Twice the sonic violence. Twice the Horror. In case the soft bellied, dress wearing, goofs out there forgot how it's done.
Blow Your Head Up (Remix) by Crossworm
Friday, June 18, 2010
Thursday, May 20, 2010
Dirt Labs
Beautiful sunny day here in Hollywood, CA. I'm in doors currently recording with my band Demerol, preparing to track guitar D.I.'s at our singers house. We've been putting in 12 hour days for a week now. We're also building an iso booth in our lab this week.... I'm looking forward to recording Gut Rott when everything else is off the plate.
Wednesday, May 12, 2010
Rest In Peace
It's been almost 6 years since my dad was killed by Cancer. I've written several songs about it but scrapped them all before they could really be recorded. ...until now. I used a free beat from Rockitpro.com this song is free. Enjoy.
download the MP3 here:
http://www.mediafire.com/?kquwhnnkygg
CROSSWORM - SEE THE SUN:
close your mind to the people that pry.
but when the lids covered both of your eyes, I had to say goodbye.
it's been a grip of the clock ticking your last days dad
and I know that you had to leave... and I ain't mad.
my only wish is that I exist to be a man
and in the palm of my hands i hold a plan
to escape a mundane fate rotting away and cave in.
I walk the earth, in search of rebirth I may be made in.
made up of iron and steel and a Weatherbie name.
never be cleverly stained by the weather remains.
whatever weather it must be please trust me
I'll never let anybody tarnish me rusty.
you taught me to be tumbleweeds and roll with the breeze
and by the end of your journey you were down on your knees.
a humble man, but no disease could ever take
the love inside of a father and son that cant break
(both these sections of 4 lines in the chorus occur simulataneously in each speaker.)
and I know you gotta leave
but please believe that inside
I see a lot of you in you me.
and I know you wanted to stay
but anyway...I see the sun shinning in a new way
and I know you gotta leave
but please believe that inside
I see a lot of you in you me.
and I know you wanted to stay
but anyway...I see the sun lighting up a new day
..you said that secrecy echos the sound of the brokenhearted
until the echo returns, screaming at where it started.
I take the good and the bad when I roll with a punch
and a right hook is a follow up to a bad hunch.
You need to know that I'm safe and sound and now I smile
instead of mugging the world walking the green mile.
my intellect respects ego I keep in check
I still aspire to follow The Great Architect.
close your eyes and you'll see I'm alright
I got a Mom, and Step Dad both shedding a loving light.
its been a grip of the clock ticking my last days home
and I know that I carry your soul, where I roam.
and When in Rome I can see I belong
and I can reach people in a new song, but you knew all along.
walking the planet is cold lonely and sorta scary.
but you know that its breeze for more than ordinary.
download the MP3 here:
http://www.mediafire.com/?kquwhnnkygg
CROSSWORM - SEE THE SUN:
close your mind to the people that pry.
but when the lids covered both of your eyes, I had to say goodbye.
it's been a grip of the clock ticking your last days dad
and I know that you had to leave... and I ain't mad.
my only wish is that I exist to be a man
and in the palm of my hands i hold a plan
to escape a mundane fate rotting away and cave in.
I walk the earth, in search of rebirth I may be made in.
made up of iron and steel and a Weatherbie name.
never be cleverly stained by the weather remains.
whatever weather it must be please trust me
I'll never let anybody tarnish me rusty.
you taught me to be tumbleweeds and roll with the breeze
and by the end of your journey you were down on your knees.
a humble man, but no disease could ever take
the love inside of a father and son that cant break
(both these sections of 4 lines in the chorus occur simulataneously in each speaker.)
and I know you gotta leave
but please believe that inside
I see a lot of you in you me.
and I know you wanted to stay
but anyway...I see the sun shinning in a new way
and I know you gotta leave
but please believe that inside
I see a lot of you in you me.
and I know you wanted to stay
but anyway...I see the sun lighting up a new day
..you said that secrecy echos the sound of the brokenhearted
until the echo returns, screaming at where it started.
I take the good and the bad when I roll with a punch
and a right hook is a follow up to a bad hunch.
