Category Archives: Music

Chaircrusher Live @ Gabe’s October 11th 2012

I had a fine time, though it would have been great if more people showed up — I mean I’m used to playing to mostly empty rooms, but we had guys in from out of town who hit a deer trying to get there. But hey, Thursday night at Gabe’s — hard to draw a lot of people. Anyway Moldover sounded great. I particularly liked the a cappela song he opened with, and his guitar playing, which always drove the songs and sounded great. Exaltron has evolved a unique approach to live performance, combining voice, trumpet and guitar, live looping, expertly programmed sampled drumming and crazy electronic messing about.

I was mostly happy about my set, which may have come from working myself into a tizzy for weeks getting read to play. Mostly new stuff done in the past couple months, some of it bespoke for the live set.

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http://www.cornwarning.com/chaircrusher/2012-10-11-Chaircrusher-Live.mp3

Past Shock – Chaircrusher Live 1996

My friend David Talento was trying to organize his studio and found some cassettes I’d sent him in the 1990s. The real find was what may be the last remaining copy of tracks by Jason Welch, local rave promoter and sometime musician. But I’ll deal with that stuff later.

One of the other things is a recording of a live set I did in 1996 (I believe) at the Great Midwestern Ice Cream Company (what is now Moonrakers restaurant). In those days I pretty much dragged my whole studio out to play live — a Roland Jupiter 6, Casio CZ-1, Roland TR707, a home-made plywood rack of gear, a desktop computer and CRT.

I don’t even remember most of the stuff I played, or even how I played it — I suspect I was using Opcode Vision and a Turtle Beach Pinnacle card as a sampler. Vision had a facility something like Ableton Live’s clips — you could trigger chunks of midi sequences live. The beginning of the set sounds a bit like Drexciya. Anyway it isn’t bad, and interesting to hear it as a time capsule from 16 years ago.

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http://www.cornwarning.com/chaircrusher/Chaircrusher-Live-1996.mp3

Bonus, David put up a remix I did for him around this time on Bandcamp:

The Hallway Samples as an Ableton Live Pack!

I previously had posted about a couple of sample sets I made by banging on stuff in the basement hallway, (Hallway 1 and Hallway 2) but today I went through the steps to package them as an Ableton Live ALP file.

These are Sampler presets, so I don’t know if you can load them if you don’t have the Sampler License, or rather I don’t know what will happen if you try. But you can always use the original zip files and load the samples wherever you like. Just click through above to the original posts.

Ableton Live Hallway Live Pack

KRUI Radio DJ Set 2012-03-03

This mix was delayed in posting to the blog because…I forgot it. It reflects some of my recent obsessions, including the new Burial EP Kindred which seems to reflect my mood right now in ways I can’t explain. It also is a bit more tilted towards techno than my mixes have been recently, because there’s a lot of good techno coming out. There’s also a lot of stuff that is roughly house and/or techno but comes from producers who a few years ago were thought of as Dubstep artists. But as Peter Kirn pointed out, there’s Dubstep and there’s “Dubstep” and no one who’s serious about good music wants to have anything to do with the latter.

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http://cornwarning.com/xfer/2012-03-03-Chaircrusher-KRUI-DJSet.mp3
Tim Hecker No Drums
Synkro Questions
Burial Kindred
Burial Loner
Burial Ashtray Wasp
Ital Hive Mind
Ital First Wave
Storm Queen It Goes On
BNJMN One Sea
Artu & Jerry the Cat Nuclear Funk
Octo Octa Shower Nights Second Chance Mix
Octo Octa Forced Nature
Knowing Looks Listen to my 45
Fluxion Motion 1
Object Cactus
George Fitzgerald Feels Like
Aril Brikha Palma
Gerd Palm Leaves
Mr Fingers Afropsychojungledub Mix
Skudge Pollution
Mike Huckaby The Tresor Track
Chaircrusher People People
Headhunter Clone
Daega Let It All Go
Holy Other With U
Pole Aue

An Especially Savage 16:18 with the EMS Putney

The EMS Putney is a particularly unruly beast, as I proved in an EP of Putney Improvisations a couple of years ago.

Today I was fiddling around sampling it, and it seemed to be in a particularly industrial, savage, scary mood. And it definitely varies every time I turn it on. Today was a day where apparently, the Putney had to use its AK. Contains drones, swoops, rhythmic pulsing and chattering, howling, screeching, etc.

