Who what when is/are futurism?

futurism was and still is the one man musical output of me.
The name futurism came from about a year of thinking up band names, and eventually deciding that only 1 word names were acceptable, at the time the domain futurism.net was available, but someone bought it before I could, the name however stuck.
The musical direction of futurism is loosely, instrumental metal, I enjoy technicality and insert it where ever I can.

What is the purpose of this website?

futurism is something I did/do for fun, the only enjoyment I get from it is to share what I make with others.
On this page is everything I can find on my various pc's related to futurism, mp3's, graphics, pictures, whatever.
Please understand the content dates back many years, where I can remember I will describe how it was created, and have a guess at when.
I will add to it as I find anything of interest.

mp3 audio files available for download

1. Faster

This is the very first track I recorded on a PC, I believe it was done at some time during 1997.
Previously I had been using a portastudio and a Roland TR-505 Drum Machine, there was also a brief period where I would use drums sequenced in scream tracker along with my portastudio.
This track came about only because I bought ans SW60xg soundcard, I had no intention of recording digital audio to the PC when I purchased the card as it is a midi card only (essentially the standalone version of the DB50xg daughterboard.
However the card came with some software, including a beta version of Voyetras Digital Orchestrator, which at the time seemed to be one of the first non hardware dependant Digital Audio Sequncers.
I cant remember how long it took me, but it was a frustrating process, for example, my soundcard, a soundblaster 16 I believe, was at the time incapable of doing full duplex audio at 44.1 khz, so the guitars on this track are actually recorded at 22khz.
The other vital ingredient was a small device called a Korg Pandora, Korgs previous guitar products had been horrible, but the new walkman sized Pandora was somewhat of a revolution, it predated things like the line6 Pod by 5 years, and I thought it was great.

My guitar on this is I believe, a BC Rich Ironbird, a cheap one, Platinum or Bronze series, It was the guitar I used for gigging at the time, it was badly beaten up, but always stayed in tuned. I also think this is the only track in which I have down tuned guitars, again this is due to me being in a metal band at the time.
The drums and synths all come from the SW60xg, and listening today, I think they are quite good still.
Back at the time, there was no audio mixdown or bounce feature in sequencers, so to mix this down I think I used a minidisc recorder, and years later sampled it back into my PC, it sounds like theres tape hiss on it but I suspect thats the Soundblaster hiss.

The track itself, I still like it a lot, the guitar solos are sort of groovy, especially the last one, and I think I did a good job on programming the drums given the experience I had, at the time I was able to sort of fake playing real drums, and I think that helps a lot in programming, its something else I should have kept up.
You may notice a strange pause at 3:48, I had to write that into the track, Digital Orchestrator would lose synch after the slow bit, so I actually would stop and restart the sequencer right at that point to resynch it up.

2. Further

Instantly you can tell the production values have improved. There was quite some time between my first track, 'faster', and this one. I dont believe this was finished until sometime in 1998, Mainly due to a short lived black metal project if I recall, I have some of those tracks somewhere also...
This track was recorded in Cakewalk, probably version 6, it was the first version with real time effects, of which there are probably some on this track, although I cant pinpoint which.
By this time I had moved away from the Korg Pandora and was now using a Boss GX700, a great effects unit, sort of a follow on from the SE500/700 series, there was a studio version, the SX700 and the guitar version which I had. It was rack mounted which I thought was great, and essentially modelled every boss guitar stomp box as well as amp modelling, speaker sim, etc.

The midi bass is very apparent in this track, something I would later replace, but I have since decided to keep it, for nostalgia, all midi in this track is again from the SW60XG.
I particularly like the synth tone, at this stage I was concentrating on incorporating synths wherever I could, something which fell off in later tracks.
I also like the clean breaks, which are the highlight of my earlier tracks, providing a significant contrast to the heavy sections. My favourite part of this track is 1:19, probably my first ever use of real time effects in Cakewalk.

3. Higher

This track was recorded at about the same time as the previous track, 'further' however this is a far superior track, and I think one of my best.
The equipment on it is all the same, so the production sounds very similar.
The highlight for me is definetely the start, the building intro to the piano break at 0:37, the midi bass even sounds good under it.
I enjoy this track immensely, and wished I could still create tracks like it. Their are a lot of changes, but they all seem coherent, and the drum programming isnt over the top as I have a tendency to do.

