Music: Blog

I tested OpenMusic to generate a dramatic confession-style backing track for a theatre project, a reality TV take on Antony and Cleopatra. Beyond the usual prompt-based generation, it has stem splitting and MIDI tools that are actually useful for music production.

Today I am 45, so I am releasing music for the first time in about 15 years. A look at my musical journey and the new EP I am releasing.

macOS has always lacked a built-in way to route and mix audio on a per-application basis. Windows users have had per-app volume control for years, but on macOS, you need third-party tools to get anything close. I had been using a combination of SoundDesk, the Stream Deck MIDI plugin, and a Stream Deck plus with dials to solve this. The setup worked, but configuring it was fiddly. Then Elgato released Wave Link 3, and everything changed.

I used to be a full time guitar player, and more recently I've been experimenting with electronic drums, MIDI devices, and DAWs. Converting an analogue instrument I'm used to playing into MIDI signals has always interested me, so I tried the Fishman TriplePlay Express, a relatively affordable MIDI guitar pickup, to see how it holds up.

A few years ago I detailed the hardware and software I use for producing my podcasts and videos. Since then, I have changed a lot, so it seemed a good time to revisit.

I have a past life in music. In the late 1990s, I produced one of the first online fanzines and wrote for several street press magazines in London and Melbourne. In the middle of that, I also played in bands in the UK and Australia, playing guitar and, latterly, drums. And then I stopped. My musical creative spark had run out. Fast forward to about 2021, and it returned, primarily due to relearning the instruments I had always played by “feeling” in the past. Actively learning instruments and production techniques familiar to me properly opened my musical mind again, and I am slowly producing music I always wanted to make in the past before joining rock bands.

I’ve been running podcasts for years, and while I worked on some video courses in the past, over the past year I have invested more time in my audio and video setup, primarily for live-streaming. After months and months of getting It to a point where I am “kind of” happy with it, I thought it was high time I documented it. Partly so others can learn from my setup, and partly so I can keep tabs on it myself.

If you are a dev and an artist, you might be interested to know there's an AI that could help you with your musician's block.

Podcasting is undergoing a renaissance with listeners consuming on-demand shows at unprecedented levels, and creators enjoying surprising levels of success with their work. One thing that sets apart the amateurs from the professionals is good content, but the other is production values. Here are some of the things I’ve learned, along with recommendations on the hardware, software and techniques to get you started podcasting using your Mac.

It's been quite a week (month, year) for celebrity death and I'm certainly not going to be the first or last to talk about the subject this week. I am going to mostly talk about Bowie, because I was a bigger fan of his work than say, Alan Rickman, but also for other reasons I will come to. Whilst we're here I should also briefly mention the death of John Bradbury, drummer with The Specials. He actually died on December 28th of 2015 and wasn't part of the new 69 club, but was 62\.

Not a post I would usually share, but it seemed the easiest way of getting everything in one place. A bunch of stuff that might appeal to musicians, technical people etc etc…

'Concept albums' generally raise the heckles of most rock music reviewers, and an album that contains an 'artistic statement' emblazoned on it's inside front cover in two different languages even more so. It seems that Ember Swift travelled to China in 2007 and felt an unnerving feeling of having been there before, of deja vu and of an unusual one-ness and comfortable familiarity, thus creating the urge and need to write an album about her experiences.

The Thornbury Theatre is one of a growing number of old community centres and theatres around Melbourne that are being turned over from their traditional purpose into the hands of the youth to do what they will with, usually using their opulent interiors to host events that the original attendees would probably greatly object to.

A lot is being said about the Diamond Sea around Melbourne and a lot is being whispered about them in front of the stage tonight. What's wrong with them? Is it the bad and overly loud mix, their seeming lack of acknowledgement of the audience or something else that is reducing their usually sparkling and lively show into a rather dull and listless experience with every song melding into the next with very little dynamics.