You need to know that I'm safe and sound and now I smile
instead of mugging the world walking the green mile.
my intellect respects ego I keep in check
I still aspire to follow The Great Architect.
close your eyes and you'll see I'm alright
I got a Mom, and Step Dad both shedding a loving light.
its been a grip of the clock ticking my last days home
and I know that I carry your soul, where I roam.
and When in Rome I can see I belong
and I can reach people in a new song, but you knew all along.
walking the planet is cold lonely and sorta scary.
but you know that its breeze for more than ordinary.
Tuesday, May 4, 2010
(Crosstalk 1) : Compression - Use it Or Die
I have a lot of young artists that find me on AIM and ask me questions about mixing, so I figure I'll start a series of articles dedicated to audio as well as my dealings in the industry. There's a lot of people out there with a wealth of knowledge that are hoarding it and not using it themselves. I want to see artists grow in the underground. So I figured the way to help make a positive change is to let you know some of the stuff I know.
Today's first article is all about compression in the mix. So all you dudes out there just getting your feet wet in the home recording scene, this ones for you.
WHY YOU NEED COMPRESSION
Adding and using Compression is one of the most important processes in a recording or mix. It is vital and absolutely necessary. Basically, if you have recorded your tracks with no compression, and are attempting to mix further (also without compression)... you should be kicked in the dick meat. The dynamics of your recorded signal demand the control of compression. For example in your rhythmic hip hop vocals, some words are going to be louder and more accented than others, and will sometimes clip or red line. This is because you're an idiot. And have poor vocal technique. And quite possibly are using a cum sock for a pop screen. Im kidding. let's get serious for a minute though...
Compression reduces the volume of loud signal and increases the volume of quiet signal. This can be used to bring out subtle details, help control a vocalist with bad mic technique, limit distortion from loud transients, and force more consistent levels, making it easier to mix. Compression can also increase the average level of a track, effectively making it sound louder. Compression is a main reason why we hear modern music the way we do. Today's sound simply would not be what it is without compression. By the time you hear a song on the radio It's been hit in the mouth with a compressor around 4 - 5 times.
BASIC CONTROLS
There are a butt load of different types of compressors all with their own features and functions, but most compressors have a few similar basic controls: threshold, ratio, attack, and release. Less is more. Especially in the Audio realm. Having more control over your signal is good but not at the expense of time. You dont want to waste your precious time dicking with a million features on the latest and greatest piece of gear you bought because you want to be a tech nerd. Odds are.... the bullshit you're working on isn't that intricate and doesn't demand it.
In a way, a compressor is as auto volume adjustment. The compressor works by making the loud passages quieter and the quiet passages louder ("compressing" the dynamic range, so the variation from quietest to loudest is decreased). The threshold controls how loud the signal has to be before its volume is reduced. It's the point or volume level at which the compressors effects will kick in. Thus, setting the threshold high means that less compression will occur, because less of the signal will exceed the threshold to activate the compressor. That being said, a low threshold means that the compressor will do more, because more of the signal will exceed the threshold.
When the signal goes above the threshold, the gain of the signal is reduced by an amount controlled by the ratio control. For example, with the ratio set at 2:1, an increase in input of 2 dB above the threshold will result in an increase in the output of only 1 dB. Higher ratios yield more compression, but only to signals that pass above the threshold. Your results will vary, depending on what kind of compressor you are using. Some digital compressor plugins can make your track sound like C3P0's cock singing underwater. Always pay attention to what you hear as opposed to what you are looking at.
The attack and release controls work together with the threshold control to determine when compression will begin and end. If the signal is above the threshold for less time than the attack setting, then little or no compression occurs. Once compression is activated, it stays on for a length of time determined by the release control. So by setting a long (slow) attack, you can let through the first part of a loud sound. This is particularly useful because almost every note played on an instrument contains a little burst of energy, called the "initial transient". By setting the attack long enough to let the initial transients through, you can prevent the compressor from squashing the life out of the recording. So if your compressed tracks sound lifeless, try a longer attack setting. On the other hand, setting the attack too long can squash your track and make it sound like the compressor kicked on and didn't shut off.
Most of the time you will be using compression to reduce the dynamic range of your signal, which means that you will be reducing the difference between the loud sections and the quiet sections. Compression, therefore, can increase the average volume of the track without increasing the maximum volume. It sets a ceiling while raising the floor so to speak.
