1139 lines
66 KiB
Plaintext
1139 lines
66 KiB
Plaintext
BEGIN LINE_NOIZ.24
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I S S U E - @ $ D E C E M B E R 1 8 , 1 9 9 4
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<LiNE NOiZ< >LiNE NOiZ>
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[L]i[N]e [N]o[I]z -- two4
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{ merry christmas }
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CYbERPUNk I N f O R M A t i 0 N E - Z i N E
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<<<<<<<<<<<<<<<<<<<<<<<<<<<<< L I N E N O i Z >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
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I S S U E - @ $ D E C E M B E R 1 8 , 1 9 9 4
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: File !
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: Intro to Issue 24
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: Billy Biggs <ae687@freenet.carleton.ca>
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: File @
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: Interview with Bill Leeb of Front Line Assembly, Delerium, Intermix, etc..
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: Billy Biggs <ae687@freenet.carleton.ca>
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: File #
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: Heavy Duty - Chapter 5
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: C.McLean-Campbell <cmc@cs.strath.ac.uk>
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: File $
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: Nibbles of Information
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: Billy Biggs <ae687@freenet.carleton.ca>
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------------------------------------------------------------------------------
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--<----<----<----<----L - i - N - e ----- N - o - i - Z ---->---->---->---->--
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------------------------------------------------------------------------------
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File - !
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Merry Christmas! Finally the interview w/Bill Leeb, sorry for the delay. The
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next issue of Line Noiz is scheduled for release on Jan.1 so send in your
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submissions before then!!!
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-Billy Biggs, editor.
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***** N o T E ******
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- We have been experiencing problems with our subscription list. If you
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find that the following subscription instructions are not working then
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e-mail me at ae687@freenet.carleton.ca and I'll see what I can do....
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=-*-= Subscription Info =-*-=
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o Subscriptions can be obtained by sending mail to: dodger@fubar.bk.psu.edu
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With the words: Subscription LineNoiz <your address>
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In the body of the letter.
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o Back Issues can be recieved by sending mail to the same address with the
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words BACK ISSUES in the subject.
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=-*-= Submission Info =-*-=
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o Please send any submissions to me: ae687@freenet.carleton.ca
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o We accept Sci-Fi, opinions, reviews and anything else of interest.
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o Submit! Submit! Submit! Submit! Submit! Submit! Submit! Submit! Submit!
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------------------------------------------------------------------------------
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--<----<----<----<----L - i - N - e ----- N - o - i - Z ---->---->---->---->--
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------------------------------------------------------------------------------
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File - @
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[ Here it is, the talk. I spent almost an hour on the phone with the guy, ]
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[ and have decided to put most of the conversation in here for anyone who ]
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[ wants to sift through it. It was an interesting chat, the guy seems like ]
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[ he has at least half a brain, but I still think he'd get farther if he had ]
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[ a more solid musical training. Oh well... ]
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[ Please excuse any mistakes, I was typing this off a recording done at very ]
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[ low quality, as well as the spelling mistakes I know are in here... ]
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[ BB = Billy Biggs, me BL = Bill Leeb, of FLA etc.. ]
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BB: Ok, well, first of all I have talked to you before, on internet, on the
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IRC chat in September I think it was, and people were wondering what your
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views were on that...
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BL: I think that it started off good but I think the problem with it was you
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have too many people on it and too many questions, that like so many
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questions go by that you can't answer cause there's so many more comming in
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you sort of lose your train of thought and you can't focus on one thing on
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the screen, they're just rolling off like a fax so it's kind of hard to
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have a conversation with any one perticular person so when you're answering
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one question and another one comes from a whole different realm. It's hard
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for me to focus and then I think it kind of got silly because of that. But
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I think the concept is good it just has to be a little more controlled.
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BB: Do you plan on doing it again?
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BL: I wouldn't mind doing it again especially now because people have heard
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besides the new Delerium the new Front Line. I think there is lots of
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controversy with the guitars and all this stuff. I think it would be kind
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of funny. I wouldn't mind doing it as long as people don't get too personal.
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It's kind of ok if you just do it as like a musical sort of thing but when
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some people get kind of personal then I think it's kind of silly, it's not
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that serious of an issue...
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BB: Do you plan on doing anything more on the internet, like a web page or
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an email address or something?
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BL: Well, I know puppy had one right?
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BB: Yeah, they have an email I know... [ puppy@netcom.com I think ]
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BL: I'm trying to decide how useful that would be.. Like, what do you think
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the audience is of this whole Internet thing, at any different time..
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BB: [ Bit of explanation of Internet audience ]
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BL: Like I said we've been sort of kicking the idea around alot.. I mean
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we're going on tour in the spring right so we might either do it before that
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or I might wait till we come back, I mean like if I'm gone for three months
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it's not going to do me much good... The email thing does that like just
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basically store stuff for you?
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BB: Yeah, it just holds messages until you want to reply, if you want to reply.
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BL: Well, I guess the only problem I have with that is it seems like it gets
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kind of personal I mean it seems more formal just writing letters to people,
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and when you get on the Internet it's like 'Chat Line'. So I think maybe I
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thought for a little while it's like an invasion of my privacy, like
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even when I go out people see you, they know you, they come up to you and
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it's like they want something from you, so I kind of like hmmmmm y'know but
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I might though.
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BB: Do you plan on releasing like a CD-Rom or something like that?
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BL: Yeah I'd really like to do that especially with Frontline because we have
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alot of stuff, I mean we even have alot of live footage stuff from the last
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couple of years that we haven't done anything with, but I saw Sarahs and I
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think that was totally cool. Especially for a band like Frontline, where alot
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of it's electronic stuff so we're really into the whole Multimedia thing so
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to me that would be the logical step. It's just a matter of getting the
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record company to go with it. The problem with RoadRunner is that they
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aren't really technology related or technology friendly related, they're more
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of a head-bangers label. But I'd really like to do it. I was talking to the
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guy who did Sarah's and asking how much it would cost and stuff, I think it
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would be really cool. Do you think this sort of thing is the wave of the
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future? What king of market capability do you think that will have?
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BB: Well, I mean if you buy a new computer now it normally comes with a
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CD-ROM.
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BL: Well, it's probably becoming standard now right.
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BB: Yeah, I'd say so.
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BL: Well, definatly I think we'll be doing it, I've already been asking
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about it it's just a matter of going through the red tape..
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[ Delerium ]
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BB: Well, with the new Delerium release ("Sematic Spaces") it was a big
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change for Delerium, is this the new sound of Delerium? Do you consider this
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a departure from all your old stuff?
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BL: Yeah, well, y'know, it's kind of like music for me and Rhys is like the
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weather right, like everyday you wake up in a different mood.. I don't know
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about you but if I'm in an aggro mood I'll listen to aggro music, if I'm in
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a laid back mood I'll put on 'Dead Can Dance' or something, so it's the same
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when we write, it's just whatever the mood suits us at the time is what we'll
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do. I don't think we ever feel like we better just do this because we might
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be making these people mad, I think we just do what we want when we do it
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because we feel it's right at the time. I think we've done so many Delerium
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albums that have been really dark and ambient right that it's probably good
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for us, like it was fun to do one that wasn't so dark, and maybe a bit more
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commercial. I mean at the same time we wrote Spheres 1 and 2, and Sematic
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sort of in the same year, and I think Spheres 1 is like really dark, and I
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think it's one of the best ones. I think that, on a consistency basis,
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Spheres 1 is probably the most, I mean, it just sounds like a whole Alien
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soundtrack. So like I say we did that one right after, so it's just a change
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of mood. But y'know the funny thing is is that least, well I dunno, the new
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Delerium is getting like 50 times the exposure right. I don't know if you
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watch MuchMusic [ Canadian music station ] but we're on medium rotation,
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we were on 4 times yesterday! Like it's been on three times a day right now.
