ArtEfficient Intelligenz

This song was originally composed in 2017, in memory of my dad, who passed that year.

Original picture by Caroline E.

Though this track is a demo version, later mixed by Jerry Parsons, as part of a collaborative project now apparently licensed to BBC Radio England and BBC Continental Europe -cause I wouldn't know it from the royalties-, I like this demo version, as is.

For starters, I was never again able to get sine waves to feedback just like this, using a Roland Space Echo. The rest of the song but for the piano, came out of the first PPG Wave plugin I got hold of which also mimicked / incorporated the waveterm environment, so bass, pads, and drums all had an 8/12bit thing to them, which I further bitcrushed for good harmonic measure lol.

So even though the snaredrums sound like a scotchbrite on a frying pan, and if you don't like bright cymbals this ain't your song either, there's plenty other reasons I like this specific track as is.

I've always loved this track, like most things Ric Ocasek AND Greg Hawkes ever did, together, so gave it a go as a studio project only.

Ocasek himself approved of it a while after. Absolute legend.

Ric Ocasek was such a good producer and such a geezer, Weezer always asked for him. The Strokes seemed to agree too, from day one. Lol.

..I do do like The Strokes, and most of Julian's solo stuff is also just classic stuff.

And I do think Geoff did the right thing getting involved with them, even though I left that combo secret gig Gage and I got personally invited to, at Nottin' Hill Arts Ctr, back in 2000 or so -with the libertines, in lower case for a reason, cause there, I didn't agree at all, it's why I left early that night, lol- should Geoff ever read this - then again, why not, I was once also signed to one of his then main London labels, by himself, and that, had just seemed just so very unlikely, back then, too, for the longest time.

'Here lies Phil Linott, ..and why not.' SpTp.

Picture by Gage S.

Keyboards, drum programming - Evan

Bass - Gage + Evan (choruses)

Main vocals - Ben Woodhouse

Backing vocals - Helen Banham

Original song 'Heartbeat City' © 1984 by The Cars.

Experimental rework mix of Gage's Noah / Arpeggio, at J. Parsons' studio.

Jel - arrangements, mixing

Evan - keyboards, arrangements, mixing

2007, home studio, electronic version of EOF, a song Gage had originally composed on -self taught- acoustic guitar.

Featuring THAT Euphonix sample.

I also always wanted a song that featured the old Cubase metronome sound. This is the one.

I always felt the utmost reverence and absolute awe and respect for the Islamic scales, specially as used for the Islamic call for prayer, which also used to send me to sleep *in absolute bliss*, when I used to live in London's Finsbury Park, not 700m away from the Minaret.

This is the simple reason I sampled it. It is an *obviously ancient and sacred chant*, which should be a plentifully observable fact even for someone like me, who comes from a judeo-christian tradition, I guess.

Let's just say I've been into sound, as a phenomena and its characteristics, since I first had ears delivered. Like. what the f*ck's up with this weirdo. labgeek. into. sound. ..Gage used to say that my actual girlfriend was music. Maybe lol.

..And I'm pretty convinced that, were the human race to *seriously* study the acoustic phenomena us occidentals commonly, gingerly, and casually refer to as 'the Muslim call for prayer', half our current technologies could become obsolete, right there, for starters.

Oh look, a unicorn.

Lyrics + all original vocal melodies + additional backing vocals by Gage

Keyboards + drum programming by Evan

Main vocals + backing vocals by Elaina G.

2006, home studio, getting a tad electronic on a song Gage had originally composed on -self taught- acoustic guitar.

Lyrics + all original vocal melodies + additional backing vocals by Gage

Acoustic guitar by Gage

Keyboards + drum programming by Evan

Quartz-Like Exquisite Main vocals + backing vocals by Elaina G.

Original picture by Itxaso Díaz.

2003, home studio, much earlier version of EOF, getting a tad electronic on a song Gage had originally composed on -self taught- acoustic guitar.

This song, as it is here, early version, is, in and of itself, eternally more interesting and insightful than the entire summation of creative output ever produced by Xav - were he born 67 times, with Einstein by his side, whispering the secrets of the universe, while also seriously exercising at the cosmic creativity gym, every single one of those 67 times.

Good day, discogs.comcomcommoleon - you most delicious corporate narrative generator you.

All lyrics + all original vocal melodies + additional backing vocals by Gage

Acoustic guitar by Gage

Keyboards + drum programming by Evan

(Exquisitely Awesomely Exquisite) Main vocals + backing vocals by Elaina G.

Yes, I had autotune back then. I know people lol.

Original picture by Itxaso Díaz.

One of those times G, Gage, and Evan, made music post dex, collaborating remotely.

Arty as this pic is, my almond doesn't otherwise fit.

Keyboards + drum programming by Evan

Bass by Gage

Guitars by G

Main vocals + backing vocals + lyrics by Elaina G.

Mixed & produced by Paul Kendall at Mute studios, partially based on remotely recorded stems.

AR201222

Originally + entirely composed by Gage on acoustic guitar.

..Slightly embryonic, production wise. That's 'early' Cubase audio for ya. ..Tad crashy.

Gage - acoustic guitar, bass

Evan - drum programming, keys, sequencers

Audio replaced 13/09/21 with the just-pre-dex (1993) version.

Freely experimenting with ideas atop a sequenced base from 1991.

Moog panning & mixing by Gage, as I was playing live moog & its wheels, and had plenty busy hands on this one everywhere else too.

So, mixed live by Gage.

Though I still managed to get some nasty bump notes in there for that real human touch - and Ross' Casio helicopter is in there too. Relol.

Gage was always very good with music tech anyway, not a mystery to her whatsoever.

She's always been just as instinctive with cameras, analogue developers, and is also a bit of a Photoshop magician, donyaknow... almost since Photoshop got its name. You've probably come across Gage's truly orchestral maneuvers in the dark while staring at Vogue, Marie Claire, or Vanity Fair covers.

..Once in London and working as dexdexter, added an extra -chorus- section and condensed it to 3 mins. It became 'Yet I Maybe', with lyrics by G, sung by Xav. But this is all I've been able to salvage from this one. Apologies, G.

Pretty embryonic here, compared to what it had later become, by the time we ended up playing it live during the romo tour in 96, as replacement to Winter Again - that's how good it was, mostly due to G's arrangements. Gage's bass, not featured here either, was simply incredible - it just transformed the track, giving it a more grave and simultaneously much funkier character.

..Someone must have a recording of it.