Peace & Stress

Collection Contents

#		Title	Length
1		Study Better Sober	13:26	Play
2		Transpacific	12:01	Play
3		Caffiene	8:30	Play
4		Smash Rebels	12:48	Play

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Description	Amount
Bitmunk Marketplace Service	USD $0.88
CD Baby Artist Royalty	USD $5.37
CD Baby 9% Digital Distribution Cost	USD $0.49
Bitmunk Download Service	USD $0.63
Bitmunk MicroPayment Service	USD $0.01
Total	USD $7.35

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Description

According to the Hapahaus website, ASL features "broad soundscapes, deep bass, and beats of varying severities." Furthermore, the site propounds that ASL's "richness... lies mainly with the texture of the sounds. This music conjures neither feelings of joy or pain, but rather a meditative clarity and focus. For enthusiasts of ambient, abstract minimal drum n bass, 'leftfield,' and accessible noise."

Perhaps this is true, but i've never been good at selling myself. I will say that ASL's philosophy is that timbre is the soul of any sound, and that therefore, sound design should be put first. Whenever possible, make your own instruments.

Voidcore intends to coerce the listener into a state of meditation. With its alternately sweet and grating instrumental timbres it intends to guide the listener into a state of immersive but realistic thought, taking into account both the bitter grit and the sugary icing of the world simultaneously and with equal temperment.

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The amateur sonic laboratory is the musical outlet of Peter Wong, from the jumbled shallows of whose mind come the filtered results of the inputs of the modern urban commercial world into which he was born. Voidcore is an expression of the human tendency to form meaningful patterns wherever possible, no matter how dire the straits.

The laboratory began under the name [anleth] in 1996 after a poorly executed linguistics experiment sparked an interest in sound editing. If it was that much fun to cut the l's and n's off the fronts of syllables, how much fun would a guitar be? My first pieces were done solely in a wave editor, without the space and time saving benefits of a sequencing program. Each piece was upwards of 200MB and required an all-night edit binge to complete. After technological limitations began to abate somewhat, and I moved from post-production style arrangement toward live recording of the pieces (by playing loops and mixing directly to tape and later MD), each new piece tended to be at least 20 minutes. Every acquisition of a new piece of software sparked a new creative leap, but the largest occurred after graduating from college. I returned to community college to study music recording, and from that point there was no turning back. Possibilities were limitless. I began to read the writings of john cage, an amazing individual who helped me to see new paths to tread even 10 years after his death. My editing style is once again non-realtime, but I plan to move back to realtime mixing for live performance.