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It's a cool video, "Flowers Become Screens", it's done in black-and-white and
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shot in a desert right. Y'know what they even played it on, "Electric Circus"!
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I couldn't believe it! [ EC is a live dance at the MuchMusic station
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shown every friday that plays dance music with dance music people dancing ]
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And then they played it like an hour later on "City Limits" right with
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the Frontline one on "The Wedge" I saw it like 4 times in one day so if you
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like keep your TV on I'm sure you'll see it right. So in a way it's good to
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do one like that so maybe people will go and oh so Delerium is a real thing
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and then go and buy one of our older records but they'll probably weird out
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cause those were pretty dark and pretty industrial. Like I say, we're like
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the weather right, if we feel a different way we'll do something different
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again.
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BB: Well, if this new Delerium does really well and people like it are you
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going to do the same sort of thing then, are you just going to go with the
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flow?
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BL: Well, with all the signs so far I'd say this is easily our best selling
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one so far, I mean it's like on all the charts now so I mean, yeah, it's
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like we'll cross that bridge when we get to it I mean we'll see how we feel
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in 8 months from now, see who's available. See the weird thing is that when
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we wrote this we had no intentions of anybody singing over it. It was kind of
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like we wrote the record and then we gave it to Nettwork who said, oh well
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are you guys interested in having somebody sing over it?, and so we sat back
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and the songs that she sang that, we pulled out some stuff right, so she
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could put vocals on it right, so yes, so I think that's why it turned out.
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I think it's a great record, I mean I think that's why it turned out
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as it did. I mean we weren't trying to make a commercial album we just did
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what we normally do.
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BB: Well what about the enigma sounds, some people were saying that you were
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just ripping off the enigma sounds? To get more commercial.
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BL: Well I mean the only thing we used that they did was our Gregorian chats
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right.
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BB: Well there was the beat in Flatlands and the whole Enigma style right.
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BL: Well for a beats sake we could do that thing ourselves we're just too
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lazy right. It's no big deal it's just like a kick and a snare. Like who
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hasn't sampled a drum beat? like I said if we wern't so lazy we'd just
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do it ourselves I mean a drum beat doesn't mean anything, it's just what you
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put on top. And I mean the Gregorian chants we used that with puppy like 8
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years ago, we just didn't get famous that's the problem. But it's kind of
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weird right some band comes along and they get commercially successful with
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doing it and also and maybe we might be trying to burn down that, but we were
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doing this when that guy hadn't even heard of this kind of music. But
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whatever, I mean like I think it's 50 times better than that if you listen to
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like either of the Enigma albums. I think the first one sounds like all one
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big song and the second one just sucks. They've a song that's like the Day of
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the Dolphin or something, like oh my god, like I can truly say me and Rhys
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have never done anything like that so when people put us in the same rap
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well then maybe there's a few sounds that come from the same sources y'know
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but whatever. When it comes to coolness i'd say those guys have some major
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clones stuff in there stuff right. I mean I think that last album just reaked.
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And what about the drum beat they stole? You know what one on the single?
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BB: The "Return to Innocence" one?
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BL: Yeah, well, that drum beat is like a total Lead Zeppelin loop right,
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It's from when the levy breaks. it's on every sample cd you can buy like
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it's even on the budweiser commercial when the guy throws the baseball at
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the building and the whole thing falls down, right. but I see nobody saying
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why is enigma using a lead zeppelin drum beat. I hate that kind of
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analization because then they aren't looking in their own back yard I mean I
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could pull alot of things out of their music that, things that they use, I
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mean most of the sounds they use are presets, at least we don't use presets.
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I can find you the keyboard where they got all these sounds from! But you see
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I don't have time to explain that to every guy on the internet what I'm telling
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you. I mean, on that cd, to me, they're burning a bigger band then we are. I
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mean Led Zepplin will always be a bigger band than Enigma right. So y'know
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who's burning who? It just depends on how you look at it.
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BB: Ok, well, will you be using Kristy Thirsk again?
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BL: I'd like too for a song or too I think she does a good job. See, what I'd
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really like to do next time is to use her and Sarah for a song or two, and
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I'd also like to get the woman from "Dead Can Dance" to sing on it. I think
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it would be great to have like 3 or 4 tracks on the album with 3 different
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singers.
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BB: Well, would you use her with like Frontline or something?
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BL: No, well, maybe just for backup singers like the who-whos or the do-ups
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right? No I don't think that would work with Frontline. For Delerium, I
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think we'll do it the same way right like write songs like they aren't meant
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for singing and then we'll bring somebody in and say ok well sing on top of
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this, then it won't sound so pretentious right, cause I don't want like a pop
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record right, I'm just not into that.
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BB: Is there anything new planned for Delerium right now?
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BL: New? Not really. I guess because like the video is new and I think
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they're going to work "Flowers" down to all the major radio stations in
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January and stuff cause they still think there's still alot of life left in
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it that record right. I think the problem is that it still not on a major
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right so I think we're still not getting major exposure. I think that if
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that record got the same backing that enigma did we'd do just as well if not
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better. That's what they think too right so they're still trying to do that.
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Intermix
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BB: Well, about intermix right you have a new release comming out with them?
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BL: Yeah.
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BB: When is it comming out? Could you tell me about it?
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BL: Yeah, well, it's called "Future Primitives", yeah "Future Primitives". I
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think you're the first guy I've told that too.
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BB: Actually, I think you said it on Internet.
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BL: Did I? Hmm.. Well, you know that's cause I never remember it right.. I
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think it's going to come out in Feburary or something like that.
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BB: Well, you said on the chat that you aren't into raves and the rave
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scene. Isn't Intermix towards like the whole techno-rave scene?
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BL: Well, err, ahh, erll not the new one it's sort of filled with like
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African chants and tribal stuff, I mean it's pretty ethnic stuff.
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BB: Well, are you trying to make it sort of like tribal-techno sort of stuff?
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BL: Yeah, yeah.
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BB: Well, that is sort of a sub-genre of techno right.
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BL: Well, I like aspects of it, I just don't like, I'm just not into that
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"Electric Circus" sort of thing.
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BB: Well, EC isn't really techno..
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BL: Yeah, well, y'know that whole sort of that crowd. I don't know, it's
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kind of weird to explain. I've always been more sort of anti- things like
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that when people were into like Spandu Ballet and stuff we were into Portion
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Control and Noibot, y'know what I mean, so we'd always go around and say look
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at those sucky people right and me and orgre and kenny that's how we started
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puppy. It's kind of like the same thing I find with parts of the rave thing.
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There are kind of like casual people that shop at like the bluejeans store
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like the gap and then they show up on the weekends for the raves. And they
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don't even know what they're dancing too, they're a bunch of idiots. It's not
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that the music I don't like it's just like alot of those people like with the
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white tee-shirts and the devin boots and the chains in their pockets and the
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slick black hair, y'know what I mean, it just that I don't like that concept.
