Download mp3: The Stormformer

Wires, electrical equipment, soldering iron,
Cables, metal, antennae, wall connections.

Stormformer
I’m the stormformer.

Windows open, computer, AM radio static, batteries,
Heat shrink, solder smoke, cutters, meter.

Stomformer
I’m the stormformer.

Swallowed sun, humid tension, insects quieten,
Wind builds, heavy clouds, head up, arms out.

Stormformer
I’m the stormformer.

A fantasy of a child
An illusion fed by technological obsession
And a media dazed in scientific futurism
The boy scans the outdoor horizons
Late November brings the humidity
Those anvil super-cells building in the afternoon
He’s looking for a front; a force all powerful
A storm to surpass all others
His dreaming he keeps to himself
Clouds are not mere meteorological phenomenon
But are inconceivable starships
Mustering all their collective might for assault
Upon a far off and obscured foe
They attack with lightening and thunder
And recharge from the heat and electricity
Of the land they they pass over.
The boy knows no one will understand this
No one will understand his role in all this
He is the commander, the grand conductor
Of the entire fleet
He pretends that his will is that of the storm
The honour and importance he has in his role
Is unmatched by anything in his life
His knowing smirk is ignorant of the horrors of real war
His intent is for simple atmospheric glory
But the storms are not enough
Reality threatens his magical fancy
He needs something more, a deeper connection
He longs for transcendence via inductive force
His connection is the lightening
His resonance is with the thunder
He is the small coil that transforms the energy of the storm
Scanning north to where the bolts strike the high escapement
He astrally projects his readiness to that position
They say lightening never strikes twice in the same place
But with arms outstretched he awaits enduring connectivity
A complete circuit of absolution.?But reality beckons and he has to wait
All he can do is prepare for his moment
By the study of electronics
A union with future technology
Like a transformer in a power supply
He must become the stormformer.

>>> Pleading With Ghosts

Who knows, maybe the spooks like 4 part chip harmonies with a detuned Hunz as a wobbly bassline?

I hide in warm clothes
You hide in your briefcase
I guess we can call off
Our little battle of truth (game set match!)
We sit here and hope
That the birds don’t come down, down
And pick apart our stale bread offerings
We of the infantile narratives

Slay people with lasers of truth
Yet cower in the soft warm glow of TV.
Worry about the garden -
Don’t worry about the lasers!

I’m snug and warm
And you’re financially sound
Don’t push it.

First Impressions Always Count was first composed in Renoise during late 2004. Therefore, it has taken nearly 5 years of chipping away to finally get this song finished – all for a measly three and a half minutes of music! Talk about inefficiency! The reality of the situation was more to do with being very fussy about the quality of the vocal takes, and working the strength of my voice up to a point where I could easily do what the melody required of me. It’s still not perfect, but it’s at a level where I can walk away from it and live with the result. I don’t regard myself as much of a singer, but hopefully the musical ideas here are strong enough to hold the whole experience together and pass as good music. That’s for you to decide.

This song is the first track off an album I am working on called The Paradox. The songs off this work in progress are in a much similar stasis that First Impressions was in for a long time – the music is complete but the vocals have yet to be set in stone. With some luck, the whole project will be finished off sometime in 2010. The music will be much the same style as this piece, dramatic dark pop with a whole range of electronica influences. These songs have been some of my most personal and introspective music I’ve ever done, but done with the aim of being ‘open’ enough for people to have their own interpretation. Explaining the words anymore than that would miss the point and would hamper your imagination conjuring up all sorts of cool images and stories for the music.

So, download and listen to First Impressions Always Count, and let me know your impressions!

mr_mark_dollin – Puddles

Personally, I find it somewhat hard to avoid cringing when listening to these songs, perhaps in some places more than others. It’s like looking at a reflection of yourself when you’re 18 and all you can see are the faults. That personal cringe factor has prevented me from putting this music out there, keeping it filed in the ‘embarrassing journey-man years’ category. It’s a drama of me awkwardly finding my own creative voice against the odds of immaturity, lo-fi equipment, and being just a little too under the influence of other popular music at the time. I haven’t really been able to share this music without being apologetic for it, and even now despite it being from an entirely different phase of my life I still feel awkwardly responsible for it. Still, you can’t pre-judge your own work on behalf of an audience – it’s up to them to like it or not for themselves. So it’s time to set it free, and to move on.