At about 2:50 their is a programmed bass solo of sorts, which is dying to be overdubbed with a real bass, which I think I have done at some stage, but again, I prefer the original.
I particularly enjoy the lead guitar tone at the end of the track.
I also think this track was bounced from an sb16 or possibly an ensoniq soundscape which I seem to recall owning at some stage, to a minidisc recorder, and back into my pc.

4. Zeroed

This track starts with a rather clunky opening, in retrospect the plucked string synth sound should have been an acoustic guitar.
Once the drums come in though, things, get moving along.
By this stage, sometime in early 1999, I must have owned an sblive, as I believe the drums in this track are from a soundfont, probably a few of the 'realacousticdrums' soundfonts put together.
I was also definetely using my Jackson guitar in this track, and at this stage it would have had EMG pickups.
Not one of my preferred tracks, it seems very disjointed and hurried, however things get better around 2:30, with a nice lead tone for the first guitar solo, the second sounds great also but is buried in the mix, and then the third brings it forward again (yes, 3 guitar solos).
The riff at the end is quite generic and doesnt really fit, also the track was mixed down a little hot and clips in places.

5. Imminent

Once again, recorded too hot, although with an sblive, I probably couldnt hear the clipping anyway. This track was recorded at some time in 1999.
I enjoy the buildup at the start, the clean section should have been mixed lower though, so that once the heavy guitars come in theres no preceived drop in volume.

The textured synth sound is back, although not carrying as much of the melody as in previous tracks.
I think the guitar sounds are still coming from my Boss GX700 at this point, the flange effect on the rhythm guitar goes on for too long, I suspect it was hardware and not software created though.
I am still using MIDI Bass, which is dissapointing, as I am sure I at least owned a bass guitar during some of this time, I always leave the bass tracks to last though, so the temptation would be to finish them in a hurry.
The highlight for me is at 3:30, a great riff. This track is unusual for me in that there is no shredding guitar solo, perhaps I should have incorporated one over the flanged rhythm section somehow.

6. Frequency

Frequency opens with a sort of ambient textured opening which serves very little purpose, but sounds good anyway, it would make a good opening track for an album.
The production seems to be a lot crisper than on the previous tracks, however I think very little has changed in the way of hardware, it is still cakewalk (which version at this stage I am not sure), an sblive, soundfonts, with the only possible new introduction a Roland JV90 Synth, which would have only been used for the synth textures.
This track is a little unusual, and dissonant in parts, the harmonized guitar break at 2:35 is a highlight, followed by a lead/solo of sorts which is quite tuneful, topped off with another break at 3:09.
Overall this is one of my better tracks, it flows nicely, and has good atmosphere.

The mix is well balanced and not overly compressed, something of which my latter tracks are guilty of.
This was completed on the 27th of February 2000, but has been mixed down and remastered at a latter date, which probably accounts for the better sound quality.

7. Meridian

Meridian is one of my heaviest tracks, with a very complex rhythm at the start. I recall that it was very difficult to program the drums so I ended up playing them on the keyboard and later fixing them up in the editor, a practice I would continue to use in latter tracks.
The guitar sound is particularly good on this track, it is however still a Boss GX700, a piece of gear which still sounds great today.
The mix in general is a little bright, but loud and clear.
According to the file properties, this track was finished on the 13th of April 2000.

I am particularly proud of the sweep picking in the solo at 2:50, something I used to do all the time and the gave up for years.
If I could go back and fix something, all that I would fix would be the clean guitar sound starting at 1:36, perhaps its just too loud, the lead over the top is deliberately a 'weird' sound but you almost dont notice it.

8. Radtrix

Radtrix was completed in May 2000, the opening is hectic but I love it, even if the riff at 0:28 is stolen from buckethead.
The drums are still a soundfont.

One thing about this track is there are not many layered guitars, it is one of the few futurism tracks I can play on the guitar, even a classical guitar, and still have it recognisable as a futurism track, however despite its lack of layers, it is one of my more complex tracks.

2:10 brings us another of my weird guitar sounds, almost synth like, with an eastern influence, as every guitarist was doing at the time, the riff immediately following at 2:50 is one of my favourites ever, especially with the double bass stabs under it, however I then ruin it all with the ending!
...overall I still like this track a lot.

9. Faded

Faded is perhaps my most easy listening track, with many clean guitar breaks.
It was completed on the 3rd of June 2000, I enjoy it very much, the changes between clean and heavy are great and the drum programming is some of my best, especially the high hats at the start.