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I mean, there's nothing wrong with doing drugs and dancing all night too tech
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music because I'd rather listen too that then rock, I hate rock right. It's
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just like the whole feel of it some nights I go there and there's a whole lot
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of GQ people with their shirts off and I'm like, oh man I don't want to see
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this, so I think it's more like the people than anything else.
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BB: Well what do you think of rave music?
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BL: Well what's rave music? Is orbital rave? is the grid rave? like didn't
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rave music disappear a few years back? like James Brown is dead right?
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BB: Well, not really I mean rave music would be like sort of like the beat
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with the sort of LFO kind of acid sounds.
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BL: Well I mean LFO only released like one album
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BB: I meant the synth term, as in Low Frequency Occilator sort of thing
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[ I was talking about pitch-bend arpegios ala every acid sound in techno now ]
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BL: uhh, well, I mean it's okay for like a dance club right but when you
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bring it home it sounds like shit right because it's usually just like one
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kick drum and then you hear like this little bass line and then it's just
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like bomp-chick-a-chick-bomp-chick-a-chick y'know and there's like nothing
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else going on it gets really boring quick right. I guess the problem for me
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and Rhys is when you do music for so long to tell you the truth y'know, I
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could do an album like that in a night right, it's really not hard to do. So
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for like the average guy who doesn't know anything about anything it might be
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cool right but when you've been doing it for a while and you set high
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standards for yourself and you hear stuff like that you go, well, whatever.
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I mean I find that kind of music has a really short shelf life as well it's
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like DJs go to like the local store they play all the new 12", take them to
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the club and play them for three weeks and then discard them and then the
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next thing comes out. Every week all the DJs line up at the local techno
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store waiting for the next white vynil stuff they can mix into clubs but most
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people don't know what they're dancing too. So usually for people who make
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that there's usually no money in for most of it either. So it's great for
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like a bedroom worrier y'know, sits in his bedroom and program some beats and
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puts out a little CD, and I think that concept is cool and that everyone
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should be able to do that. I just find for me I usually look for things that
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are a little more evolved, a little more difficult. But I think it's good
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that you can do that. Like Aphex Twin, I think everything he's done he's done
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in his bedroom right. I mean it sounds like it too right, there's nothing.
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The concept is great that anyone can go out and buy his own stuff and make
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their own music and get it played and I mean there's room for everybody and
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I think that part of it is good.
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Front Line Assembly
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BB: Do you consider the new album a departure from everything that Frontline
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has ever done before?
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BL: Yeah I think that like, I don't know what it is I think that really it's,
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like I think it's probably the most Frontline album. All the stuff underneath
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is so signature of what we do, it's just we've added one new element and we
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just added that element because we wanted to do something different for
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ourselves. It's like again it was like the thing of like ok, we've written
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an album, and yeah it sounds great and all the technoheads will like it, but
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we didn't like it, so we wanted to add another concept where we thought like,
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yeah well maybe some of these people wont like it, but alot of new people
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will like it and at the same time it was just fun to do. I don't think we
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take it as serious as other people think we do but at the end of the day
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we're just having fun with it. it's not like, if you don't like it you're
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going to die from it, it's just music right and it's just something to do.
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So I think some of those people just take it a bit to serious as well and I
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think we wanted to have fun with it and we wanted to change the sound and,
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I don't know but I think that in some aspects it's the the best sounding one
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by far I just think it takes people a while to get used to it and people I
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always find as always the slowest to change. I mean, nature changes quicker
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than most humans do right and people sort of get familiar with a sound and as
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soon as the familiarity is gone they start weirding out but I think in the
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end the change is whats really important even if at first people usually
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don't want to change and they hum and huh, it was like computers, nobody
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wanted computers when they first came out, it was like 'oh my god I don't
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want one of these' and now they're running the world. I think it's the same
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as what were doing I think that in a year from now it will be like, it will
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be the same thing. But somebody's got to get up there and break the mold and
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try something a bit different and it's got nothing to do with getting on the
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bandwagon or wanting to sound like anybody else, has absolutely nothing to
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do with that. I don't think anybody's record sounds like this one,
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_anybodys_. Maybe people used the same elements, but I think the way we've
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done it I don't think anybody's done that..
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BB: So you weren't trying to become mainstream with this?
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BL: Nooo [ very persuasively :) ].. If we wanted to be mainstream you'd have
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to take a whole different approach... you have write ballads, you have to get
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a crooner, our music's way to weird for most people still, in that aspect I
|
|
still think we're still a sub-culture kind of band, I just think we set
|
|
really high standards for ourselves and I think we still follow them. With
|
|
each record we're trying to do somthing a bit differnet, and that's what we
|
|
did with Millenium and I'm sure we'll do with the next one. I think that's
|
|
the part we like, the technology part, where we try to do something
|
|
different every time. I just didn't want to do another record like the last
|
|
2.
|
|
BB: Why did you decide to do the rap?
|
|
BL: Yeah, well it was again trying something differnet, and see we like some
|
|
of that music too right so again we thought this would be cool because we
|
|
like some bands that were doing that kind of stuff we thought we just
|
|
happened to write a song that when we finished it we listend to it and we
|
|
went y'know this would be pretty cool to do the song and when we brought the
|
|
guy in and he layed down the rap we thought oh yeah we like this so, it's
|
|
one of those songs y'know lots of people think it's great, some people think
|
|
it's their favorite song, other people hate it. I think it's better to have
|
|
an album where people react then people just go like it's ok oh well tactical
|
|
was better, I would rather prefer if they go oh this is killer, or oh i'm
|
|
weirding out oh my god!. I think it's better to stir up the emotions in
|
|
people and get them evoked about something than to play it safe and sell the
|
|
same amount you sold last time. I'd rather take a chance and try something
|
|
different because I think the reward can be greater too and I think it's
|
|
more exciting and I think that's what it's all about is evoking peoples
|
|
intrests or their feelings about music and that's what we did and we're
|
|
getting more violent reactions from people and I think that's more fun.
|
|
BB: Why did you do the rap with that guy?
|
|
BL: Well, I wanted to get the guy from Public Enemy, but he's to expensive.
|
|
Y'know were a bunch of white hockey kids I don't think the political aspect
|
|
might come into play but, I think it had alot to do with that we were
|
|
working with Nettwerk at the time already and they have an album on Nettwerk
|
|
so it was just handy. We were there, he was there and it just went down.
|
|
BB: Are you going to have more rap on your albums?
|
|
BL: No that was more of a one shot one thing probably never-ever happen again.
|
|
BB: What interested you in the movie 'Falling Down', you used samples from it
|
|
in your first few songs?
|
|
BL: I like what it says, *laughs* I like the statement. I think that for a
|
|
better part I can appriciate where he's comming from. I think the roles are
|
|
changing of people in the world, majorities are becomming minorities and
|
|
minorities are becomming majorities. I just feel like there's just too many
|
|
people in the world and people are becomming less tolerant but yet you have
|
|
too y'know? And it's like you just see it, people weirding out all the time
|
|
and it just kind of interests me all that stuff how like people are trying
|
|
to find their own identities and the only way they can do it is to go out
|
|
and shoot a whole bunch of people and so people go here's a name blah blah
|
|
blah and he gets on the news right. But y'know, I guess we've created this
|
|
society so now we have to live with it. It's just so on the money now like
|
|
the whole how things are gonna be and gonna get even worse I thought that
|
|
that was a good concept for our whole album. The human interest story of
|
|
like of a society that's crippled by it's own laws and fears and regulations
|
|
and it's just gonna get worse you can't get better there's just too
|
|
many people and the planet can't support it. It's kind of a drag i won't be
|
|
here in a hundred years to see the severity of it, I think it will be a fun
|
|
time to live in. My visions are like, y'know the roadwarriors thing, mutants
|
|
roaming the earth looking for gasoline, I just think that would be an awesome
|
|
time to live in, just like on your smarts. I would. So anyways I went on that
|
|
kind of vibe for the album and that movie I thought struck a good chord
|
|
there.