This is a mono recording, with no effects other than normalization; the reverb is its own internal spring reverb. In particular please note any distortion is internal to the Putney. PLEASE TURN DOWN THE VOLUME UNTIL YOU KNOW HOW LOUD IT WILL BE. Hearing loss or speaker damage are likely if you aren’t careful.

Do what you want with this. I’m releasing it full Public Domain. If you want a WAV file, let me know and I’ll put it up as well.

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http://www.cornwarning.com/chaircrusher/2012-01-28-Chaircrusher-Putney.mp3

A life in records

I’m going to be 55 years old this year, and being the sort of music-obsessive nerd that I am I separate my life into musical epochs centered around particular records.

1. 1964 — watched the Beatles on Ed Sullivan at my grandmother’s house with my whole family. My mom — a talented composer, among other fine qualities — insisted we all watch. It’s hard to imagine how that affected everyone then — even my Grandmother thought it was something remarkable.

2. 1966 — I saved up my allowance — for a long time — to buy the Beatles “Rubber Soul” — I got the mono version because it would have taken me another week to get the extra dollar for the stereo version. In my mind the sound of that record — uncluttered and dark is inextricable with the visual image of a dark wood, like mahogany, which of course for me was ‘norwegian wood.’

3. 1970 — the dual shot of Grateful Dead’s “Workingman’s Dead” and “American Beauty.” Forget the Deadheads, the tie die, the bloated, sad death of Jerry Garcia. The Dead crystallized the moment, but with something that will always remain mysterious and deeply American. I wrote an essay for Little Village about it that almost but not quite captures how I feel about these records.

4. 1974 — I don’t know how exactly but I discovered — or rediscovered, it was music that was in the air in my house — John Coltrane & Thelonius Monk. In particular a Riverside re-issue called “Monk/Trane.” Jazz is a fickle thing, that works best in the moment, as it’s being played, but I learned every note of those records, and the version of “Abide With Me” — arranged by Monk but without his piano, still makes me tear up.

5. 1977 — A banner year of “Never Mind The Bollocks It’s the Sex Pistols” and “Talking Heads 77” — I tried to play the Sex Pistols record for my dad, a symphony conductor, and he made it about 3 minutes. He just left the room, shaking his head.

6. 1983 — REM “Murmur” The first few REM records were landmarks in American Music. Like the Dead, they rather outlasted their moment — nothing after “Life’s Rich Pageant” really stuck with me.

7. 1988 — My Bloody Valentine “Isn’t Anything” — as unlike REM as a band could get, a pure, abstract, lovely roaring noise. To the whole “shoegaze” movement this album and “Loveless” basically exhausted the genre before it was fully explored — they just couldn’t be topped. Their influence is immense, and pops up in the weirdest places.

8. 1991 — The Swervedriver EPs on Creation, beginning with “Son Of Mustang Ford.” A lot less punk and a lot more rawk than MBV, Adam Franklin’s songs and the blazing arrangements thereof were impossible not to listen to over and over.

9. 1994 — Two poles of the same universe Aphex Twin “Selected Ambient Works II” and Richie Hawtin “Recycled Plastic” Aphex Twin made music that was like a series of empty rooms that were each haunted by a different ghost. Richie Hawtin’s “Spastik” was an Ars Poetica of pure Rhythm. These two records and a slew more started a headfirst dive into electronic music and led to my own attempts at music production. In an echo of the spirit of 1977, this was homemade DIY music that gave a million people the idea to do it themselves.

10. 2004 — The World Of Arthur Russell. I’m a guy who grew up in Iowa, playing the cello. Arthur Russell was a guy who grew up in Iowa playing the cello. I was aware of “Is It All Over My Face” from club parties, but this album crystallized his genius. I’d give a lot to make a track as transcendent as “In The Light Of The Miracle” or “Go Bang.”

11. 2006 — Burial’s self-titled debut on Hyperdub — I can’t believe it’s been 6 years. Again, someone much imitated since then, but never equalled, except by his subsequent productions. A gateway drug into the world of Dubstep and the whole crazy universe of UK Bass music.

Since then… not sure. I listen to so much new music it’s hard to pick out anything as epochal as these records. And maybe it’s something you only really see in retrospect.

Using Random Processing in Ableton Live

There are two things that I’ve done consistently for 18 years I’ve been using a computer to make music is to experiment with random processes to generate something musically.