To explain what this album is all about I have to go back to where it all began – 1996 was the year I started to write music on Fast Tracker II and a lot of that music was written with or alongside Warwick Newell, a good musical buddy from high school. Warwick and I learned a lot of our early studio and composing chops emulating electronic dance music that was exploding and mutating throughout the 90s. I think deep down it was initially my hope that Warwick and I would be a dual producer act much like Itch-e and Sratch-e or maybe even like the Chemical Brothers. Our act name was ‘Audiophonica’, although that meant squat to anyone else in suburban Taree – just two more computer dorks who loved techno. Life as a tennage student and life in general doesn’t favor these sorts of ambitions and despite a few projects we finished most of the time we had false starts. Upon leaving my hometown going to University I was stuck on my own and not too sure what to do with all these ideas. Eventually (I’m always slow with these realisations) I knew I had to do a solo album and put together something that best showcased all the different styles I liked to do and something the really flowed well as a long-play listen. It was my half of Audiophonica,  but striving to be better.

Part of the naivety of this album is that a lot of my musical influences were worn on my sleeve, loud and proud – that’s generally something you try to avoid as a composer with a more mature intention. So as a result, a lot of this music seems oddly dated or like bad photocopies of not-so-strong popular musical ideas. Genre wise its a mix of techno, trance, breaks, metal, ambient, pop, industrial, indie rock and prog, and it has it’s fair share of 90s style genre-hopping within the one song. The vocals don’t have confidence, and often I awkwardly took on voices other than my own due to not even knowing what my own voice was or how to use it. Sometimes I think I’d like to re-do it all, but I’d change the songs so much they wouldn’t resemble the originals any more. Again, it’s better to just leave these as they are, representative of that time and who I was. It was a much darker time for me as a person, and all that aggression, sadness and weirdness went straight into the music. If it sounds awkward, it is because I was awkward.

Technically speaking the odds were stacked against me in terms of trying to pull off an ambitious sounding sonic presentation with very limited equipment and skill. The bulk of the work was made on a primitive bit of DOS software called Fast Tracker II or FT2. With a stereo field of about 80%, zero sample interpolation, 16bit processing, 32 channels of mono-polyphony, and no modern bells and whistles like DSP processing or recording synchronization – FT2 was the beastly lo-fi software used to make all these songs happen. To get anything more fancy beyond panning and volume settings there was tracker-esq trickery going (pattern effect commands) but a lot of effecting was done with sample pre-production: pre-rendering down effects like reverb, filtering and other treatments. The lack of recording sync made the vocal tracking a nightmare. I had to guess the relative pitch and timing, recording blind to silence hoping that the take would match up to the song. I think I even dropped some backing track parts to cassette just to get a sense of what I was doing. On a student budget I could only afford a very basic $30 desk-stand small diaphragm condenser microphone plugged straight into cheap as chips soundcard. My monitors were either low end Philips headphones, or these no-name ‘multi-media’ speakers that came with a lot of computers in the 90s. Talk about low fidelity! It’s a miracle that any of this music sounds even half decent. But somehow, if you listen past all the sludgy bass, noise and general mix shambles – these songs still hold together as music to be enjoyed. Just turn your volume down a little in case you’re sent deaf or your speakers blow up.

So all apologies aside, I hope you enjoy Puddles, or at least find it as an interesting primitative precursor to where I am now. Maybe I got it right in the first place – I still get people saying their favourite songs are off this album, or of even earlier work. Ah, what can you do? Put it out there!

http://twitter.com/mr_mark_dollin

http://northwestfilmfestival.com/

‘Loss’ is on YouTube here.
‘Armidale Sensory Community Garden’ is also here.