|
|
BB: So like the album had that sort of theme. Is that your style to like to
|
|
things in themes, for example tactical had a sort of cyber theme?
|
|
BL: Yeah this is the theme. Even the title 'Millenium' it's sort of like a
|
|
forwarning to people about the future and what we think it too be so we want
|
|
to be sort of a real epic sound and name to it and I think it does that
|
|
quite well.
|
|
BB: About samples in your work, do you need permission?
|
|
BL: Yeah, for real obvious ones yeah. Like the guitar samples we have
|
|
contracts and everything for that. It's all listed on the album. All the
|
|
bands and stuff. We're not that stupid.
|
|
BB: Ever had any legal problems with samples?
|
|
BL: Well you only have problems with samples is when you use part of a song
|
|
or something. When you're just using like a door slam or something or a kick
|
|
drum or a snare then nobody cares. You also have to remember that when you
|
|
sample something, those people sampled it from something else. I mean look
|
|
at FSOL, their song 'Pappa new-guinea', it was like a big hit, it had the
|
|
woman from dead-can-dance all over it. It just depends how you use it but we
|
|
go through all the legality of it.
|
|
BB: When you get samples from like movies or stuff do you have any method
|
|
for searching for them?
|
|
BL: No, I just watch alot of films. And whenever I hear something I go, oh
|
|
this would be cool, and I keep notes right so I just go back one day and get
|
|
them all.
|
|
BB: Do you have some sort of database of samples?
|
|
BL: Well, we've got everything on DAT right. So, I usually write everything
|
|
down right. There is sort of a method to the madness right.
|
|
BB: What about the lyrics in "Millenium", do they actually mean anything?
|
|
Do you put any thought into your lyrics??
|
|
BL: Oh yeah, I think these ones have alot of thought put into them that's why
|
|
they're printed.
|
|
BB: Was there before?
|
|
BL: Probably, yeah.
|
|
BB: Why do you have different projects? Why not all have it under one band
|
|
and under one label?
|
|
BL: That's funny. *laughs* I think you'd just be confusing the issue and we
|
|
like to do this full time right, so this way we can always be creative and
|
|
always be doing something. We don't have to sit around and like wait for this
|
|
or wait for that and I think they're all pretty different in their own
|
|
merits and since we like doing it all the time why limit yourself to one
|
|
thing? It's like going to Europe, why only visit one country right? Don't
|
|
you want to explore and go everywhere?
|
|
BB: Do you have guidelines for each group? As far as what constitutes an
|
|
Intermix song or a Delerium song?
|
|
BL: Oh yeah, sure. I think it's pretty easy. If you listen to the stuff
|
|
everything has it's own style.
|
|
BB: Do you have any other projects planned? Like, a new band?
|
|
BL: One more thing we're going to start, but we wanted it to be like a real,
|
|
like more like a hardcore electronic punk band with like live guitars we're
|
|
going to like change the name and everything and get some real players that
|
|
will be like something totally different.
|
|
BB: Are you going to still have Frontline around?
|
|
BL: Oh yeah we'll still have that this will be something totally different.
|
|
This is probably won't have anything to do with this scene at all we're doing
|
|
this for something totally different.
|
|
BB: Are you still going to be using like electronic instruments?
|
|
BL: Parts of it but it will be different.
|
|
BB: When is this planned for?
|
|
BL: Oh, probably in the next year sometime.
|
|
BB: On the net you mentioned something called Organisms 1 and 2, what is
|
|
that?
|
|
BL: Those were techno comps me and Rhys put together of like local artists.
|
|
They're techno comps of trance-ambient and I think they're really good, much
|
|
better than any of that shit that comes from Europe. We've got some stuff on
|
|
it, and Sect has some stuff on it. We're just doing it to help out the local
|
|
artists.
|
|
BB: What's your musical background?
|
|
BL: I don't really have one.
|
|
BB: Do you have any formal musical training?
|
|
BL: Nope, nothing at all.
|
|
BB: Can you read music and play?
|
|
BL: Nope.
|
|
BB: Can you read music?
|
|
BL: Nope, don't wanna know. We just do things by feel right. I don't need
|
|
some like I know like the scale and I know each note.
|
|
BB: Do you know chords?
|
|
BL: Oh yeah, I know all that stuff. I can sit down and play anything I want.
|
|
That's all I need to know.
|
|
BB: Would you say your music is more chord based than note based?
|
|
BL: Both. We know where everything is and how everything works and that's
|
|
what we need to know. I don't want to know any more than that cause I think
|
|
that would take away our creativity. I don't want to be able to play the
|
|
sting cause once you play like that there's no going back.
|
|
BB: Do you input stuff into MIDI and then build on top of it?
|
|
BL: Yeah, we always start with the rhythm tracks. Then just build on top. We
|
|
usually write like main groove, then come up with a chorus to see if we can
|
|
take the song any further.
|
|
BB: Do you find your music using synth tricks more than musical ability?
|
|
BL: There is no method to the madness. It's like, whatever works works.
|
|
There's no set rules, it's like if it fits if it works if it sounds great it
|
|
doens't matter which way it's done that's the ultimate goal for us.
|
|
BB: What sequencer do you use?
|
|
BL: We've got a couple we have like the c-lab, the notator, the creator. We've
|
|
got one of the q-base doo-hickeys and we've got one of those mac-jobbys it's
|
|
whatever works on a given day that's what we use for a sequencer.
|
|
BB: How much is done live with like Front Line Assembly?
|
|
BL: Like this time what we're going to do is when we play live we'll have the
|
|
sequences and we'll have the click track and so the drummer will play along
|
|
with the click. And then we'll have the guitarist and Rhys plays all the
|
|
keyboards samples and strings live and so the only things that will be on
|
|
tape will be the sixteenths notes cause nobody can play them right. That's
|
|
pretty live if you ask me and that's just as live as anything else, except
|
|
for memorex.
|
|
BB: So this tour is in the spring?
|
|
BL: Yeah, I think in March.
|
|
BB: What do you think is the future of electronic music?
|
|
BL: I think the only thing that's going to happen is like it always has is
|
|
you'll see less and less bands with music and you'll just see differnet
|
|
adaptations. Like, you have metal and techno and industrial and jazz and
|
|
hip-hop and I think they'll always just merge like the whole techno-ambient
|
|
thing. First it was hardcore techno, then it was ambient, now it's slow
|
|
it sort of goes in a big cycle it always stays in that same concept a few
|
|
elements change and the speed changes but whatever that's probably all it
|
|
always sort of mutates within itself music just the sounds change but the
|
|
song is still a song, you still need a groove and a chorus no matter what
|
|
kind of music you do.
|
|
|
|
[ BB/BL @ da phones 11/94 ]
|
|
----------------------L - i - N - E ----- N - o - i - Z ----------------------
|
|
File - #
|
|
From: C.McLean-Campbell <cmc@cs.strath.ac.uk>
|
|
|
|
|
|
HEAVY DUTY
|
|
|
|
C.McLean-Campbell
|
|
|
|
Series Editor: Peaches
|
|
Copyright 1994 Toaster Books. All Rights Reserved.