The guitar solo is well placed and tasteful, but the tones are perhaps a little poor.
The soundfont used on this track has changed, I used to take about 20 soundfonts of drum kits and the create a super soundfont using the best sounds from all of them. The ending is a little abrupt, perhaps a fade out would have suited (given the track name), but I hate fade outs!

10. Ethereal

Ethereal is well named, the opening is guitar free. People often comment this is their favourite track, it is by far the simplest, and also the shortest, perhaps theres a message for me in that?
It is really only a couple of sections repeated.

I think there was a significant change in gear used to record this track, the guitars sound like a line6 Pod, the device which revolutionized home guitar recording.

Best part of this track, the transition between the two main riffs, worst part, the fade out!

11. Invasion

Invasion is poorly recorded, it is too tinny, and clips..digitally! The guitar sound itself isnt that bad, but I really need to remix the whole song.
The lead sound at about 1:30 is quite nice though, and the second half of the solo rips in a James Murphy sort of way, immediately followed by a nice simple clean guitar break. Soon after, its back to heaviness, with a different lead guitar sound, unfortunately the rhythm guitars still clip like mad though. The closing riff is quite heavy, all in all, a good remix could make this a decent track.

12. Radiance

Recorded around the 30th of December 2000, Radiance is one of the better tracks on offer on this page. The mix is a little unusual, but at least it does not clip, the big dissapointment is the snare sound used on the midi drums, it sounds very fake.
I love some of the progressions in this track, it is one of my better efforts at something which sounds well thought out rather than just a collection of riffs.
I believe the guitars are still all Line 6 Pod at this point. Highlight for me is 1:39 with 2 melodic guitar riffs going simultaneously, its all about the melody!
Theres another great riff at 2:05, which contrasts excellently with the one before it. Its a shame about the poor snare sound, as the drum programming is quite tasteful, with liberal use of snare fills.
The bass guitar is also unfortunately mixed a little low. The final riff has a rather annoying flange effect, perhaps it wasnt required...another remix needed perhaps?

13. Evolution

This track is lucky to be here at all, my computer was stolen years after it was finished, and it is the only track I did not have full offsite backups for, because of this, the track was a preview only, in 128kbit mp3, which I uploaded as a preview to get feedback about the mix.
I like this track quite a bit, it has a lot of raw energy or something!
This track marks the introduction of an Alesis D4 drum module, it has trigger inputs and I initially entertained the idea of building a trigger kit, but never got around to it.
I think the D4 sounds great on this despite its age.
Also, the graphic to the right was donated by Smaug (Smaug88), some of you may know who that is...

14. Distant

The production standards have certainly increased for this track, there is also for the first time, a real bass guitar! I feel it adds greatly to the production, it is an ESP LTD 5 string bass.
The drums are still from the Alesis D4, there is also synth pads from my Roland JV90 through most of the track adding atmosphere.
The clean guitar break is mixed a little low, it is an interesting guitar sound, some people think it sounds too plain, but as the solo over it is very simple and melodic, I didnt want to overwhelm it, I fell that adds to the effect of the main riff coming back in.
The track is a little repetitive I guess, but I like it!

15. Descent

The production on this track sounds very similar to the previous track, 'distant', and I believe both were recorded in quick succession, this track was completed in December 2001.
The synth features a little more prominently.
I am unsure if the Line6 Pod is being used in this or if it is a Behringer V-Amp.
My favourite riff comes in at 1:32, and the bass guitar under it sounds great!
The first guitar solo in this one is a little poor, the one over the ending is a little better.

16. Isolated

Recorded in February 2002, this is a great track with a great production! (compared to the others here of course)
It is quite similar to the previous 2, but sounds a little more cohesive.
There are some eerie guitar textures along with the synth textures on this one, making it a very...texturous track.

17. Unending

Recorded on the 19th of June 2004 in a 24 hour period as part of Rapid Composers Consortium Event #1 for http://www.midiwarez.net.
This is the first track I have completed since February 2002...over 2 years!
We came up with the idea to once a month set a 24 hour period to record and upload a completed song, the limitation forces you to get stuff done, no excuses! no wasting 2 hours tweaking gear!