TWEAKING FOR DUMMIES
Let's start with reducing dynamics. Of course, every unit and every track is different, but I generally start by setting the ratio low, around 1.5:1, the threshold high, and both the attack and release somewhere in the middle. I then bring the threshold down until I can hear that the compressor is reducing the signal. From there, I usually tweak the controls little by little until I'm golden. For hip hop vocals I usually set my attack very low from the original settings. I like my compression to ebb and flow with the tempo of the lyrics.
Attack and release times should generally correspond to the speed of the instrument. For example, bass tracks should normally use slow attack and release times while drum tracks usually sound best with fast times. When adding compression to a mix, rather than an individual track, I generally recommend fast attack and release times, though other engineers will insist that you use slow attack and release times. Usually most agree that it's best to keep the ratio low: too much compression on a mix will squash your mix like a fat kid on a twinky.
*always remember that too much compression will mess up the logarithms of the mix's equalization. thus altering the EQ of your mix.
OTHER USES (the rest of this was taken from an unknown source online)
Besides reducing dynamics, compression has a pile of uses, and sometimes a reduction in dynamics may be motivated by something in particular, such as a poor performance or an uneven mix. Some of the tricks of compression involve the use of the compressor's side-chain, which is a special signal path that is only used for controlling the compressor. For example, if you put a high-pass EQ on the side-chain, the compressor would become more sensitive to high-frequency content than low-frequency content, and work harder to reduce the signal whenever the signal had a lot of high-frequency content.
Compensating for a Poor Performance: Compression can often be used to overcome weaknesses of the performer. For example, experienced singers move away from the mike when they sing loudly and towards the mike when they sing softly. Less experienced singers generally don't do this at all or, even worse, do the opposite. Even with an experienced singer, it can be desirable to get that "close-miked" sound even during the loud passages. Other instruments suffer, too: it can take years of experience to play evenly and with carefully controlled dynamics. Sometimes even great musicians will do a great take with bad dynamics. In all these cases, compression is essential because the dynamic range of the performance is wider than it should be and compression can bring it back into the correct range.
De-essing: A compressor forms the basis for another effect called a de-esser. A de-esser is used for reducing the so-called sibilant sounds of vocalists, such as "s", "th", and "f", which often have highly exaggerated high-frequency response in recordings. The best thing is always to try getting rid of as much sibilance as possible by using appropriate mike technique, but since this isn't always possible, most engineers like to have a de-esser handy. Note that you can create your own de-esser by using an EQ with a compressor. See the Compressor description for details on doing this in XO Wave.
Ducking: Ducking is a little different from compression: instead of reducing the gain based on the volume of the signal going through it, a ducker reduces the gain based on another signal. For example, you could use ducking in a podcast to reduce the volume of music when someone is speaking. Note that in XO Wave, Ducking is done with the special Envelope Generator effect instead of a compressor.
Compressing a Whole Mix: Compressing a mix is different from compressing a single track because every instrument gets compressed the same amount. In practice, this often means that the bass instruments cause the whole mix to get over-compressed, which makes it sound like the bass instruments are "punching out" the other instruments. Many compressors, including XO Wave's, offer compensation for this. If not, you can compensate by using the compressor's side-chain feature with an EQ.
Compression As a Special Effect: Sometimes compression just sounds cool and that's all there is to it. A lot of hip-hop samples, for example, are heavily compressed. It often sounds good because tiny details suddenly become prominent, while the loud sections are still under control. Compression can also soften the edges of distortion, and enhance performance nuances.
Compression to Increase Dynamic Range: After all this talk of reducing and controlling dynamic range, it may seem strange that compression can also be used to increase dynamic range, but it can be a great tool for this as well. Often a track, such as a snare drum, may sound great by itself, but may have a hard time competing with other instruments in the mix. To help it cut through, you can add a little compression with a relatively long attack time. This reduces the volume of most of the snare drum sound, but keeps the initial transient loud. This short burst of sound is often all a snare drum or other percussion instrument needs to sound great in the mix. Depending on your gain setting, this technique can do two things: it can increase the volume of the transient, helping the track to stand out, or it can reduce the volume of the rest of the note, which may help un-clutter a dense mix.