EXAMPLE ENSEMBLE: http://www.cornwarning.com/xfer/AbletonLiveRandomizeExample.zip

Ableton Live has a ton of effects. People spend a lot of time and money (or time looking for W4R3Z, which imho is wasted) to find third party VST instruments and effects to give them a palette of sounds. But before you go crazy buying and downloading stuff, it’s a good idea to fully explore the stuff built in to Live.

The Live MIDI effects are an under-utilized resource for creative sequencing, and the MIDI effect rack I’ve built does something that is to me really inspirational: It takes a stream of midi notes and randomizes their pitch and velocity.

That doesn’t seem like much except for this particular context: If you have a drum rack after this MIDI effect rack, when a MIDI note occurs, it adds a random offset to the note number, and assigns a random velocity. If you load a drum rack with an assortment of sounds — in the case of my example, latin percussion samples — it will generate endless variety of drum patterns with continuously changing accents.

From left to right the components of this rack are

  1. Pitch Effect. Adds a fixed offset to incoming notes.
  2. Random Effect. Adds a random offset to incoming notes.
  3. Velocity Effect. Randomly changes velocity of incoming notes.
  4. Velocity Effect. Filters out notes with velocity outside the range lowest to lowest+range.

The actual rhythm is determined by the note pattern that’s playing in the current MIDI track. This is cool because you can use groove templates on (for example) clip with a steady stream of 16th notes, and the output of the rack will follow the groove template. Every time a note is triggered by the clip, a random offset is added to the pitch, which has the effect of choosing a different drum sound, with a random velocity.

The Macro controls on the left side give you control over various parameters.

  1. Lowest: notes with velocities below this value won’t play
  2. Range: notes with velocities above Lowest+Range won’t play
  3. Pitch: Constant offset added to incoming note numbers
  4. Rand Velocity: How much randomness is added to incoming note velocities

Here’s a use case: If you play the third clip in the KW Conga track in the example ensemble, it is a steady stream of notes with a pitch of C1, which in my drum rack corresponds to the first sound. If you don’t want a hit on every 16th note, turning up the Lowest knob will discard notes with low velocity, and turning down Range discards notes with higher velocity. You tune the velocity range with these two knobs to thin out the incoming stream of notes by discarding some of the lowest and highest velocity notes.

The Pitch knob is to get around a limitation of the Random MIDI effect — it only goes up to a maximum offset of 24. Since I have more than 24 sounds loaded in the drum rack, in order to play any of the sounds more than 2 octaves above C1, I have to add an offset. You can also play this knob — or automate it — to change the set of sounds played by the incoming notes. In this particular rack, all the flams are at the top of the drum rack’s note range, so if the Pitch knob is below 8, you won’t get any flams.

The Rand Velocity knob, if turned to zero, doesn’t change incoming velocities at all. This would be useful in the case where you want the Velocity of the Groove template to determine note volumes.

All this is harder to explain than it is to use. Try downloading the example ensemble and fiddle with the knobs, and I think you’ll find that there’s an intuitive feel to using this effect rack. The main thing you need to start with is a drum rack — like the conga rack in the example — driven by clips usually consisting of C1 notes, which is the default lowest note for drum racks. The more sounds you add to your drum rack the more useful the pitch knob will be; if you only have 24 sounds, turning up Pitch will just cause notes to be sent to empty slots in the drum rack.

And if you don’t want to just let this sort of constrained randomness do its thing forever, you can record the output of the MIDI rack in another MIDI track, and then choose a few bars to loop, or find the 4 bars that’s almost perfect and tweak it a bit.

This sort of technique isn’t limited to drum sounds. If you’re using this rack with a pitched instrument it will do something random, and perhaps useful. With a pitched instrument, you can add a Scale Live MIDI effect, in order to constrain the notes played to the scale of your choice.

And that’s only the beginning of what you can do with effect racks. Live’s MIDI effect racks have the same ‘multi-chain’ feature of Live Effect and Instrument Racks — you can set up different chains of MIDI effects and use the Chain Select control to choose between them. And once you add in Max For Live MIDI effects, things can really get crazy.

HAPPY NEW YEAR 2012 WITH THE SUPREMES CHOPPED & SCREWED

This is some silly shit, but I had fun doing it today. Feliz Año Nuevo!!!

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http://www.cornwarning.com/chaircrusher/Supremes-CantHurry-Chopped_+Screwed.mp3

DJ Mix From KRUI 12-10-2011

I didn’t post this as quickly as I usually do after the show; part of the problem was technical issues, but most of it was the Holidays. At any rate, continuing a trend, I focused on a few new releases — full lengths by Sepalcure, Author, Pinch+Shackleton and Altered Natives. All of which are wicked good, you should give them your Christmas money. Also features a premier of my remixes for Peter Kirn who writes the well-known Create Digital Music & Create Digital Motion blogs.