Since my last track I have some new gear, most notably a SansAmp GT2 direct recording device, this is an all analog amp sim, I feel it has greatly improved my distorted guitar tone.
I also recently purchased a secondhand Ibanez PGM30, it is the Paul Gilbert signature Ibanez, despite looking like my other guitars it really does play quite different!

The track itself is a bit plain, but I was just excited to get anything done. The opening clean section is all one string sliding between notes, you may notice the harmonizing parts over it pan left and right slowly until the heavy guitars come in.
This track has a lot of leads, the way I like it! some of them are rough but time was of the essence, I had a problem with my drum synth dxi which took up a lot of my time!
I cant wait for the next RCC event in July.

18. Molecular

Recorded 17th of July 2004 in a 24 hour period, this is the result of the second Rapid Composers Consortium (RCC) event, read about it at http://www.midiwarez.net.

This track was once again recorded with my Ibanez PGM through my Sansamp GT2, the style is very similar to the last one.
The introduction sounds very full despite being clean guitar, perhaps losing some of the impact of when the heavier guitars come in.
The main criticism of this track is that it is too slow, however I also think some of the cymbals are too loud and it does clip a bit in places....it is also too similar to many of my other tracks.
I do however like the lead tone very much, especially at the end of the track, last note is the best note!

RCC is really popular with a lot of people saying it's the greatest thing ever in #midiwarez, so everyone join for next month!

19. Khartoum

This track was recorded for RCC event 3 on the 14th of August.
Around the 45 second mark theres an interesting riff which isnt really in any key, so probably chromatic!
The production on this track is good, the drum programming only average though.
The guitar leads are a little boring and uninspired, but remember that RCC is a 24 hour thing, from start to finish.
The lead tone is sort of synth like, but a lot of that is the pinch harmonics rather than any sort of effect I would be using.
This track doesnt sound as 'huge' as some of my previous ones because the rhythm guitars are no longer double tracked and panned hard with a delay on one channel, not sure why I stopped doing that, just got bored of it.

At around 3:40 you hear some true wanking! 2 handed tapping ascending pattern, the master of all cheese!

20. Svalbard

Recorded on September the 18th 2004, svalbard is the 4th track I recorded for the Rapid Composers Consortium.
The frenetic opening moves into more melodic sections, however the riff at 1:22 is a little too reminiscent of some of my other tracks.
The production on most of these tracks will be fairly similar due to the close timespan of them all, 1 per month!

2:15 brings us an interesting riff which gets even better at the key change at 2:30, all in all this is one of my better composed tracks, the parts flow nicely.
The solo at the end has a double track harmonization which is quite simple, but people seemed to like it.

21. The rad trio

This track was recorded whilst I was on holidays, at the riverview hotel and apartments in Brisbane.
Knowing that RCC day would fall on my vacation, I transported a guitar and a laptop for the 4000 mile round trip just so I could do RCC.
When the day arrived on October the 17th, I attempted to plug my guitar into my sansamp, and into my laptop, to discover the input was mic only, not line! so I had to quickly try and work out how to actually get a signal, to make matters worse the plug kept falling out....so whilst holding the plug in with my knee I managed to hit record and track the fairly average guitar blues track.

The backing was done in ableton live, using an edirol GM product, I think the drum programming in particular is quite good!

22. Ashkhabad

Rapid Composers Consortium Track recoreded November 20th 2004.

The opening has a weird synth with just bass under it, then the guitars come in.
This is the first track I ever recorded in Tracktion, which is now owned by Mackie, I like Tracktion a lot.
This track has a lot of harmonies.
This is also the first track after I bought Roland Vdrums, and to celebrate the event, the drum tracks in this track are the Vdrums brain recorded directly from its stereo out, no edits, no midi, no effects, and all with only 2 weeks drum practice! I think I did pretty good, others disagree.

The bends on the harmonized lead at 3:41 would have to be a highlight for me.

23. Socotra

Rapid Composers Consortium Track recorded December the 18th 2004.

This track is highly unusual for me in that it has no distorted guitar at all, 100% clean guitars throughout.
There is also some synth in places, and the clean guitars I feel make me pay more attention to things like bass.
The track builds through a few different sections and then starts repeating, the tones are both good and bad, the 'lead' sound is somewhat better than the underlying 'rhythm' guitars.
The solo at the end is nice and sparse, suiting the song quite well I think.
The biggest problem with the track is the drum sounds do not suit the music at all.

