sequencer with an electronic developer. In this period, Eva made fantastic surreal paintings and sculptures. 1998 Steve released two albums 'Retrospace' 1986-1994 (electonics / ambient) and 'Different Works' 1987-1991 (electonics / synthpop) 2000 His album 'Organics' (electonics / ambient), released at 'Manikin Records' in Berlin, was mostly produced with the TECHNOSAURUS SELECTOR. 2001-2003 Three Demo CDs 'Seeker', 'Space Crusaders' and 'Humanity' Eva made animated webdesigns and run the 70ies inspired label 'Revival Fashion' with clothes and accessoires. For the last three years, the new band COSMIC INTENT worked on the album 'Collective Illusions'. Steve has written and produced all songs and Eva created videos for the live show that will start in summer 2008. On stage, Steve is lead singer while Eva plays bass guitar and synthesizers, the rest will be performed by compute
COSMIC INTENT's new album is out now. Buy in the shop.
REVIEW by Carl Jenkinson (HARD WIRED) - Aww, husband & wife bands, don't ya just love 'em? Following in the footsteps of Inertia, Brainclaw & Santa Hates You, the Swiss couple of Stefan (Steve) & Eva Hug are the latest pair to put the case for musical as well as holy matrimony. Although this is the first Cosmic Intent release Steve is an experienced musician with a discography stretching back some 24 years as well as founding the Technosaurus synth company; in that time, he's worked with a variety of electronic music styles from synthpop to rhythmic instrumental music & this experience shines through on this synthpop album through the use of a wide variety of sounds, thoughtful arrangements & imaginative compositions with Eva's e-bass work providing a tangible human element, enriching the infectious properties of such tracks as 'Love The Machines' which benefits from a nice combination of vocodered & human vocals & 'We Are', which starts off in a cheerful old skool manner before changing tack towards the end & going for a more downbeat feel with some fine piano work setting the mood. All the while Steve's complex melodics add another piece to the duo's musical jigsaw, meaning that the album is not only instantly infectious but rewards deeper listening throughout, a factor that is as much the case on such instrumental tracks as the rhythmic yet spacey 'Bioelectric Fields' (which appeared on the 1999 Organics album but sounds completely at home here) & the appropriately organic-sounding 'Preserve The Rainforest', where Eva's e-bass work really comes into its own, as is is on the vocal tracks such as 'Space Crusaders' & the superb 'Roboter Love' which features an excellent mix of Eva's vocodered voice (she also co-wrote this track) & more superb synth work. This track definately shows the duo at their best &, besides, the story of two robots sharing a tender moment in a scrapyard is surely the kind of offbeat thinking that anyone should respect! As the album progresses, 'Another Tale' & 'Undulating Ways' both provide further listening satisfaction, as does the catchy title track & while the light & bouncey 'There's Enough For All' slightly overdoes the 'niceness' factor a tad the slower 'Right Now' more than compensates for this with its genuinely uplifting chorus. So, by the power invested in me as Hard Wired Reviewer I now declare Mr & Mrs Hug's album to be a triumph that synthpoppers will not want to miss! So, big Hugs (geddit?) due all round, if you ask me!
The song holds various deep meanings for CH. Recovering from the constant loss. This song is basically referring to the journey away from the earth. Destination is yet to reach. We are allcaught in the middle of vague reflections of worldly life to some extent. Unknown voices are always following us. Things would have been different if only we could hear them the right way. The only universal fact is that we are still unknown to our own selves. But the peregrination still continues. Can’t have any control over that. The world is nearing to an end. But how soon?!!! Do we really have the guts to confront our real inner conscience?
A mind soothing, New Age based solo musical project oriented with ambient style, prog/alt rock synthesized with electronic moods. Cadenced Haven has just started its long lasting journey on a road strewn on the basis of influential concepts between existence & bereavement and every past second of living. Entering the world of New Age with ambient moods, Cadenced Haven hopes to reach another new level of melody with a heavenly synthesization of progressive and indie rock and ambient music, sliding through electronic techno and trance to create a whole new world for the listeners. Hopefully, CH will secure a deserving place in this music world as well as in listeners’ heart. A stranger like all of you in this world, Cadenced Haven has landed on earth to articulate the thoughts of hidden mind and soul found in every living creature here on the surface of this mystical land. “Music,” says the composer behind Cadenced Haven, “has always been a gateway to a world...... beyond the horizon. Bearing on mind that we all have to someday end up in the same direction of expiration, for me this world is an educational centre to learn about the concepts, aspects, strategies, structures of the nature. And every issue in our lives is a test, the consequences of which will have an effect on us on the judgement day. The subjects are distinctive. To know the world we live in, to express our inner thoughts about it, for it, through it or even by it, I believe, music is a sacred way to embrace the shelter of help from THE POWER above us to execute our service. Music is an invisible tool that breaks down the ice of an unbeatable evil spirit that masked us on the outside and brings out the real innocence from the inside. But before we can hold on to this child, it fades away the moment it is out. We just have to learn our way to get a grip on it before it wanes away. And that is when the necessity arises to look into ourselves and to know who we really are. Only then, may be, we can be a better stranger to re-live our lives to answer Him when our time comes………. eventually, ultimately”. Cadenced Haven has only begun its journey. Got a long way to go. Currently working on its music privately. You can get a hint on what kind of band is Cadenced Haven if you are familiar with Enigma, Pink Floyd, Sacred Spirit, Mike oldfield, Radio Head, Interpol, My Bloody Valentine etc. Well.......... not that Cadenced Haven will counterfeit them to remind you of these legends but will emerge with it's unique accent of tune to create a new category of it's own. Cadenced Haven emphasizes on leaving something behind which will possess the capability to enhance the mankind into a bliss of spiritual realm to realize the seventh heaven..............the truth of the universe or is it the universe of truth? Welcome to Cadenced Haven. Bouyantly, you'll enjoy the ride in this new peregrination………………...”