Worth special mention: Cherie Pyne’s non-dance music track “Tender Steps” which is the closing credits music for the fantastic and fantastically depressing Canadian movie Crackie. I loved the song when I saw the movie; apparently the only way to get her music is to contact her directly — cheriepyn at gmail dot com. Cherie graciously sent me “Tender Steps” by e-mail. She’s also in the band Ledge’s Blast. She’s part of the whole separate musical world going on in Canada; I listen to the Canadian stations on XM Radio and often think that the Canadians that we know about in the USA aren’t necessarily the best, just the most ambitious and luckiest.

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http://www.cornwarning.com/chaircrusher/2011-12-10-Chaircrusher-KRUI-DJ-Set.mp3
Sepalcure Outside
Cherie Pyne Tender Steps
Sepalcure See Me Feel
P.Kirn Change Of Shift(ChrcrshrRMX)
P.Kirn Anaxagoras(ChrcrshrRMX)
Sepalcure Carrot Man
HXDB & 3rd Eye Transpacific(Resketch Remix)
Altered Natives Loved By Few
Martyn Viper
Martyn Distortions
Altered Natives Galactic
Altered Natives feat. ESP Shake That
Altered Natives My Game My Rules
Altered Natives Wasteman of Love
Altered Natives Can’t Trust Myself To Trust You
Martyn Horror Vacul
Guy Andrews Shades
Martyn Popgun
Altered Natives good evening ladies & gentlemen, we are eventide astral
Lazer Swords Sounds Sane
Lazer Swords Klock
Cooly G + Simbad Landscapes
Pinch+Shackleton Room Within A Room
Cooly G+Karizma It’s Serious
Seiji Face Up
Sepalcure Me
P.Kirn Train 69(ChrcrshrRMX)
Martyn Bauplan
P.Kirn Oscilloclast(ChrcrshrRMX)
Pinch+Shackleton Jellybones
Seiji Frustratin
Klaus Pim
VIVEK Diablo
Author feat. Ed Thomas Turn
Author feat. Ben Glass Green Blue
Biome DMT
Pinch+Shackleton Cracks In The Pleasuredome

Fun with Max For Live LFOs

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http://www.cornwarning.com/chaircrusher/Chaircrusher-2011-08-14-BeatRepeatLFO.mp3

It’s hard not to be an electronic musician without developing a fascination with random/stochastic processes as a compositional tool. Particularly because when you pay attention to e.g. a Max Roach Drum Solo he seems to be balancing random choices with intentional ones. While Roach knows what he wants in broad outlines, part of what makes his playing great is that he has learned to simply allow his muscle memory and hind brain take over and introduce surprises. By letting go of a score and conscious control he’s participating in randomness shaped by his will.

Max spent a lifetime developing the skills as a musician to allow this sort of freedom in his playing. This demonstration clip is what happens when you set up many random Max For Live LFOs to modulate many, many different things. At the core, LFOs are modulating the Repeat and Grid parameters of a Beat Repeat effect. Then two more LFOS modulate the effect send levels, going to a reverb and delay. A third LFO is modulating the rate of the LFO modulating the Repeat parameters.

Then more LFOs modulate the regeneration level and ‘echo reverse’ parameters of the delay, and the size and predelay on the reverb.

One drum loop is the sole audio source for this. All this modulation introduces a currently fashionable sort of crackle where changing parameters introduces audio discontinuities.

Chaircrusher Live @ Blue Moose 08-04-2011

I played last night opening for Ex-Action Model, Binary Marketing Show, and Dream Thieves. I’d have to say that this may have been the strongest bill I’ve ever played on. Totally rad.

But anyway here’s my set.

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http://www.cornwarning.com/chaircrusher/2011-08-04-ChaircrusherLive.mp3

KRUI DJ Set 6-18-2011

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http://www.cornwarning.com/chaircrusher/Chaircrusher-KRUIDJSet-2011-06-18.mp3

So this is a little different in that I wanted to focus on particular releases and artists. The stars of this show:


Kate Simko whose new album “Lights Out” raises her profile considerably in the dance music world.

Stewart Walker whose new digital label Son Of Cataclysm takes his techno experimentalism to new depths. The Sweetnighter track is an unreleased demo from his new guitar-based project collaboration with Reynold, aka Sam Rouanet, the label boss of Trenton Records

John Tejada whose new album comes out this week. John is a producer who has released a ton of music, always of the highest quality. I wonder when he sleeps.