|
|
|
|
|
|
CHAPTER FIVE.
|
|
Beejay stuck the logic-probe back into it's position in the pouch and
|
|
shoved it back inside his jacket. He was a hi-tec boy scout; he always
|
|
carried a little toolkit with him because he was always prepared. The
|
|
Project demanded both improvisation and opportunity. A toolkit was handy.
|
|
You could never be sure when you might need it.
|
|
He'd recovered two CPU boards from the recycling skip at the back of
|
|
Fat Mike's workshop. The first one he found was an ancient 586. He had lots
|
|
of those boards and, although they were old, they still did the business as
|
|
long as you fitted an optical converter chip. Still, the second one was an
|
|
old 886, and that was a real find. The 586's and 686's were piling up in
|
|
The Project and he worried about the power requirements. Each of those
|
|
boards added to the power supply mountain he was scaling, so the 886 would
|
|
make a big difference. One 886 was equal to ten thousand 586's.
|
|
Beejay worked out a power demand curve in his head and then checked
|
|
it on the portable hanging from a string around his neck. He was right. He
|
|
needed to position the boards as close together as possible, tight as
|
|
sardines, and then link them with more optical wire. He stopped thinking
|
|
for a second and allowed his mind to become empty. He was practising
|
|
control, calming the rush of ideas that surged inside his head. It was
|
|
important to try and slow down a little and let the rest of the world catch
|
|
up every so often.
|
|
Recently, he had become aware that his pedestrian friends at school
|
|
didn't share his interest in electronics. Few of them even understood how
|
|
electricity was produced. Last Friday two guys had even told him that the
|
|
Moon was bigger than the Earth! School was boring enough. Guys like that
|
|
didn't help. So he always skipped Monday morning.
|
|
Monday was also the best day to search the skip, particularly after a
|
|
busy week in the workshop. Mike Wade's electronic service shop was down a
|
|
narrow stairwell below a branch of the Yardies fast food chain and behind
|
|
the Kimitz terminal at Newstation Square. Beejay had a deal with Fat Mike:
|
|
he came in every Monday morning and re-wrote the defaults on any of the VR
|
|
equipment that might have been wiped during the repair work. Having Beejay
|
|
write the softs and handling codes meant that Fat Mike didn't have to send
|
|
the units back to the original manufacturer who charged a hefty fee.
|
|
Technically only Fat Mike was breaking the law using an un-licensed
|
|
operator to write softs and handling, because Beejay was only twelve years
|
|
old. Fat Mike wasn't too phased by that prospect. He was, he felt,
|
|
protecting the consumer from greedy corporations.
|
|
Okay so he made money out of it and it was dodgy, but Fat Mike was a
|
|
nice guy. Even Beejay knew he was a nice guy sending a quarter of his
|
|
annual profits to The Vogel Foundation.
|
|
He pushed the boards into his Pale Horse backpack and stuck his head
|
|
round the corner of the shop front. With little success Fat Mike was trying
|
|
to explain the VR controls on a pair of shades to an elderly lady who wore
|
|
her hair blue. He winked at Beejay to let him know he'd seen him and Beejay
|
|
ducked back into the workshop. He waited beside Mike's desk.
|
|
Across the room Mirima was working on the insides of a large
|
|
industrial laser. At her side was a reel of optical wire. Beejay coveted
|
|
it. Sensing his stare she glanced up and gave him a smile. Beejay indicated
|
|
the reel and raised his eyebrows. Mirima tossed it across to him and he
|
|
quickly stuffed it inside his jacket. He plonked the backpack on the desk
|
|
with the boards sticking out.
|
|
"More boards small scientist? What you want with that shit?" said
|
|
Mirima.
|
|
Beejay shrugged, Mirima often hung around the workshop, using the
|
|
facilities and occasionally fixing things for Fat Mike. She was cute but
|
|
she was major-tough. A rigger for the Houses, she was one of the few people
|
|
that didn't treat him like shit, that didn't think he was a deevo. Beejay
|
|
sometimes wondered what really went on between the Rhodes boy-girl and Fat
|
|
Mike, but he never pursued it - it wasn't a good idea to mess with the
|
|
Houses.
|
|
"Just messin' around Mirima," he said trying to sound uninterested.
|
|
"You think I copy that bullshit, small scientist? Non-optimal, defo.
|
|
Small company operations I think?" Mirima laughed for a second, and before
|
|
Beejay could protest, she returned to her work.
|
|
Beejay pulled the Text discman from his pocket and re-read chapter
|
|
seventeen of 'The Prince' while he waited for Mike to pay him. It was his
|
|
favourite chapter, "Cruelty and compassion; whether it is better to be
|
|
loved than feared, or the reverse." He had read it more times than he could
|
|
remember, including the original Italian which appeared on the same disk.
|
|
Occasionally he let his attention slip to steal a glance at Mirima's long
|
|
legs sticking out under the bench.
|
|
Suddenly Mirima swore and threw the logic probe down. At first Beejay
|
|
had thought she'd spotted him leering at her, then realised she was
|
|
swearing at the guts of the laser on the bench.
|
|
"Problem?" he offered without looking up from the text.
|
|
"Logic section is gone, and no company operations in that field.
|
|
Eight hundred ecus for a new board. Shit!"
|
|
Company operations was HouseSpeak for theft. She meant she couldn't
|
|
thieve it any cheaper than she could buy it. The Houses had earned a
|
|
reputation for efficiency. Beejay always suspected that somewhere someone
|
|
was running a spreadsheet model for them and handing out targets for each
|
|
year. He smiled at the thought of the House bosses discussing the poor
|
|
performance from the extortion section or the massage parlours. But it was
|
|
rational. He admired anything rational.
|
|
"I know that type, Hyundai 480?" He asked.
|
|
Mirima nodded.
|
|
BeeJay reached into his pocket for a half-eaten Yorkie Bar and bit
|
|
off two squares. Chewing the chocolate into a smooth paste, he kept
|
|
talking. "Spits out thirty-eight watts of plasma and tapers the pulse to
|
|
stop the tip of the laser melting or the insides overheating." He was
|
|
reciting from the manual, almost. "I can fix it."
|
|
Mirima laughed at him."Small scientist, I can fix it too, but I need
|
|
eight hundred ecus, man."
|
|
Beejay shook his head. He had half expected her to mention
|
|
operational budgets. "No you don't," he said, still reading while he spoke.
|
|
A problem had to take more than half a minute's thought before he
|
|
considered it important enough to deserve all his attention." The electro-
|
|
magnetic-pulse backwashes into the board and eventually the connections get
|
|
zapped. It's a design fault, that's why they deleted the model. All I need
|
|
to do is rewire the connections with ten ecus worth of gold wire and you're
|
|
back in business."
|
|
Mirima pushed her stool back from the work bench. "I copy that
|
|
straight? You rewire eight thousand connections for ten ecus. How you do
|
|
that Beejay? By hand? In an afternoon?"
|
|
"Well, if you happen to have an old Wang matrix-wirer at home then it
|
|
does only take an afternoon. The machine code can be a bitch to write, but
|
|
after that, it does the business."
|
|
Mirima raised both eyebrows and stared at him wide eyed. "Where you
|
|
get a thing like that small scientist?"