24. Taymyr

Rapid Composers Consortium Track recorded January the 22nd 2005.

The first RCC track of 2005 opens with a very heavy riff, but soon moves into more familiar melodic territory.
1:29 is the start of a great section that repeats a nice riff only heavier!
The solo that comes in at 2:29 has a very dominating tone, luckily its fairly decent.
The mix on this track is a little raw, I believe all guitars and bass are the Sansamp GT2.
The build up to the ending has some harmonized guitars before returning to the original riff and a nice melody to take it out.
This is one of my heavier tracks.

25. Anadyr

Rapid Composers Consortium Track recorded February the 19th 2005.

Another strange track from me, with very little distorted guitar.
I think the bass guitar tone at the start is superb! although the riff under it sounds some what like older metallica.
1:22 is the start of a nice buildup, with strangely effected guitars and just a hint of distortion building in the left channel - a nice effect.
The clean guitars need to be tighter, more crisp, not sure really! they just dont sound great.
1:59 is the start of the regular thing, although nicely melodic, but derivative of course!
2:40 has some great melodies, reminiscint of my dying bride.
The production on this track is above average for me, the guitars whilst still sounding raw are not distorted to the point of being muffled.
Around 3:40 the clean guitars return, 4:10 is a great riff with a little solo over it, all the way to the end.
One of my better RCC tracks.

26. Necro philharmonic

An orchestral Track!
This was more of an experiment than anything, with a surprise ending.
Made for the 10th Rapid Composers Consortium event on the 19th of March 2005.
The orchestra is all from a neat little vsti called synful, which uses performance synthesis (not just sound) to make the small orchestral samples sound more realistic.
I employ harmony and counterpoint in my little bachesque string movement, nothing very original to hear here.
2:20 has a guitar come in...with a badly out of tune note!....really poor, the bass and cello under it sound great though.
2:50 has the surprise...some of you were expecting it - Hail Fenriz.

27. Qaanaaq

Rapid Composers Consortium Track Recorded April 16th 2005.

This track had me going insane messing with eq and such to try and make it sound decent, theres many versions of this floating around, presented here I believe is the 2nd of many versions, completed within the 24 hours allotted for RCC.
The melody over the guitars is a bit grating - something I continued to do for too long in upcoming tracks.
The drums sound particularly bad, the cymbals sound like they are clipping even though they are not, the whole mix is a little too saturated, I am not sure how it got there, maybe I recorded in 16 bit and didnt realise.
2:20 is the first solo, and is quite decent if you can hear it, theres not much room for it.
The Sansamp GT2 is in use here, as it has been for the last few tracks, but it is a difficult beast to master - perhaps not suited to making multiple tracks of guitars, better for standout tracks, its tone totally dominates.
The ending takes ages to fade out!

28. Kamchatka

This is the first track to feature the line6 guitarport - a Pod on steroids, I liked it so much I bought all the model packs immediately.
I think the difference in guitar tone compared to the last few tracks is immense.
As usual, this is an RCC track recorded on May 21st 2005.
The track builds up for the first minute before moving into some nice melody, the drums sound much better under these guitars - although still not great (drums are my most criticized component).
The track is well eq'd, and fills the spectrum better than most of my tracks.
1:56 sees a clean guitar break - which also sounds nice and full, the same theme continues with the heavy guitars as they come back, sounding quite epic.
4:15 sees a good key change, with nice harmony, leading to a non resolving last note.

29. Isachsen

This track marked the first anniversary of the rapid composers consortium - June 18th 2005.

This is also a nice track featuring my line6 guitarport - such a contrast to the sansamp, although I do think its the person piloting it mainly.
0:53 has some nice ascending downwards arpeggios (?) with a nice solo over the top, sounding quite wanky.
We keep moving up the neck and introducing some more harmony, a little chorused until about 1:45 - to a nice modulation, a very nice progression for me.
3:20 sees another key change, with a slow solo, lots of bends - not much shredding in the latter futurism tracks.
We go back into our ascending downward apreggios, cause they were just so nice, to build to a satisfying ending - to close out year one of RCC.