Today's first article is all about compression in the mix. So all you dudes out there just getting your feet wet in the home recording scene, this ones for you.
WHY YOU NEED COMPRESSION
Adding and using Compression is one of the most important processes in a recording or mix. It is vital and absolutely necessary. Basically, if you have recorded your tracks with no compression, and are attempting to mix further (also without compression)... you should be kicked in the dick meat. The dynamics of your recorded signal demand the control of compression. For example in your rhythmic hip hop vocals, some words are going to be louder and more accented than others, and will sometimes clip or red line. This is because you're an idiot. And have poor vocal technique. And quite possibly are using a cum sock for a pop screen. Im kidding. let's get serious for a minute though...
Compression reduces the volume of loud signal and increases the volume of quiet signal. This can be used to bring out subtle details, help control a vocalist with bad mic technique, limit distortion from loud transients, and force more consistent levels, making it easier to mix. Compression can also increase the average level of a track, effectively making it sound louder. Compression is a main reason why we hear modern music the way we do. Today's sound simply would not be what it is without compression. By the time you hear a song on the radio It's been hit in the mouth with a compressor around 4 - 5 times.
BASIC CONTROLS
There are a butt load of different types of compressors all with their own features and functions, but most compressors have a few similar basic controls: threshold, ratio, attack, and release. Less is more. Especially in the Audio realm. Having more control over your signal is good but not at the expense of time. You dont want to waste your precious time dicking with a million features on the latest and greatest piece of gear you bought because you want to be a tech nerd. Odds are.... the bullshit you're working on isn't that intricate and doesn't demand it.
In a way, a compressor is as auto volume adjustment. The compressor works by making the loud passages quieter and the quiet passages louder ("compressing" the dynamic range, so the variation from quietest to loudest is decreased). The threshold controls how loud the signal has to be before its volume is reduced. It's the point or volume level at which the compressors effects will kick in. Thus, setting the threshold high means that less compression will occur, because less of the signal will exceed the threshold to activate the compressor. That being said, a low threshold means that the compressor will do more, because more of the signal will exceed the threshold.
When the signal goes above the threshold, the gain of the signal is reduced by an amount controlled by the ratio control. For example, with the ratio set at 2:1, an increase in input of 2 dB above the threshold will result in an increase in the output of only 1 dB. Higher ratios yield more compression, but only to signals that pass above the threshold. Your results will vary, depending on what kind of compressor you are using. Some digital compressor plugins can make your track sound like C3P0's cock singing underwater. Always pay attention to what you hear as opposed to what you are looking at.
The attack and release controls work together with the threshold control to determine when compression will begin and end. If the signal is above the threshold for less time than the attack setting, then little or no compression occurs. Once compression is activated, it stays on for a length of time determined by the release control. So by setting a long (slow) attack, you can let through the first part of a loud sound. This is particularly useful because almost every note played on an instrument contains a little burst of energy, called the "initial transient". By setting the attack long enough to let the initial transients through, you can prevent the compressor from squashing the life out of the recording. So if your compressed tracks sound lifeless, try a longer attack setting. On the other hand, setting the attack too long can squash your track and make it sound like the compressor kicked on and didn't shut off.
Most of the time you will be using compression to reduce the dynamic range of your signal, which means that you will be reducing the difference between the loud sections and the quiet sections. Compression, therefore, can increase the average volume of the track without increasing the maximum volume. It sets a ceiling while raising the floor so to speak.
TWEAKING FOR DUMMIES
Let's start with reducing dynamics. Of course, every unit and every track is different, but I generally start by setting the ratio low, around 1.5:1, the threshold high, and both the attack and release somewhere in the middle. I then bring the threshold down until I can hear that the compressor is reducing the signal. From there, I usually tweak the controls little by little until I'm golden. For hip hop vocals I usually set my attack very low from the original settings. I like my compression to ebb and flow with the tempo of the lyrics.
Attack and release times should generally correspond to the speed of the instrument. For example, bass tracks should normally use slow attack and release times while drum tracks usually sound best with fast times. When adding compression to a mix, rather than an individual track, I generally recommend fast attack and release times, though other engineers will insist that you use slow attack and release times. Usually most agree that it's best to keep the ratio low: too much compression on a mix will squash your mix like a fat kid on a twinky.