|
|
"Where you get a thing like that Mirima?" he said pointing to the
|
|
laser.
|
|
She laughed. "Okay, what's the deal?"
|
|
"No deal, I'll do it as a favour. Unless you happen to have access to
|
|
the Electric Company?"
|
|
Mirima shook her head and frowned. "You wasting your time there man.
|
|
No back doors into Electric company. Hey, you bust the Electric Company,
|
|
we'll make a deal with you."
|
|
Beejay shrugged. "Life's a beach. No problem. If you want me to do it
|
|
leave it at my house, I can't carry that on the bike. Maybe you can owe me
|
|
a favour."
|
|
"Beejay, you're playing my tune. It's a deal." She held out a hand
|
|
for him to slap. Fat Mike came in just as they'd finished and drew them
|
|
both a concerned, suspicious look, before handing Beejay his money.
|
|
Beejay's little half-sister Victoria was sitting on the doorstep when
|
|
he cycled into the drive. He was careful to put the bike in the hall first.
|
|
Nothing was safe in Coretown if it wasn't welded down. Coretown was the
|
|
most easterly section of Hacinohe II and the least desirable since most of
|
|
the industrial activity had grown up around the local FBR generator and the
|
|
THORP. Beejay's bike had taken a lot of saving. The local hoods, the
|
|
McKinlay family, tormented him over the bike, trying to bust a wheel
|
|
whenever he went past their hang out near the 'eight-til-late' on the
|
|
corner of the high street. He was the local deevo; deviant. Because he
|
|
could read and because he was smart, he was therefore an alien and the
|
|
object of their loathing.
|
|
Mirima's laser was already in the kitchen, with a Rhodes streamer
|
|
tied to the handle of the case. An envelope with forty ecus was taped to
|
|
the side of the case. Beejay took the notes out, crumpled the envelope and
|
|
threw it into the bin.
|
|
Victoria was seven years old and everyone called her Biskits. Her
|
|
rain suit jacket was open and dirty and she was sucking her thumb. She wore
|
|
a true-colour holograph of a Swallowtail butterfly, Papilio machaon, around
|
|
her neck. There were bits of leaves and twigs in her straight blonde hair
|
|
and she flashed a big smile when she spotted him. She kept her thumb firmly
|
|
clamped in her mouth, even when she spoke. On her lap were two intact
|
|
boards, one was another 586 and the other was crap - just four meg of ram
|
|
which wasn't worth the power drain. She stood up and held out the boards to
|
|
him. Beejay made her keep still while he removed the rubbish from her hair.
|
|
She kept the boards held out.
|
|
"Are these the right kind? Will they fit The Project?" she asked,
|
|
preparing for disappointment.
|
|
He took the boards from her and crouched down to show her the serial
|
|
numbers on the cpu chips. "This one is. See you have to look for this bit."
|
|
"Good." said Biskits, although when she pronounced the 'g' of good
|
|
her thumb got in the way and it came out soft. She was thoroughly pleased
|
|
with herself. "What about the other one?" she asked.
|
|
" Oh, it's okay. But you watch for the kind with those numbers,
|
|
right?"
|
|
She nodded.
|
|
"Where did you find them?" he asked. "Not in the tip I hope?"
|
|
Biskits shook her head vigorously. The McKinlay's sphere of influence
|
|
included the tip. The last time Biskits was there they had thought it
|
|
amusing to shove her into the rotting contents of a Yardies skip. "Oh no,"
|
|
she said quite emphatically," I don't go to the tip now. I got them from
|
|
Michiko's granddad."
|
|
"That's a good girl. You remember to stay away from the tip. Okay?"
|
|
Biskits screwed up her face. "I know, Beejay. You tell me all the
|
|
time. Don't go to the tip, don't go to the tip," she imitated him, sounding
|
|
impatient.
|
|
" Okay, okay. One other thing. Any accidents this morning?"
|
|
Biskits closed her eyes and shook her head from side to side, rather
|
|
offended that he should ask. "Nope." she said, perfunctorily.
|
|
"Did they deliver the cylinders?"
|
|
"Yup. And a nice Rhodes Girl left that case in the kitchen for you.
|
|
And," she continued quickly after taking a big breath, "mom's pissed about
|
|
Max. She says you've to change him back to being friendly."
|
|
"Oh yeah?" asked BeeJay.
|
|
"Yeah. She says he wouldn't order stuff from Tele-Mart and didn't
|
|
switch the microwave on until she shouted at him. He's always nice to me."
|
|
"Don't worry about it. I'll sort it out."
|
|
She nodded, still sucking her thumb. She looked at his pocket and looked up
|
|
at him. When he didn't do anything she looked at his pocket and looked at
|
|
him again and grunted. The she broke into a big smile and her eyes
|
|
sparkled, but her thumb stayed firmly in her mouth.
|
|
Beejay pulled ten ecus from his pocket and gently closed her hand around
|
|
them.
|
|
"Puritan Sweets only. Okay? and zip up your jacket."
|
|
Biskits took the money and ran off.
|
|
In the front room the TV was on and Linda was fast asleep on the
|
|
couch. Two hydrogen cylinders were propped against the wall where she had
|
|
left them. She hadn't bothered to change out of the SNL work clothes, and
|
|
Beejay's shades lay on her lap. He gently picked them up and slipped them
|
|
on. It was the same old beach, same massive boomers, same suntanned guys
|
|
with boards. He kicked the sand before flicking the icon down and killing
|
|
the fantasy. It was "Hawaiian Holiday". Biskits was conceived in Hawaii.
|
|
Beejay was sad for his mother, sad that she couldn't get over it. But
|
|
he was angry at her too. He was angry at the way she just took it on the
|
|
chin, and angry at the way she had lost all their money to Jack. Not lost.
|
|
Given it to him. Beejay calmed himself, pushed his anger back into the
|
|
darkness and concentrated on more positive activities. He took the laser
|
|
and a chicken sandwich from the kitchen and went upstairs.
|
|
Up in his room Linda had put three small packets, a mailing tube, the
|
|
current issue of 'International Geological Survey' and some other mail on
|
|
his bed. He considered the postmark on the mailing tube: it was Italian. He
|
|
ripped it open and slid the laminated paper out. It was his degree in
|
|
Italian from the University of Milan. He glanced down it to check his name
|
|
was spelt correctly and then threw it amongst the others on top of the book
|
|
case. The small packets each contained a single chip mounted on its service
|
|
board and the technical data sheet. He knew what they were, so he left them
|
|
to check out Max. 'Max' was the butchered remains of the old house system
|
|
that he had attached to Utah-konica deck.
|
|
"Max, what's the status on the Electric Company?" Beejay flipped the
|
|
case open and pulled out the laser. It was a heavy brute of a thing, used
|
|
in the building trade for everything from drilling small holes to punching
|
|
out doorways.
|
|
Max was silent.
|
|
"Talk to me Max."
|
|
"Oh yeah talk to you! You leave me here all day shuffling through a
|
|
pile of crap, and then I have to endure all your mothers insults! Would you
|
|
feel like talking?"
|
|
Beejay had re-programmed Max to be unfriendly. He felt it was more
|
|
honest.
|
|
"Just hit me with the status asshole."