Recent success with recording vocals I’m happy with alongside daily training with vocal stamina and technique has given me the confidence to at least attempt to perform my own songs in front of other people. I know the more I sing and the more I rehearse my songs with the correct technique, the better chance I’ve got of pulling off the performance live, in one take so to speak. I’ve also now got the means technically to do some solo live work: Later this week I’m getting an Apple Mac Book Pro 13″ laptop specifically for this task of playing live, as well as a Presonus Firebox so I can plug in my guitar and run all the guitar sounds via audio plugins playing along to a rendered backing track. I think I’ll process the vocals the same way, but I’m not quite sure of the details yet. I looked into using Ableton Live to host all this, but I found it to be overkill for what I’m attempting to do. So, instead I’m using Reaper, which allows me to do bpm sync and automation on effect parameters for song patches. I guess as I rehearse the songs the sounds will evolve over time.

I went through all my songs and decided which one I could adapt for live performance. A little surprisingly, I’ve come up with 30 songs I can choose from! These may or may not include the following:

Our Blood Is Black
Vegemite
Iced Coffee 2
Stormformer
First Impressions Always Count
Crawling Up That Hill
The Cold
Codec
404 Not Found
No Phone Calls
I Can And I Can Not
The Infant Wish
Berarngutta
I Like You
Add As Friend
Little One
Wattle Bloom
A Forest
Vulcanella Self Destruct
The 4th
Backdropped
Saint Santa
Phoebe
The Objector
Summertime Quiet
Long
Meteor Shower
I Love You And I Love Your Needles
Sleep Is God
Party Line

You may notice that this range of tunes includes some titles that haven’t even been released yet! I’ll be using the experience to ‘road test’ some of these near-finished tunes and will probably help me decide how I want to record them for the final studio versions. I’m also happy that there’s some older tracks in the list like Sleep Is God and I Love You And I Love Your Needles – I’ve already had some fun remixing these older songs to give them a fresh and up to date sound – hopefully I’ll perform them better than ever. Having this many tunes to pick from will be handy in keeping set lists fresh and to play whatever suits my mood.

No dates locked in just yet, but I’ll post here as soon as something is arranged. I’ll probably be playing a few nights at the Armidale Club to get some runs on the board. I’m looking forward to learning from the experience, and getting better because of it. I’m aiming to have some momentum going by next year and may attempt to play some dates up at Brisbane.

This was composed in seven swaps between Mick and myself over the last few weeks. The style of music is a strange mix of chiptune, breakcore, and a weird dark angry Arabic scale meshed into a pop drama with sung vocals and lead guitar. While on the surface it may appear as another one of my epic dark pop songs, it has got its lion share of Mick’s classic composing styles, with ‘tracker’ style strings, structure and lead synth melodies. The mix work was also 50/50, and Mick played a big part in bringing out the dynamics of the piece.

The song had a bit of an unusual birth: I was mind numbingly bored at work and decided to open up Renoise and have a play with making hand drawn waveform instruments. After tracking a simple drone I added a little Arabic chiptune melody. Feeling it was pretty one dimensional I posted the file on the #renoise IRC channel and see if anyone wanted to co-op on it. Mick went for it and before long we had some seriously accelerated song development happening. And it was turning out surprisingly dark and angular, especially in contrast to some of Mick’s upbeat music.

The Arabic feel inspired me to think about Dubai and some of the horror stories I’ve heard about that place. I remember once seeing that they had so much money they could afford to build this massive indoor ski field, right in the middle of this desert country. It’s the kind of decadence that seems to have little to do with reality. It made me think of this bizarre love hate relationship the west has Arabic oil power – both a reverence of decadence, but a grudging dependence on this economic and cultural lubricant that is oil. So the lyrics came from that tension, a kind of corrupt fatalism that could really apply to any sort of trade based drama.

The song was mastered in Reaper digitally, and then recorded to my tape setup (the Tascam BR20T calibrated with Ampex 456 tape). We both chose to have a very clear and dynamic sounding mix and master, which during the loud sections are at around K-12 leveling. If it seems a touch quiet to begin with, please turn it up nice and loud and enjoy the dynamics!

Over a year ago I bought a new electric guitar but didn’t make any mention of it here. I pretty much feel in love with it as soon as I saw it in the store in Brisbane: the Jackson DK2S, coloured blue rippled sunburst. The key ‘coolness’ about this guitar is the Sustaniac which allows for all sorts of expressive, long note weirdness. It’s been featuring on a lot of recordings in the last year or so.