Some of the best musical dynamics are created by three-pieces, anyone with half an ounce of musical talent can add sound to the silences with a lot of overdriven noise. Creating a full and interesting sound with the amount of instruments a three piece can potentially play, now that's a real challenge, especially when you stick to pretty much one guitar sound and use overdubs sparingly.It's a talent that a lot of bands from Brisbane seem to possess and have formed into a sound that 'I heart Hiroshima' were one of the first to perfect and popularise in recent times, so it's refreshing to see and hear that several years, one album and extensive touring later, they're still doing it exceedingly well. 'The Rip' is their second album, clocking in at just under 45 minutes, it's a concise, snappy and 'agitated', a wonderfully descriptive description of the album taken from their own press release (a rarity indeed) that sums up the up-and-down dynamics of the songs, like a complex cocktail with many subtle undercurrents that needs a good 'agitating' before serving. A well planned and arranged blend of precise percussion that forms the core of what gives 'I Heart Hiroshima' their sparkling dynamic, no straight and simple rock beats plodding along for three minutes. Layered on top are chugging fuzzy rhythm guitars, chiming, almost keyboard like lead guitars, alternated lead vocal duties, each band member adding their own personality to each track and any vocalist who can make 'yup' contain (seemingly) so much frustrated meaning in 'Got Out' deserves special mention. 'The Rip' is not-so-much beautifully, but appropriately produced in glorious lo-fi by none other than Andy Gill (formerly Gang of Four) who were one of the principal bands to hone this sparse, stripped back genre of music the first time around, so an almost ideal pairing of past and present to create an almost flawless alternative-pop record.

Live albums are always a dangerous affair, many will question releasing one at all, why not a proper studio album, is it a stop gap, a lack of interest or commitment from band or label? Quite often it's more because live albums simply don't sound very good, the quality is shoddy, the playing lax and the whole atmosphere is lost when listening on your home stereo. Fortunately for a hardcore-punk / Metal-ish band like Mammal with an infamously high quality live show, they're usually so damn tight and technically skilled that at least two of the concerns voiced are met, the sound quality is better than some studio based recordings, whoever captured the performance deserves congratulations. The audience sounds large-ish and seems to be enjoying themselves, screaming between and during songs, however some of the inter song introductions from front man Ezekiel Ox should have possibly been left out, being cringely cheesy in places, e.g. 'Sometimes you look around yourself and all is not to your liking, Mammal does this toî, said in a strong Australian accent loses some of it's bite when heard on record, that live, in the midst of a sweaty, raucous show would have been an awesome call to arms.The album also comes with a live DVD which, whilst the technical quality of the video doesn't match the quality of the live audio, goes some way to improving the atmosphere, actually seeing limbs flailing around on and off stage giving a little more atmosphere, though a lingering taste of cheese does unfortunately still hang slightly in the air, which is often a potential problem with a band that takes themselves seriously, it may not always come off that way post event.As a release, 'Vol2 Systematic / Automatic' is a gamble, will it connect with their fan base as the band's press realise so confidently claims? Are fans willing to buy something that they attended anyway, or will they consider it a somewhat flagrant attempt to make money out of them? Mammal like breaking rules, doing things their own way and taking a chance, so from their perspective, it will be a gamble worth taking.

Somewhere along the way in the past few years of his rapid rise, Jamie T has transformed from a charming cheeky London chappy playing anywhere that would take him with only his trusty acoustic bass as company into a cockier (but still fairly charming) world travelling, eternally casual superstar. His past awkward and apologetic inter song banter replaced with the trusty How are you doing insert town name? and I'm going to need help on the next one, you guys ready?.His wordy chatty, monologue, cockney, dylanesque songs are now packed out by a full and loud band that look like they were found ablimg South London streets, the key and complex lyrics sometimes getting somewhat lost in the noise. His newer material which is less original but more suited to a band follows a current trend in British music, attempting to make every song a jagged youth anthem.