Reggie Dokes is one of the 4th or 5th wave of Detroit dance music producers. Detroit is really a crucial center of house music’s renewal, with a long list of amazing musicians making crucial tracks. He’s not as well known as Omar S, or Moodyman, or Theo Parish, but he’s every bit their peer, and I expect him to become even more prominent.

Not a person, but a singular constellation of genre-bending music Hessle Audio just released 116 & Rising, a label retrospective that features 12 new exclusive tracks. It’s the only current label in the UK dance music world about which I’m an absolute completist.

Kate Simko Beneath
Reggie Dokes God Of House
Stewart Walker Slipped Off Fogwet Girders
Kate Simko Mind On You
Stewart Walker Lord Housefly
Kate Simko Mira Vos
Peter Kirn Anaxagoras
Stewart Walker Blässe
Chaircrusher Transit Of Jupiter
Kate Simko Bikini Atoll
Reggie Dokes Haiti
Dennis De Santis Five Minutes Today Forever(Stewart Walker RMX)
John Tejada Unstable Condition
Sweetnighter Sign Language Poetry
Sigha HF029 A1
Szare Action Five
SCB Future Unknown
Peverelist Sun Dance
Addison Groove 5 Minutes Of Funk
Bass Clef Rollercoasters of the Heart
Pangaea Runout
Chaircrusher Sojourner
Ramadanman Revenue(Untold RMX)
Addison Groove It’s Got Me
Xi The Ghost
Bass Cleff So Cruel
Blawan Potchla Ve
James Blake Give A Man A Rod (2nd Version)
D1 Subzero
Throwing Snow Un Vingt

New Bandcamp Release: EMS Putney Improvisations

I’ve put a new album up on Bandcamp: For Delia Derbyshire 2011-03-10

This EMS Putney came into my hands when I purchased it from Iowa City South East Junior High School in 1997. It is one of the unique artifacts of electronic music. The Putney & it’s close relative, the attache-case-housed Synthi, were workhorse synths at the BBC Radiophonic Workshop, and was a favorite of musicians like Brian Eno, Pink Floyd, and other Space Rock bands of the 70s.

It’s sonic character derives in large part from the cheapness of the design and construction. Moog Synthesizers were laboratory grade audio equipment; the Putney is cheap and difficult to use in a traditional musical context. And yet it was seductive. It’s limitations and imperfections enlarged musican’s ideas of what sounds could be musical.

Delia Derbyshire was one of the pioneers of electronic music during and after her tenure at the BBC Radiophonic Workshop. She was both a gifted composer and an audacious and precise engineer. Since seeing her in documentaries, and hearing her music I’m both awed by her and have a synth-geek’s crush on her. She was on my mind as I recorded these pieces, and I dedicate them to her memory.

The 5 parts of this piece were recorded in one evening, with no editing or overdubbing. The Putney was plugged into the Stereo Memory Man pedal, and the pedal was plugged into my computer.

The only post processing applied was normalization. These recordings are as close to the original, raw sound of the instrument as I could make them.

The mystery of Greta Ann

I’ll let go of my obsession with Anika soon, really. But among the interesting covers on her debut record was of “Sadness Hides The Sun,” which was originally recorded by someone called Greta Ann.

As a child of the 60’s I’m always looking for the awesome stuff I missed out on when I was, y’know, eight years old. And listening to the song on Youtube you realize why Anika covered it, it’s a brilliant song. But who was Greta Ann, and where did she go?

There’s precious little to discover on the Internet. The song is featured on a couple of compilations, including Merseybeat -The Story Of The 60s Liverpool Sound, and the awfully named Dream Babes 5: Folk Rock & Faithfull. The song was written about in the June 1965 New Music Express. But aside from the Youtube video, there’s nothing of substance about her. It seems crazy to me that someone could pop up, make one record, especially one that memorable, and disappear.


KRUI DJ Set 2010-03-05

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http://www.cornwarning.com/chaircrusher/2011-03-05-DJSet.mp3

A little different than the last few sets I’ve done, as I brought the computer; I just didn’t have enough fresh vinyl for a show. It’s a combination of things that have been on mind, some for months, some as recent as this week. The Darkstar album North has been haunting me since it came out last year. Incredibly moody, emotional music.