*always remember that too much compression will mess up the logarithms of the mix's equalization. thus altering the EQ of your mix.
OTHER USES (the rest of this was taken from an unknown source online)
Besides reducing dynamics, compression has a pile of uses, and sometimes a reduction in dynamics may be motivated by something in particular, such as a poor performance or an uneven mix. Some of the tricks of compression involve the use of the compressor's side-chain, which is a special signal path that is only used for controlling the compressor. For example, if you put a high-pass EQ on the side-chain, the compressor would become more sensitive to high-frequency content than low-frequency content, and work harder to reduce the signal whenever the signal had a lot of high-frequency content.
Compensating for a Poor Performance: Compression can often be used to overcome weaknesses of the performer. For example, experienced singers move away from the mike when they sing loudly and towards the mike when they sing softly. Less experienced singers generally don't do this at all or, even worse, do the opposite. Even with an experienced singer, it can be desirable to get that "close-miked" sound even during the loud passages. Other instruments suffer, too: it can take years of experience to play evenly and with carefully controlled dynamics. Sometimes even great musicians will do a great take with bad dynamics. In all these cases, compression is essential because the dynamic range of the performance is wider than it should be and compression can bring it back into the correct range.
De-essing: A compressor forms the basis for another effect called a de-esser. A de-esser is used for reducing the so-called sibilant sounds of vocalists, such as "s", "th", and "f", which often have highly exaggerated high-frequency response in recordings. The best thing is always to try getting rid of as much sibilance as possible by using appropriate mike technique, but since this isn't always possible, most engineers like to have a de-esser handy. Note that you can create your own de-esser by using an EQ with a compressor. See the Compressor description for details on doing this in XO Wave.
Ducking: Ducking is a little different from compression: instead of reducing the gain based on the volume of the signal going through it, a ducker reduces the gain based on another signal. For example, you could use ducking in a podcast to reduce the volume of music when someone is speaking. Note that in XO Wave, Ducking is done with the special Envelope Generator effect instead of a compressor.
Compressing a Whole Mix: Compressing a mix is different from compressing a single track because every instrument gets compressed the same amount. In practice, this often means that the bass instruments cause the whole mix to get over-compressed, which makes it sound like the bass instruments are "punching out" the other instruments. Many compressors, including XO Wave's, offer compensation for this. If not, you can compensate by using the compressor's side-chain feature with an EQ.
Compression As a Special Effect: Sometimes compression just sounds cool and that's all there is to it. A lot of hip-hop samples, for example, are heavily compressed. It often sounds good because tiny details suddenly become prominent, while the loud sections are still under control. Compression can also soften the edges of distortion, and enhance performance nuances.
Compression to Increase Dynamic Range: After all this talk of reducing and controlling dynamic range, it may seem strange that compression can also be used to increase dynamic range, but it can be a great tool for this as well. Often a track, such as a snare drum, may sound great by itself, but may have a hard time competing with other instruments in the mix. To help it cut through, you can add a little compression with a relatively long attack time. This reduces the volume of most of the snare drum sound, but keeps the initial transient loud. This short burst of sound is often all a snare drum or other percussion instrument needs to sound great in the mix. Depending on your gain setting, this technique can do two things: it can increase the volume of the transient, helping the track to stand out, or it can reduce the volume of the rest of the note, which may help un-clutter a dense mix.
Play That Shit (featuring The J Hexx Project)
Presidents of the Wicked Underground part 2 is now available featuring some of the undergrounds best and brightest artists. Including yours truly. There's a Crossworm joint on there called Play That Shit featuring The J Hexx Project. It's like some dirty old swashbuckling rip your head off kind of song.
the only catch is... Its just a taste and if you want to hear the full version get a hold of me, and I'll tell you how you can pick up your copy of the album. until then.... click on the music page on the left side, let the player load, and enjoy the track !
the only catch is... Its just a taste and if you want to hear the full version get a hold of me, and I'll tell you how you can pick up your copy of the album. until then.... click on the music page on the left side, let the player load, and enjoy the track !
Dark Flow Funk
Everyone who follows this blog better know who Ruthless Records is. Their new flagship artist is a sick emcee/producer named Hopsin. Well Hopsin runs his own label called Funk Volume. FV held a competition where artists could submit a song to one of their beats. The winner got 500 bucks and a chance to be on FV.