'Does it Offend you, yeah?' lively blend of electro Indie rock bombards Billboard and the tightly packed boisterous Wednesday night crowd, not letting up for one minute or allowing a second of breathing space for the crowd or the band.

Someone once said that the reason Melbourne produces so many dark, melancholic and moody bands is due to being 'stranded in a paradise at the end of the Earth, isolated from the rest of the world'. Which is possibly why so many musicians, the Spoils included, run off to seek fame and fortune elsewhere, but does gallivanting off in far-flung shores, acquiring fame and fortune change their music at all?The musicians, and they are real and proper skilful musicians capable of playing just about anything and making it seem astonishingly simple, that make up the Spoils are as varied and diverse as their audience, young, old(er), dressed like 19th Century gentlemen, dressed like American cowboys (and looking a little like Earl Hickey) and a little of everything in between. The Toff is a perfect venue for tonight's show, the venue is quiet, not empty, but full of an appreciative and attentative audience, the high-fidelity sound system installed allowing everyone to concentrate on all the nuances, subtleties and weaving melodies in the music. During the faster and more abrasive songs, the crowd begins to move and sway, but generally they are relaxed, leaning, crouching or seated, eyes fixed firmly forward, taking it all in and enjoying the skills and talents of the band to construct such absorbing melodies and rhythms.Tonight's show is a mixture of celebration and commiserations; it is the launch of their third album ('The Crook, the cloak and the maiden'), the final show with their saxophonist and two weeks before the band depart for another lengthy European jaunt, including their seemingly second home of France.<br>A band like the Spoils are an epitome of Melbourne (and Australian) bands, astounding musicians, hard working, professional, productive and full of universal appeal unyet in their home town they are playing a venue the size of the Toff (i.e. small) and have to constantly embark on lengthy and expensive tours to amass any kind of fan base or money. Bearing that in mind, looks like the melancholic, downbeat music of frustrated Melbourne musicians sunning themselves in the glorious summer heat wont be changing any time soon.

What's going on in Sydney? Are there copious amounts of young men mating with drum machines, synthesizers and 80's dropouts? The city seems to be spawning a lot of electro bands recently that generally favour epic, fantastical sounding names and presentation.

Unless listless inmates around the world have been ganging together and forming bands, 'Convict-Core' could only really come from Australia and it would be safe to assume that it would sound like something of a mish-mash of the influences upon Australia's history. With these assumptions in hand The Currency's mix of high octane Celtic folk blended with Anglo Punk will come as no surprise. The Currency's live shows are legendary, it takes very little time for crowds to be pulled into the melodic maelstrom, grabbing friends and strangers and pulling them into a frenzied mosh pit of flailing limbs and hair, booze flowing freely in all directions. Whilst this debut album lacks the pure energy of the band's awesome live shows, the inter-twinning battling flutes, fiddles, mandolins and a plethora of other instruments will cause embarrassing toe-tapping, head jiggling and humming on public transport or at your workplace. The energy of the music aside, the stories contained within the songs are enticing and compelling, whilst there may not always be a conventional narrative, you pay attention to and follow the lyrics. By sticking to edgier themes of Australian life such as drought, workers rights, colonialism, the struggles of a young nation and tales of woe and regret The Currency manage to inject just enough 'Australiana' into their lyrics without sounding cringworthy or potentially alienating a global audience, maintaining an edgy, dangerous, dark and brooding brand of folk music to drown your sorrows to with beer, whisky and dancing until the early hours of the morning. Don't buy one copy, buy several and send one to anyone you know overseas and hopefully we'll inform the rest of the world that we're not just a nation of bleached-blonde surfers.