30. Ushuaia

Recorded July 16th 2005 - this track has a little rawer guitar sound, but deliberately so, raw perhaps isnt the best word, I still think the guitars sound nicely produced, it is what I was trying for.
The melody has some nice arabic influence, but also some movement up the neck, with the bass following and easily audible.
1:40 sees us move into a sort of interlude, with heavily reverbed guitars, sounding good - getting out of it at 2:05 wasnt so good though.
2:25 has a really tightly focused crunch, the best heavy guitar tone I have ever recorded I think, double tracked of course.
The drums in this track are quite tasteful, some nice offbeat snare patterns, contrasting with the straight ahead heavy sections.
The ending is a little too abrupt - but at least it doesnt fade out.

31. Zoukwara

The slowest track I ever made!
Recorded for the 15th Rapid Composers Consortium event - August 20 2005.
This track has a somewhat dissonate melody throughout, at times its great, at others its a little grating.
Having said that - this is a highly praised track among my peers.
The contrast to clean guitars at 1:10 and the melody that comes in are great.
The drum programming, working with slower tempo, I had a lot of fun with, using more toms than I normally would.
1:52 has one of my best ever melodic moments.
The riff after is sort of 9/4, or 5/4 - 4/4, then it all goes a bit weird.
At times it is hard to work out what key the track is actually in, which I think is a good thing.
By 3:10 we are back to the first riff, and the melody does start to get a bit tiring - so bendy.
3:54 has a brief interlude, followed by a chugging finale.

32. Srinagar

Could this be the last ever futurism track - perhaps, or maybe futursim will live on through RCC, I am not yet sure at the time of writing.
I do know that I am looking for a fresh start, having secured the domain http://www.dissonate.com.
I am hoping to progress somehow to a new style, not sure what yet - stay tuned.

This track however, was the 16th RCC track on September the 17th 2005.
Inspired by the slower track the previous month, I have again gone with a slower tempo, and I think it is quite nice once again - although without some of the great melodies the previous track featured.
2:25 sees the strings come in - synful I believe, as featured in the earlier track necro philharmonic
The strings build to an intermediate climax at about 3:10.
The solo is a bit of nothing really, we move back into the strings and move onto the finish. Anti climatic track..perhaps fitting!...tinged with sadness...JUST KIDDING...I think its a great ending.

33. Seramban

Well...futurism lives on it seems!
This track was made on the 19th of November 2005, as usual it was made for RCC, but this is actually a remix (not in the rap/top 40 sense).
Some time in early January I purchased BFD, an awesome drum synth, and went back and remixed this track incorporating BFD and some new Reverb usage techniques I learnt which seems to make the sound more cohesive or something.

The track gets off to a crappy start, with clipping clean guitars, but once the hi gain sound starts everything sounds fine.
This is one of my longer RCC tracks, and thats probably because there are a few too many repeats.
1:16 is a nice change, and a nice progression, which changes again into a simple heavy bit with lots of drum action, showing of the anti machine gun capabilities of BFD.
This track jumps in and out of little clean breaks a bit too often, and is probably too chaotic, even though I like that.
2:26 is an interesting sort of atonal passage that repeats and goes into a strange solo at 3:20 which doesnt really sound like me playing at all.

The ending is the best part of the song, with some phasing effects and a great doubled guitar tone, the clean part is actually a good contrast here.

Overall, the highlight of this track is the BFD drums, since drum sounds are my most criticized thing.

34. Maridi

After another break, this time whilst I travelled to India and Malaysia for work (read about that at http://www.falseguide.com, I made a track in Ableton Live thats not fit for this site!) its back to Australia for RCC on the 21st of January 2006.

The good news is, I feel this is one of my best tracks, and possibly my best production values ever.
The drums are BFD once again, and I am getting better at using them, and using busses for reverb on most things, which I think sounds good, maybe it masks mistakes!

0:55 sees a clean break with some nice sounding drums under it and the solo that follows sounds great to my ears.
Most of the guitars are doubled but it sounds very tight.
1:35 is a nice interlude, its so simple and lets the drums shine through, this was the first track I made with BFD from the start, so I was really trying, and I think it shows, others disagree....

The ending is a wall of sound type of affair, its still only 3 mono guitar tracks though, I dont know how people use 100 tracks!

All in all this is one of my favourite tracks.