A ton of my peers entered this contest and did some really great stuff. But the winner has now been announced and I gotta say congrats to GrewSum representing his label Prone Records. Guy Killed it, and if you don't know who GrewSum is you need to check his shit out. Odds are though if you're a fan of mine, you know who's in this circle of artists.
This is actually a good segue into a point I'd like to make on this early Tuesday morning... There is rumors out there that I am an over rated artist who only cares about his artist friends rather than artists with real talent. lol To clear that up... My artist friends ARE real talent. That's why I'm friends with them, because they share the same work ethic and dedication to their craft.
You see folks, since I took on the roll of Music Director for the biggest wicked underground compilation, "Devilz Nite", I've been thrust into this category of "political hater" mostly by artists who didn't make the cut. I see how it is. Menacide told me this would happen, so I was prepared. But it's always a shock to see myself be called "over rated" because of it.
Let me break it down further for the mind of a hater thinking this stuff. Look... if you constantly read everything I post as well as the positive feedback, or you're worrying about what I'm doing, instead of working on YOUR shit.... then you're over rating me in your mind. I'm all you see and it burns your asshole.
Stay off my penis. There isn't room for you on it. What you need to do is take a look at how many people are following this blog on the left side. And maybe look at the number of fans I have on myspace or facebook. or even on my youtube.
there now....... feel better? Fuck off accordingly.
To everyone else. You guys are the shit. Get your friends into some Crossoworm. They will thank you later!
A ton of my peers entered this contest and did some really great stuff. But the winner has now been announced and I gotta say congrats to GrewSum representing his label Prone Records. Guy Killed it, and if you don't know who GrewSum is you need to check his shit out. Odds are though if you're a fan of mine, you know who's in this circle of artists.
This is actually a good segue into a point I'd like to make on this early Tuesday morning... There is rumors out there that I am an over rated artist who only cares about his artist friends rather than artists with real talent. lol To clear that up... My artist friends ARE real talent. That's why I'm friends with them, because they share the same work ethic and dedication to their craft.
You see folks, since I took on the roll of Music Director for the biggest wicked underground compilation, "Devilz Nite", I've been thrust into this category of "political hater" mostly by artists who didn't make the cut. I see how it is. Menacide told me this would happen, so I was prepared. But it's always a shock to see myself be called "over rated" because of it.
Let me break it down further for the mind of a hater thinking this stuff. Look... if you constantly read everything I post as well as the positive feedback, or you're worrying about what I'm doing, instead of working on YOUR shit.... then you're over rating me in your mind. I'm all you see and it burns your asshole.
Stay off my penis. There isn't room for you on it. What you need to do is take a look at how many people are following this blog on the left side. And maybe look at the number of fans I have on myspace or facebook. or even on my youtube.
there now....... feel better? Fuck off accordingly.
To everyone else. You guys are the shit. Get your friends into some Crossoworm. They will thank you later!
Sunday, May 2, 2010
Seasonal Reasonings
For some reason I am already doing a lot of thinking about Devilz Nite. I'm currently working on an official website. It seems like it's long over due. I want Devilz Nite to have an official home that isn't governed by a forum or whatever kind of trendy social media is popular at the time. So I'm already designing some stuff for that.
As per usual, I'll be posting up the news about it at the forums like HC, KM, and the brand new http://www.wickedunderground.com aka WU. So Far I'm really into the new WU because it's focus is to be very content driven rather than just a forum, kind of like what Underground Nation does. WU has given Devilz Nite its own sub forum and made me a moderator there.
For some reason my account at HC is either banned or frozen. I'll get a hold of Tony (aka Klown) around August when submissions start, and get that taken care of. Devilz Nite has always been very celebrated at HC and I'm sure the guy has no idea his mods are getting crazy lately. Fear not... Devilz Nite is not anchored to any site. It will happen regardless.
J Hexx has his own internet radio show he's been working on, and has asked me to do an in-depth phone interview. I'll be sure to give everyone a heads up when that happens. I'm looking forward to doing my first real interview. All of mine have been text/email/aim interviews, so this will be cool.