Bones are an archetypal Melbourne band, all skinny men, tight trousers, cool looking guitars and discordant noise. There's dozens of them out there pounding the boards at Inner city venues night in and night out, but Bones posses a little extra 'Je ne sais quoi' to raise them above the rest of the throng. In amongst the messy noise and jagged edges are some amazing harmonies and crazy off beat guitar riffs that are so surprising they make you sit up, take notice and even start to smile.Damn Terrain are a man down, their bass player 'sucksî (according to the band's singer and guitarist) and despite their best efforts it notices. Both remaining members are putting in 110% to fill in the gaps but it still doesn't quite grab the crowd who begin drifting out to smoke and hang around the Tote's (now saved!) jukebox.There's something about bands from Western Australia, whether due to geographical frustrations or the lack of anything better to do, WA bands are typically extremely proficient, tight, professional and possess amazing stage presences, Will Stoker and the Embers do nothing to dispel this stereotype. The band have a strange dynamic, Will Stoker looking like a cross between Jeff Buckley and David Boreanaz but with crazier hair, eccentrically dressed he is the classic image of an Art school student. The rest of the band however are all out hard rockers through and through, long hair, amp stacks, black clothes and lumberjack shirts. You can imagine the band starting out, meeting this enigmatic front man and all saying, 'he's crazy but it might just work'. The gamble was a good one because Will Stoker & the Embers are an extremely unique act, the combination of hard rock and eccentricity creating an awesome and entrancing bravado as Will flings himself around the venue through a sequence of bizarre dance moves, leg wobbling and posing, backed by a band as solid and loud as they come. The crowd is mesmerised, they barely move, captivated by the spectacle before them, a show possessing quality that usually has come a long way.

Grafton Primary possesses an eclectic fan base, drawing in an increasing amount of musical sub genres, uniting them for fleeting moments in one room. Taking up centre ground are the chattering fashionistas, eyeing each other up and comparing clothing brands. Bang in front of the stage are an unruly bunch of mainstream-esque dance fans, jostling for space, hassling photographers and generally annoying most around them. Hanging around at the back are groups of lesbian punks and lurking in dark corners are gaggles of old school 80's Goths, the breadth and contradictory nature of the bands fan base also sums up the band and their music. An equally strange combination of retro electro, dark layered moods and modern rhythmic aggression is executed with flawless precision, perfectly suiting our era's obsession of regurgitating the past into gleaned pastiches.

I'm old enough to remember the great laments aired when vinyl started to die it's still ensuing slow death, how would musicians and their artists still be able to shrink their exquisite works of art down from a whopping 12" to XX CD inlays. Well, unsurprisingly they coped, they managed, they learnt new tricks and still created a mixed bag of wondrous masterpieces and piles of crap. There have been some classic Album covers that I feel wouldn't have even worked on vinyl. Radioheads' 'OK Computer' is one example, pop out the CD holder and you find a wealth of extra art lurking beneath the surface. Not forgetting cardboard covers, flexipacks and a wealth of DIY efforts that were far simplified by the smaller size of a CD. CD bodies themselves also offer an extra surface for artwork that previously never existed, not to mention those more adventurous musicians who add bonus material through the extended CD format.

I finally got my fist experience(s) of Australian festivals this summer, albeit a gentle one-day only festival introduction and I hate to say I wasn't greatly impressed.

Michael Franti appears to be something of an institution in Australia, possessing a modicum of popularity in most of the world but verging on something else on our far flung shores, acting like a shaman and appointed leader for the current or reformed hippies, crusties and ferrals. It takes a rare talent and presence to grasp the crowd in the palm of your hand and inspire them into singing along with every word you utter, to have them clapping and dancing to every beat from the opening notes and first word of your first song, and appropriately, that first word was 'hello' in several languages. To then keep the vast majority of the crowd hanging on to every word you say, responding to every local reference, dancing and screaming on demand and spontaneously for the entire set in some kind of cult-like fervor with hidden subconscious messages flowing through the crowd is an even larger achievement, Michael Franti manages it with the greatest of ease and this is only an acoustic set!The set is bursting with simple and effective songs about peace, love and understanding, covering politics, community and harmony, no-one is left out, every race and subculture is mentioned for good measure in Franti's rapid fire lyrics, perfect topics for a full-to-the-brim venue on the seaside with the evening feeling a little like a holiday camp with Michael Franti as chief red coat leading proceedings.Some would accuse Michael Franti of verging on the cheesy side and of producing the occasional cringe on the more discerning music fan's face. Cast your aspersions and cynicisms aside, for a performer who produces such warm fuzzy feel good feelings, for a performer that creates music that makes everyone feel good and leave their problems aside, Michael Franti can't be faulted.