35. Koror

This track was recorded on February 19th 2006, and it was a real struggle.
I could not get started for RCC, which is a rare thing for me, so I decided to play with synths and drum grooves that come with BFD (none of the drums in this track were programmed by me).
Additionally, the bass for the whole track is a synth, and I am anti synth.
Still somehow it turns into metal, and sounds pretty interesting.
The synths are all from Native Instruments Absynth (they of the crappy interface design).
From about 1:50 what sounds like synths is mainly guitars, although theres a strange percussive sound under it, the production sounds pretty huge.
This was a very different track for me, theres really only 2 or 3 riffs in the whole song with textural guitars over the top...I guess its more 'modern' sounding than my other stuff, lets just hope its not 'nu' or else I will die a dishonorable death.
The ending is super heavy, which has become a feature of my last few tracks.

Overall Koror is not as satisfying as Maridi, but good because its different.

36. Kermadec

Recorded on the 19th of March 2006, Kermadec is another 'different' track.
It is slow and simple and features an organ througout, the guitars came after the organ.
My main criticism is the production of the lead guitars, they are hard to distinguish at times, and some of the harmonies seem very forced and contrived.
The drums this time are programmed by me again, rather than using BFD's built in groove, and I am satisfied with how they sound.
The ending is somehow majestic or ethereal or some sort of fancy word, and upon reflection sounds like the first album by 'the gathering', who used organs a lot in their album so thats probably why.

This is not of the same quality as many of my other songs, like it for the organ!

37. Cotonou

This turned out to be the last track I completed for quite sometime, instead of making music I went on a gear buying frenzy.
Additionally it was the end of RCC for quite some time, after creating something for 25 consecutive months from various locations.
Recorded on the 25th of May 2006, Cotonou has some quite complex timings and some decent production, however things were about to change for the better (see next track).
This is the last track for which I used a line6 guitar port or any direct recording product, its also probably the last time I used BFD for drums.
Lots of complex timing things going on here, and quite a bit of melody, but the melody does seem a little forced.
The clean break around 2:30 is the best part, track drags on too long with too many repeats.

38. Tantalum

RCC is ressurected! I have purchased heaps of expensive amps!
Recorded on March 1st 2008, its been nearly 2 years since the last track. In that time I made a lot of clips but not really any full tracks.
The production on this is far better than anything I have done previously, its an Engl Blackmore head recorded through an SM57 and an E609 Microphone.
Drums are EZ Drummer with the DKFH expansion, but most sounds are replaced or blended with custom samples in drumagog.
This song was completed in under 6 hours, came out pretty well, some decent melody, some timing changes etc.
Best section by far starts at 2:35 and lasts almost for a minute, lots of dissonant riffs being thrown about with left/right harmonies.
I also quite like the main riff which is a harmonized guitar part with the synth behind it.

39. Dysprosium

Recorded May 2008.
This is again a rapid composers consortium track....I promise soon to actually work on some tracks for a period of time.
The amp this time is a Randall RM100 modular tube head with the 1086 module, single mic'd with an SM57.
The mix seems a bit nasally sounding, I could probably remix it and do a better job (recently set up my studio better with a good monitoring position now).
Synths are a bit cheesey sounding in this one, as is the lead guitar at around 1:50.
Best part is the weird repeating pattern at around 2:25, with the timing change that sort of builds, but doesnt really go anywhere!

40. Astatine

Recorded June 2008.
Description added July 2018! Time to review my own music 10 years on.

My notes on this suggest it uses a more tracks in my recording software than anything else I had made prior.
The start is nice and mellow and goes into an excellent choir! Nice transition...but I am waiting for the bomb. Sad piano first, still great.
The guitars come in without the usual dense mess of power chords, quite refreshing. Nice harmonies.
Things head into more metal territory from the 3 minute mark. This song has a bit more of a major key feel to a lot of it.
Choirs come back into it and its all a bit cheesey, but I dont mind cheese. We then fade back to the sad piano. Enjoyable song!

41. Technetium

Recorded July 2008.
Reviewed in July 2018!

For this one we get off to a complex start, lots of time changes and general wankery going on.
It seems to get worse, chromatic escalation or something.
A bit of melody with choir at around the 1 minute mark. Sounds as if the tempo should be a bit faster though. After a bit more wankery we head back to epic choir and bad solos with a bit of egyptian feel thrown in. Then things get weird.
Circus music erupts briefly.
Black metal ending! Not a bad exercise in complexity, very clear recording.

42. Niobium

Recorded August 2008.
Again, I am reviewing this about 10 years after making it. I can tell by the monthly gaps between each song that these were done as part of the rapid composers consortium, which means they had to be started, finished and uploaded in a single day.