The DK2S comes standard with Seymour Duncan passive humbucker pickups at the bridge. The more I played the guitar with that pickup selected, especially with a clean tone, I grew to dislike the sound. It was hard to describe, but the attack had a fizzed-out feel and it was generally ‘grainey’ sound. I may have been a little unlucky and received a defective pickup, but either way I decided I’d replace it. It was hard to ignore to reputation of EMG’s pickups: so the shopping began.

After reading quite a bit I decided to go for the EMG85’s. This choice is a bit unconventional as the 85’s are designed to go a the neck position and the EMG81’s for the bridge position. I wasn’t quite into the ‘classic shredding’ metal sound the 81’s gave at the bridge, and I heard a sample of the 85’s at the bridge position and liked it a lot. It sounded more rich and warm, yet still ’super-charged’.

Installing the active pickups was much more of a challenge than I bargained for. There was no concrete wiring diagrams to follow given that I was doing something so non-standard on an uncommon guitar. After a few false starts I got some help from Alan at Sustaniac. The correct wiring was tricky and not at all guessable. It also required a special 9-lug jack to be wired in – so I had to order that from the States and wait a while for it. After some frustrated wiring attempts for hours the other day, I think I eventually got it right.

So I plugged the axe in and took it for a thorough test drive. The EMG85’s are as rich, clean and warm as I hoped they would be – but surprisingly too peaky and overdriven for some clean sounds. This is easy enough to curb with rolling the volume off a touch (and with a few re-writes of my patches). For your listening pleasure (or pain) I recorded a quick noodle of the sound of the new pickups. You can hear it warts and all here.

Here’s some shots of the the work on the guitar, with Gus helping out:

Blue!

Last year Alex paid us a visit in Armidale. We got some time to work on some tracks, including the song “Green”. It’s a track we both tweaked and morphed – and I recorded a bassline live. Have a listen and let Alex know if you like it.

Well, for the geeks who were kind enough to ask: two things were not addressed when I used the deck for remastering Vulcanella Self Destruct a while back. The first was the quality of tape I was using which was mere low grade duplicating tape. I’ve since got my hands some reels of Ampex 456 – which for many studios was one of the standard mastering tapes used in the 80s (just check out the sleeve notes for Mike Oldfield’s Crises record). In this day and age there are better reels out there (like ATR mastering tape; and ATR-102 decks are better than my Tascam as well: but that’s another story) – but the Ampex 456 is the best I can use for my deck seeing that Ampex tape tends to shed coating onto the heads and affects them in a way that prevents you from using any other tape. To prevent this dreaded shedding problem, I baked my tapes in the oven for about 12 hours at about 50C. And then, wha-la: perfectly usable tapes. Nothing like a bit of baking to help out the audio engineering!

The second issue was a matter of deck calibration. Calibration involves a series of technical procedures done with the deck to perfect I/O levels and tone. This required quite a bit of patient fiddling with geeky detail I won’t go into here. I wouldn’t have had a clue what to do without help from Simon. Simon is also currently getting deep into the world of tape, not only with 2 track mastering tape, but with 8 track session tape. So thank you Simon! After some fine tuning I got an excellent standard system using a combo of Reaper and the tape deck to do both standard digital mastering as well as using the ‘magical sound’ tape method. To use Simon’s words, tape is an instrument: you play it. Finely riding the input levels just to get that sweet spot nestled between clarity and punch, it’s just so fabulous to finally get that sound I’ve been after for so long.

This means that my mixing and mastering business is officially back up and ready to go! So if you need any mixing or mastering done on your songs, please visit the site, read the FAQ, and get in touch with me. I’ve already got one client’s project on the boil, and a few more lined up. And hopefully some of my big projects will soon see some tape action as well.

Speaking of which, I’ve been cutting back time from my day job during the quiet winter time so I can spent some more time finishing songs at home. I’ve been doing a lot of structured vocal practice and a lot of vocal recording for Paradox songs (trying to crack ‘First Impressions Always Count’ right now) with improving success. It’s very hard though, and I think I’m still a long way off from what’s in my brain as being the ideal sound. Tomorrow’s another day…