Of course, for some of us, Radiohead’s new album King Of Limbs has been a recent obsession. It’s without hit singles, per se, but it does have something of what the Darkstar album has — inventive sound design & production as a way to make emotional connections. The When Saints Go Machine song “Fail Forever” is a recommendation from my son Lucas, who is music director at the Earlham College Radio Station. I never was into Radiohead before Lucas fell hard for them when he was 11; I got him to listen to Arthur Russell, so he knew I’d like anything that had some of that AR magic to it. I’m not sure When Saints Go Machine are Arthur Russell heads, but “Fail Forever” is haunted by him.

And then there’s Anika, who I was turned onto by Peter Kirn’s interview with her. The eponymous Anika is produced by Portishead’s Geoff Barrow, and has the sort of dark, noisy, rough production values that make the Jamaican work by Lee Perry and Clement Dodd so compelling. Two of the songs I played appealed to the hippy pacifist in me, Dylan’s “Masters of War” and Greta Ann’s “Sadness Hides The Sun.” Odd, but not that odd, that 60s era protest folks songs are so relevant still. Same assholes killing brown people then as now.

And there are 3 of my tracks, for better or worse. The Pete tracks are meant to get some additional instrumentation added when I can get Pete Balestrieri captured to put down some saxaphone, but I kind of like Music Minus One sounding stuff. Then there’s my shoutout to Muammar Gadaffi, “Hallucinogens in the Nescafe” which I wrote about earlier. He really is an epically evil motherfucker, and sometimes I think he says the hilarious things he does to soften the blow of his unrelenting, remorseless cruelty. He’s not Charlie Sheen, and of course, Charlie Sheen is another real-time tragedy whose humorous aspects can’t be denied.

But I couldn’t resist last night during my show when I tweeted “Thom Yorke doesn’t have tiger blood, innit? Tabby blood maybe.”

On a technical note, this mix is a cleaned up in a few places from the on-air performance — I was warping tracks in a mad rush yesterday and a couple of things were fucked up, resulting in dead air, tracks falling out of time, and one track getting played twice as fast as it ought to have been. There was one hilarious moment when somehow the tempo was following mouse movements when I wasn’t initially aware, so one track swung up and down between 120 and 200 bpm for a few seconds. But I photoshopped that out.

SYNKRO Open Arms
DarkStar SP
Anika Yang Yang
Chaircrusher Pete 1
DarkStar Separator
Just A Band Extra
Dirtbombs Shari Vari (Omar S Remxi)
Chaircrusher Pete 2
West Norwood Cassette Library Blonde On Blonde (Pearson Sound Remix)
King slaFF One
Radiohead Lotus Flower
T Williams Heartbeat
When Saints Go Machine Fail Forever
Rooflight Birds Outside The Window
Chaircrusher Hallucinogens In The Nescafe
Darkstar Aidys Girl Is A Computer
Sepalcure Fleur
RoofLight All Day Breakfast
TMSV Signal
Freeze & LX One Foreseen
Orphan 101 Propa
Anika Sadness Hides The Sun
Radiohead Morning Mr. Magpie
Urban Tribe Orbitals
Morgan Zaret Hookid
Anika Masters Of War
Instra:Mental + DBridge From The Start
Instra:Mental + DBridge Detuned Heart
Derek Piotr Cleopatra (Chaircrusher Remix)
LHF Candy Rain

New Track: Hallucinogens In The Nescafé


In the Herzog film Strozek Bruno S shows a small sculpture of twisted wire and says “this is a schematic model of how it looks inside Bruno. They’re closing all the doors on him.”

So this track goes out to my boy Muammar Gaddafi; it’s a schematic diagram of how it looks inside Muammar. Thug Life 4Ever, Brotherly Leader and Guide of the First of September Great Revolution of the Socialist People’s Libyan Arab Jamahiriya!

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http://www.cornwarning.com/chaircrusher/ChairCrusher-HallucinogensInTheNescafe.mp3

For those who give a shit about such things:

Drums: Battery3 with tweaked percussion presets.
Funny noises: 2 instances of Reaktor.
High synth: Jupiter6
Bass: FM8
Effects: Audiodamage Dubstation delay, Audiodamage Eos reverb, UAD EMT140 Reverb (on filtered snares), a Reaktor BBD delay simulator, UAD LA2 Compressor on some tracks, Audiodamage RoughRider Compressor on others. UAD Pultec EQ on some percussion sounds.

Sequenced in Live, several passes of live recording of effects tweaks. This was actually a track that came together when I was actually focusing on something else — i.e. it was a scratch track to test something.