As per usual, I'll be posting up the news about it at the forums like HC, KM, and the brand new http://www.wickedunderground.com aka WU. So Far I'm really into the new WU because it's focus is to be very content driven rather than just a forum, kind of like what Underground Nation does. WU has given Devilz Nite its own sub forum and made me a moderator there.
For some reason my account at HC is either banned or frozen. I'll get a hold of Tony (aka Klown) around August when submissions start, and get that taken care of. Devilz Nite has always been very celebrated at HC and I'm sure the guy has no idea his mods are getting crazy lately. Fear not... Devilz Nite is not anchored to any site. It will happen regardless.
J Hexx has his own internet radio show he's been working on, and has asked me to do an in-depth phone interview. I'll be sure to give everyone a heads up when that happens. I'm looking forward to doing my first real interview. All of mine have been text/email/aim interviews, so this will be cool.
Composing vs. Decomposing
Greets friends ! a lot has been happening in 2010 and I cant believe its almost half way through already. I feel like I should have had my new record long finished by now, but there is definitely a good reason why it is not.
My primary project for a long time has actually been my band, "Demerol". Imagine Alternative Rock / Punk but with the gritty sound of Crossworm beats performed live. That's us. For 5 years I have been the drummer / producer and we have been piecing this band together slowly with much care and attention. We are actually based in Los Angeles and the rest of us are in the process of heading out there, where the singer already lives and works.
We are currently finishing our debut album, professionally recorded in Hollywood. The first half of the album was recorded at Morning View Studios in Malibu, the same place where artists such as Incubus and The Black Eyed Peas have recorded, just to name a couple. It's a surreal experience with Demerol, and we are afforded many opportunities that most bands will never in their life achieve. Most of this comes from the hard work, and networking done by myself and especially by the singer, Lukas D who is now an executive in the touring industry with Live Nation / House Of Blues at their branch on Hollywood Blvd. It's really something that we all take very seriously, and are proud of.
Lukas D is the guy who graced Mouth Full of Dirt with his guitar work on tracks like, "Newvolution", "Eyes of the Looking Glass", and my UGH13 single, "Save My Soul".
Basically, I have been back and forth between Hollywood, and Grand Rapids all year. I'm headed back there next week to hopefully finish this Demerol album and begin the next phase of our career which includes a ton of rehearsing, album shopping, and showcasing.
Where does my new solo album Gut Rott fit in? Well as soon as the Demerol record is sent to be mastered I can focus on Gut Rott and hopefully it will see a late 2010 release.
But I can guarantee that if there is Crossworm fans out there that dig other genres of music like Alternative or punk, you'll definitely love what Demerol does. Stay tuned. there is always something in the works.
My primary project for a long time has actually been my band, "Demerol". Imagine Alternative Rock / Punk but with the gritty sound of Crossworm beats performed live. That's us. For 5 years I have been the drummer / producer and we have been piecing this band together slowly with much care and attention. We are actually based in Los Angeles and the rest of us are in the process of heading out there, where the singer already lives and works.
We are currently finishing our debut album, professionally recorded in Hollywood. The first half of the album was recorded at Morning View Studios in Malibu, the same place where artists such as Incubus and The Black Eyed Peas have recorded, just to name a couple. It's a surreal experience with Demerol, and we are afforded many opportunities that most bands will never in their life achieve. Most of this comes from the hard work, and networking done by myself and especially by the singer, Lukas D who is now an executive in the touring industry with Live Nation / House Of Blues at their branch on Hollywood Blvd. It's really something that we all take very seriously, and are proud of.
Lukas D is the guy who graced Mouth Full of Dirt with his guitar work on tracks like, "Newvolution", "Eyes of the Looking Glass", and my UGH13 single, "Save My Soul".
Basically, I have been back and forth between Hollywood, and Grand Rapids all year. I'm headed back there next week to hopefully finish this Demerol album and begin the next phase of our career which includes a ton of rehearsing, album shopping, and showcasing.
Where does my new solo album Gut Rott fit in? Well as soon as the Demerol record is sent to be mastered I can focus on Gut Rott and hopefully it will see a late 2010 release.
But I can guarantee that if there is Crossworm fans out there that dig other genres of music like Alternative or punk, you'll definitely love what Demerol does. Stay tuned. there is always something in the works.
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