For a band with a career that has spanned nearly 30 years, The Stranglers look in remarkably good shape. Despite the drugs, the changes in musical direction, losing their original singer, losing their original singer's replacement, the good albums and the frankly abysmal albums, the band are still standing strong with some of their original line up and a back catalogue full of catchy and familiar songs. Most importantly, the band looks damn good on stage, resplendent in uniform black. Bassist JJ Burnell is built like a tank, the veins on his neck showing above a tight muscle hugging t-shirt as he pumps out his familiar 'barracuda bass' sound. 'New' recruit Baz Warne on guitar and vocals provides more than enough spit and bile necessary to deliver the songs of the Stranglers, whilst, cool as ever, Dave Greenfield delivers some of the most memorable and recognisable keyboard lines from the 70's and 80's one handed as he sups his way through the contents of a personal bar. Most notably, The Stranglers stage show is so un-complicated for a band of their size, no road crew constantly adjusting things, no constant swapping of guitars, no fathing about, just tune after tune delivered with a consistent high energy and professionalism.

The Hives are past masters at staging a rock show, working their way through all of the tricks in 'Rock Live shows for beginners', the vast majority of 'Rock live shows for intermediates' and making fair headway into the advanced volume. Even before the band take to the stage we have subdued red lighting, a vast backdrop and a tremendous amount of 'milking it' as the crowd gets rowdier awaiting the band's emergence.

Friday night gigs need to start earlier to pull in the punters and keep them awake, bar a few overly enthusiastic members of the crowd, most of those hanging around the Northcote Social Club band room are looking like they'd rather be in bed and the support band's job is a tough one to extract any sort of enthusiasm or energy.

Cup eve is a strange night of the year, everyone feels obliged to go out and enjoy themselves but haven't quite got over the weekend yet.<br><br>The Jacks play an uncomplicated rock-a-billy punk crossover and certainly look the part, resplendent in turned up jeans, shirts, t-shirts, low-slung guitars and tattoos aplenty. The music's not complicated, there's no messing around, no confusion over what to expect and an awesome start to the night.<br><br>Assassination Collective take to the stage in their usual shambolic glory, trying to fit 7 members on any stage is hard, nigh on impossible at a venue like Pony. The band compromise by bringing their awesome loud and raucous sound into the audience, the rotating vocalists bounding around the venue shaking everyone out of their holiday lethargy.<br><br>Actor / Model are an odd choice on the bill, their mellower sound sandwiched between several louder and more frantic bands. A couple of songs in the set drag a little, wandering into meandering instrumentals that feel extraneous to what are generally catchy and interesting numbers.<br><br>Shooting at Unarmed Men's gig schedule has been somewhat sporadic and random over the past year, a situation that beautifully summarises the band's music. One of the tightest three-pieces in Melbourne the songs are definitely punchy, catchy and well crafted, but full to the brim of tangents, suddenly flying from one random part to another without notice or prediction, a refreshing change from a sea of predictable bands. The audience tonight are just as unpredictable with some of the most bizarre heckles anyone (including front man John Chaplet who's probably experienced a fair few) has heard in a long time being shouted, screamed, sung and hollered throughout the entire set. Despite this Shooting at Unarmed Men pull off a brilliant set, somewhat enhanced by the situation, airing new songs, playing some old favourites and reminding Melbourne that despite their absence, they are still a musical force to be reckoned with.