Great clean opening. Apparently this was all recorded on my Engl Blackmore tube amp, clean guitars, heavy guitars and bass. Clean lead is not as clean as it should be.
Transition from clean to heavy is quite bad! But then the actual riffs are ok, nice sounding guitars. Riffs are a bit generic.
2:25 is a great transition, and when it goes down an octave sounds awesome. Great groove.
Short song, no real solo, but overall, pretty good!

43. Polonium

Recorded September 2008.
Apparently I recorded this in 3.5 hours, using my Engl Blackmore for all guitars and ravity as a soft synth for most choirs. My notes suggest its black metal, time to re listen 10 years on....

Well the start is kind of black metal, but recorded too clearly, with bad sounding drums. Also clipping badly!
Seems the first transition at around 30 seconds is more black metal. Playing is a bit out of time.
Drums are poorly programmed. 1:18 and yeah, very black metal. More strange pauses in the timing though, like I can barely play guitar.
Just after 1:30 its a kind of Satyricon groove, then more choirs.
Just before 2:00 I mess about with the mixing to make it all glorious mono. I must have thought that was a cool effect to try at the time.... and it turns out it was! When it jumps back to stereo at 2:30 was epic.

Unfortunately the transitions a bit later in the song are a bit strange to get us back to home.

44. Lanthanum

Recorded October 2008 - reviewed in July 2018
Quad tracked guitars, great guitar tone, very clear production, especially like the bass guitar in this one.
My previous notes on this say I thought it suffered from being all a single tempo, but there are tempo changes in the song.

The opening is certainly very simple and very much like everything else I seem to make.
The sudden change at about 23 seconds in is great, but we quickly go back to same old same old.

Finally at the 1 minute mark we get to a nice lead over a progression which then breaks down into a harmonized dual lead.
The bent note in the guitar lead leading into the fast picking at 2:12 is the undoubted highlight for me.
Great melodies at the end of the song, even if some of the drum programming is a bit abrupt.

45. Tellurium

Recorded December 2008 - reviewed July 2018.
A fairly run of the mill opening, again recording all the guitars and bass through my beloved Engl Blackmore tube amp.
I have a few more notes for this track, which clearly states ez drummer drumkit from hell was used but with bass and snare replaced by drumagog. Quite a short track, nothing too experimental, nice clean production, but starting to get a bit denser than previous tracks, now 10 years later in hindsight I am not sure thats a great thing.
Time change at the 40 second mark is ok, but all the riffs are a bit too generic in this one.

Another tempo change at 1:10, and a bit of awkward out of time playing. Predictably we fade into a clean interlude. 1:55 is probably the highlight. It builds and builds but unfortunately just goes back to the generic riffing.

46. Seyfert

Recorded March 2009.
Description to come

47. Quadra

Recorded May 2009.
Description to come

48. Titan

Recorded June 2009.
Description to come

49. Shifted

Recorded July 2009.
Description to come

50. Incongruous

Recorded August 2009.
Description to come

51. Pompous

Recorded December 2009.
Description to come

52. Deep

Recorded December 2010.
Description to come

53. Untitled from November 2013

Recorded November 2013.
Description to come

54. Drawn out

Recorded January 2015.
Description to come

55. XiangTong

Recorded 31 December 2017.
I have no idea how this happened, but heres a new song, after almost 3 years.
Recorded on axe fx, with a steinberger headless guitar into Sonar.
Lacking in high end a bit, but overall not bad, made really quickly on new years eve because I was sitting at home bored.
Song title is the Chinese word for exactly the same, because this is exactly the same as my other songs.

56. Surprise Demise

Recorded 1 July 2018.
Another new song, sounds the same as all the others.
Recorded on axe fx, with Jeff Loomis Schecter 7 string and Jackson Soloist into Sonar.
I did a second mix because the first wasnt bright enough, I think its pretty bright now.
Title named because I started to feel like I was getting sick while recording it, which was surprising.

I am now hosting this site (and all my others) on my own dedictaed server, and whilst I always thought I was making this site for my own personal record and no one ever read it, it seems lots of people do, this page is averaging 300 mp3 downloads per week and 1500 page views, and they sure arent all me!
Indeed I have seen hits from Greenland and other far off places when viewing live logs, which was interesting and surprising.
If you want to mail me, try dissonate@gmail.com try and stick 'futurism' in the subject, I get a crazy amount of spam.