It was in mid 2006 that The Problem Being almost fell together through serendipity and a series of chance meetings between like minded and talented musicians, who not only wanted to ‘break the mold’, but break free from the monotony of the club scene.
Being wanted to create a new sound, a new style… a band that could not only make music… but deliver a message and make people think outside of the box!
First, he stumbled across Divine at a well known London alternative night club. Their shared dedication and passion for detailed electronic music brought them instantly together. Then, due to his solo projects and an article about him in an on-line magazine, Being drew the attention of the infamous T, who expressed an interest in producing some work with him. As soon as T met Being and Divine, once again that strong desire to create something totally different seduced T to join them full time. Finally, after seeing Being perform a live p.a., a fresh, young and enthusiastic guitarist, Guy - was so impressed with Beings ideas, (…and once he had listened to some of his work), was so enthused - he soon, also, became a permanent fixture.
So, these four - very different – individuals, due to their varied talents and musicality, have created simply some of the most exciting and inspirational music to come out of the London electro scene for a long time! This was vividly illustrated by their utterly heaving first performance…
The venue was rammed! Packed to the rafters - and the size and enthusiasm of the crowds they continue to draw go from strength to strength. With the departure of T and the shift of Divine to synths, plus bringing in longtime friend, LuCIDoL as bass player, galvanised and redefined the sound further.
“The Problem Being” are not only a force to be reckoned with, but a breath of fresh air in an increasingly jaded, derivative and genre shackled scene.
pixieguts: vocalist in Australia with electronic music producers around the world pixicast: podcast of electronic music from around the world hosted byvoide palace network: music artists djs netlabels and listeners around the world
Just released is the third Pixieguts compilation album of tunes produced by electronic producers around the world and featuring my vocals - immaterial. The album moves through an array of alternative electronic moods including trip-hop, ambient, downtempo, experimental, house, techno and more. Hear/download it here.
Meanwhile the two previous Pixieguts compilation albums - Walking on Mercury and Pixieguts! - continue to get wonderful reviews in different languages at Jamendo, both albums can also be heard/downloaded at my main site.
GARY HUNTER - A MILLION STARS (ROBO CAST EXCLUSIVE - EXTENDED VERSION)
Work continues on Gary's forthcoming album "The Grey Room" which he hopes to complete some time in June. He has used a blueprint of early Gary Numan (Replicas, Telekon) and predominantly John Foxx (Metamatic) as the basis of his sound on the album, already the Numan inspired and very well received "I Remember You" and "I Once Was A Machine" have appeared on Gary's Myspace site as have a few of the John Foxx inspired tracks off the album, the title track "The Grey Room" which has received glowing praise, "Stranger In A room" (a track that was included on a recent compilation "Here We Go - The Other Side Of Metal Beat"), "A Million Stars" and the latest track to be completed "Secret Annexe".
The other interesting factors about the album are firstly the songs are built mainly around rhythm structures created with the Roland CR78 Drum Machine, heavily used by John Foxx on his "Metamatic" album and Virtual Synths like the Native Instruments Pro 53 used to create the "Numan" pad sounds he has used on the album as well as other analog synths like the Novation Bass Station and the Superwave synth collection which makes use of Roland string & pad sounds of some of the classic Roland Synthesizers.
A VERY VERY promising album is developing judging by the tracks that have been heard thus far.
BONUS FEATURE BELOW - THE VIDEO VERSION OF ANOTHER NEW GARY HUNTER TRACK "THE GREY ROOM".
Bispatial is electronic pop music lover, Paul Keen. Growing up against a soundtrack of 80s synth-pop music, Paul is heavily influenced by electronic bands such as the Eurythmics, Pet Shop Boys, Depeche Mode, Yazoo and Erasure. His musical sensibilities owe much to the master of synth-pop himself, Vince Clarke. Bispatial’s origins lie in Paul’s teenage years; sometime in the late 80s, a handful of school friends formed a covers band and whilst not a formal band member, Paul occasionally contributed simple keyboard parts.
Having dabbled with covers, Paul realised that he wanted to make electronic music and write his own songs. He began experimenting with melodies and styles until he developed his own sound and he programmed scores of songs - many of which only exist as demo’s on cassettes - which he refers to as the “Elsewhere” project, intending for this to be his recording name.
With no intention of being a singer but without a vocalist to hand, Paul sang his own compositions in order to play them to friends and family. Following a job relocation, Paul flitted between London and Norfolk’s east coast, giving him a strange feeling of dislocation - almost of being in two places at once - which he dubbed ‘Bispatial,’ providing his official recording name. VISIT THE NEW ONLINE STORE!!
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