|
|
Max sighed. "I'm still searching, but it's mostly shit. And I have a
|
|
report from IGeoSat monitor." Max sounded clipped and mechanical sometimes
|
|
because the chip had lost it's coating and the timbre control wobbled a
|
|
bit. Beejay was searching through the network to find the Electric
|
|
Company's accounts operation so he could adjust Linda's accounts. She had
|
|
fallen behind with the payments and they had disconnected her. Beejay had
|
|
taken the fuel cell out of the Inkoma to power the house up, since she
|
|
hadn't been able to pay for the repair to its suspension system either. It
|
|
wasn't as cheap as the electricity from the FBR, but at least they had
|
|
power, and he'd connected the heat exchanger to the central heating system
|
|
so they had heat too.
|
|
From his bedroom window, Beejay could just see the 'eight-til-late'
|
|
through a space between the THORP buildings. He dry-sniped a couple of
|
|
distant figures with the laser propped on the window sill for a second.
|
|
Three walls of the room were now clad in recycled computer hardware.
|
|
The Project was gradually taking over his room. Beejay looked at the
|
|
columns of angle-iron, optical cable and datastream converters that
|
|
supported the embryonic super computer, and sighed. What he really needed
|
|
was more time or more money. Or both. He knew he could do it. He knew he
|
|
would do it. And once he was in there things would be different. Things
|
|
would definitely be different. Pushing the unopened mail to one side he lay
|
|
down on the bed and chewed at the sandwich. Staring at the ceiling, he
|
|
thought of the schedule he'd set himself. The critical path analysis model
|
|
was in the handset around his neck, but he didn't look at it. He ran it in
|
|
his head instead. He could see all the intersections, all the bottlenecks
|
|
the way a painter visualised a magnificent landscape. The numbers boiled as
|
|
he adjusted the parameters, he hadn't expected to find an 886. That was a
|
|
stroke of good luck. The 886 was a much faster processor: it would reduce
|
|
the ETA by a factor of three.
|
|
What he needed now was a real break. A real big break. He daydreamed
|
|
about a large skip at the back of 'I Used To Be Massive's' store, filled
|
|
with squeaky clean 886 boards. He dreamed of the ultimate find, a 1086
|
|
board complete with ceramic heat sink and on-board solid state laser.
|
|
"Max give me the IGeoSat report."
|
|
"What? Now?"
|
|
"No, I'll wait till Christmas."
|
|
Max was silent again.
|
|
"Now! Max! Now!"
|
|
" The Japanese trench's present rate of subduction is now seven point
|
|
three two centimetres per year. This accounts for the increased activity
|
|
from Kozu shima volcano." Max stopped for a moment. The voice program was
|
|
cyclic. "Do you want the present prediction on the cable stretch in Tokyo
|
|
City?" Beejay sat up in instantly, dropping the sandwich. His heart raced,
|
|
his head bulging with pressure; he was almost paralysed by anxiety. It
|
|
couldn't be right! He searched for a rational reason to assume there had
|
|
been a mistake, a sampling error, or some unknown technicality that had
|
|
been overlooked. But it couldn't be wrong. The IGeoSat report was a learned
|
|
journal subject to ruthless scientific scrutiny. It couldn't be wrong!
|
|
Bastards! He could see the schedule collapsing into a million worthless
|
|
pieces.
|
|
Absent mindedly he shook his head and then said "No" impatiently,
|
|
when Max produced the ready tone. With that amount of drift, the optical
|
|
cable would loose its external sheath by the end of the week. The first
|
|
internal cables would start to shred five days later, provided the movement
|
|
of the Tokyo plate was linear.
|
|
Of course, the calculations had to be made on that assumption,
|
|
otherwise the matrix became unwieldy. But Beejay knew it definitely wasn't
|
|
linear. Like the sun came up every morning, there just had to be twisting
|
|
from the coriolis effect of the Earth's orbit. He held his breath. He tried
|
|
to visualise the matrix calculations for the planet's plate tectonics,
|
|
hoping that somewhere, on the Eurasian plate perhaps, there would be a
|
|
neutralising movement. But he couldn't. There were too many variables and
|
|
he wasn't able to concentrate on such a large scale of matrix, not when he
|
|
was tense. He reckoned there were three available satellite connections
|
|
between now and next Monday, and four the following week. He looked around
|
|
the room hoping for some inspiration.
|
|
Something major had to be done or all this effort, two years work,
|
|
would be completely wasted. He was desperate. What he needed right now were
|
|
three 1086 boards. That was the only solution. He set his mind to creating
|
|
a what-if list of where to obtain such expensive hardware without paying
|
|
for it. He felt himself twitching nervously at the thought of taking a
|
|
risk. He didn't like anything that wasn't a sure thing.
|
|
A soft electronic pip jerked him from the thought. He glanced at his
|
|
watch. He would have to go into BigWheeLand and reset the telephone account
|
|
soon. But first he would add the new boards. And then he would calculate
|
|
the course of action that involved the least risk possible.
|
|
|
|
|
|
|
|
----------------------L - i - N - E ----- N - o - i - Z ----------------------
|
|
File - $
|
|
From: ae687@freenet.carleton.ca (Billy Biggs)
|
|
Subject: Nibbles of Information
|
|
|
|
|
|
**** NETCOM vs ALT.2600 ******************************************************
|
|
Supposedly, this is all over and taken care of... see alt.2600 for more
|
|
details...
|
|
|
|
This message has been sent out to people who have posted messages to alt.2600:
|
|
|
|
---------- Forwarded message begins here ----------
|
|
|
|
Return-path: <pbergman@netcom.com>
|
|
X-Andrew-Authenticated-as: 0;andrew.cmu.edu;Network-Mail
|
|
Received: from po5.andrew.cmu.edu via trymail
|
|
ID </afs/andrew.cmu.edu/usr25/dscw/Mailbox/EivBTzO00UddQ:w08x>;
|
|
Mon, 12 Dec 1994 18:08:47 -0500 (EST)
|
|
Received: from netcom10.netcom.com (netcom10.netcom.com
|
|
[192.100.81.120]) by po5.andrew.cmu.edu (8.6.9/8.6.9) with ESMTP id
|
|
SAA02786; Mon, 12 Dec 1994 18:08:34 -0500
|
|
Received: by netcom10.netcom.com (8.6.9/Netcom)
|
|
id OAA06163; Mon, 12 Dec 1994 14:41:22 -0800
|
|
Date: Mon, 12 Dec 1994 14:41:22 -0800
|
|
Message-Id: <199412122241.OAA06163@netcom10.netcom.com>
|
|
To: postmaster@andrew.cmu.edu, postmaster@cmu.edu, dscw+@andrew.cmu.edu,
|
|
cert@cert.org
|
|
Subject: IMPORTANT: Post from "dscw+@andrew.cmu.edu" on deviant newsgroup
|
|
From: ghoast@gnu.ai.mit.edu (Cracker Buster)
|
|
Reply-To: ghoast@gnu.ai.mit.edu
|
|
|
|
If you are not aware of the nature of the group alt.2600, I will explain it.
|
|
It is a hacker/cracker newsgroup, containing many illegal messages. A great
|
|
deal of its posters ask questions about or give advice on compromising
|
|
system security, even that of the system they are on. Phone "phreaking" is
|
|
freely discussed, and they explain to each other how to cheat the long
|
|
distance telephone carriers. Pirate ftp and fsp sites are often traded by
|
|
these people, and you should verify that one has not been set up on your
|
|
system, and that the user does not have pirated software in his directory.
|
|
Such could get your entire site shut down. Other verified topics that people
|
|
explain how to do and admit to doing are disrupting irc, spamming,
|
|
mailbombing, shoplifting, disrupting public transportation, and similar
|
|
dangerous and illegal mischief.
|
|
|
|
This automated message is sent for two reasons:
|
|
|
|
1) To alert you of a potential threat to your system's security, in the
|
|
cases of users asking being told how to attempt to exploit security
|
|
vulnerabilities. Also, the poster may be using a stolen account.
|
|
|
|
2) To alert you that there are crackers on your machine. The account used to
|
|
post from may not be legitimate, or may be stolen (it is _extremely_ common
|
|
with alt.2600 posters to use fraudulently obtained accounts). Or, a post of
|
|
its nature may likely be a violation of terms of a membership agreement.
|
|
And, the user making this post may be preparing to break into yours or
|
|
another system, if they have not done so already. It is suggested that you
|
|
keep a close eye on users who have posted to alt.2600, and to inspect their
|
|
files and email if the posting warrants such and you can legally do so.
|
|
|
|
All headers and complete text of original message follow:
|
|
***************************************************************************
|
|
|
|
[ Place message here... ]
|
|
|
|
[ So, watch out the next time you try to post to a "deviant" newsgroup.. :) ]
|
|
|
|
|
|
**** ZiPPiE ******************************************************************
|
|
Article: 167 of alt.culture.zippies
|
|
From: cubensis@well.sf.ca.us (John Bagby)
|
|
Newsgroups: alt.culture.zippies
|
|
Subject: Zippy is as Zippy does
|
|
|
|
The following is excerpted from a pamphlet handed out by the Pronoia Tour
|
|
this past summer. No names or egos are included, to illustrate the
|
|
intentions of those writing about the culture.
|
|
---
|
|
|
|
ARE YOU A ZIPPY?
|
|
|
|
Zippies are not simply ravers, hip-hoppers, hippies,
|
|
cyberpunks, beats, or cooperative anarchists. The Zippy phenomenon is
|
|
characterized by a cross-pollination of these subcultures and more.
|
|
|
|
GLOSSARY OF TERMS
|
|
|
|
ZIPPY- (Zen Inspired Pronoia Professional) Anyone who strives for
|
|
balance between the brain's hemispheres-- the creative side, which
|
|
understands that vision, individuality, spontaneity, flexibility and
|
|
open-mindedness are crucial to achieve anything on the spiritual
|
|
plane; and the pragmatic side, which understands that long-term
|
|
organization, consistency and tenacity are necessary to achieve
|
|
anything on the material plan.
|
|
|
|
*PRONOIA- (Opposite of paranoia) The sneaking suspicion that people
|
|
are conspiring behind your back to help you, and you them. Symptoms
|
|
include attacks of optimism and good will.
|
|
|
|
MEGATRIPOLIS- (The future perfect state) Trendsetting and
|
|
much-imitated London club and Zippy hangout that features a wide
|
|
variety of ambient and techno musics, along with the "parallel
|
|
university", workshops, independent merchant stalls, bodypainting and
|
|
message.
|
|
|
|
PARALLEL UNIVERSITY- A series of raps and interactive lectures by
|
|
prominent philosophers, fringe scientists, artists and activists set
|
|
to ambient soundscapes; a key component to the "setting" of a
|
|
technoshamanic trip.
|
|
|
|
SHAMANARCHY- A spiritual model set in place so that anarchy naturally
|
|
flows into an organic shape; a background for the chaos of anarchy to
|
|
grow into, otherwise it just grows all over the place as rigid
|
|
structures dissolve.
|
|
|
|
-----
|
|
"So are we dealing with a commercial interloper, or do these
|
|
folk have something interesting to say... something interesting to
|
|
do... and a point? Is this just more hype, clever marketing dressing
|
|
up the same 'ol? Even worse, are we being sold what we already have?
|
|
|
|
Firstly, cultural pioneers or flavor of the month? The
|
|
former, with no shadow of a doubt. _evolution_ and _Encyclopaedia
|
|
Psychedelica_ [parent publications of the Zippy meme] have been the
|
|
backbone and central nervous system of the British House underground
|
|
since it began-- and the psychedelic neo-pagan culture before it. I
|
|
am extremely wary of the notion of authenticity-- after all, who's job
|
|
is it to decide what is fake and what is real? In my opinion,
|
|
authority must ultimately rest with the individual, not some
|
|
self-elected clique or cultural elite.
|
|
|
|
But my opinion is: this is the real shit... for the love of
|
|
it, for global change. Don't dismiss them until you've met them.
|
|
|
|
The Pronoia tour represents an opportunity for catalyzing our
|
|
desires to make a difference under a global banner. Don't be
|
|
distracted by the fact that the Zippies come from Britain. This is
|
|
merely a convenient, organic focal point from which a worldwide net
|
|
is coalescing. You are no less authentic and real a Zippy if you are
|
|
American, Balinese or Inuit Eskimo-- don't let anyone else tell you
|
|
otherwise.
|
|
|
|
Sure, soon the Zippy word will be tired- just
|
|
as the rave word is tired now. But the rave word served its purpose,
|
|
let's use the Zippy hype in the same way.. and after all, isn't what
|
|
we are experiencing just a little stronger than words?"
|
|
|
|
-------
|
|
|
|
"The great thing about the whole scene is that it's really a
|
|
big melting pot where everybody can come together and drop their style
|
|
and cultural differences and become Zippies for a while. It's a key
|
|
cultural thing that's happening there. I don't know why it's a rave
|
|
atmosphere, but something had to come along that allowed everybody to
|
|
feel the same.
|
|
Now we're coming out of being able to define "rave". We're
|
|
reassuming our identities again, only within a raver format. I mean,
|
|
now, everybody's getting back to their roots. You're getting
|
|
reggae-house, folk-house, and lots more, but you've still got the
|
|
identification, A hardcore type feels like a raver, standing next to a
|
|
reggae type, who feels like a raver. There's this common feeling that
|
|
we're all in this together.
|
|
We've also tried to put emphasis on what we call the "parallel
|
|
university". Rather than open up in the afternoons with music, we
|
|
like to offer various info booths, workshops, philosophers, etcetera,
|
|
and build up to the rave in the evening. That way, you've created a
|
|
community spirit. Half the people come just for the rave part, come
|
|
at 11p.m. to start dancing. In actual fact, they're coming for that
|
|
feeling of belonging, the community spirit which was created among the
|
|
other half who came early and participated in all the other things.
|
|
That way, you've got a community that exercises a certain influence on
|
|
the people in attendance. Quite different than everyone arriving at
|
|
11 and starting to dance, with nobody knowing anybody. We're just a
|
|
nexus for different people to meet, with the common purpose to have
|
|
fun. You then can move on from there, once you've been Zippified.
|
|
It's really hard to pinpoint cause and effect. But, you know
|
|
it's happening, we saw it in the 60's. The aristocrat children joined
|
|
the hippies because that was the most fun. They gave up the
|
|
materialist alienation. The millionaire who's all locked away
|
|
"secure" in a compound, and dying of heart attacks and cancer and
|
|
schizophrenia and all the rest of it, he's never going to be healthy
|
|
and happy if he doesn't start sharing. Let a rave happen! You have
|
|
to trust that people are intelligent and sensitive, and in the final
|
|
analysis will wake up.
|
|
The 60's hippy type turned out to be the most resistant of
|
|
everybody, actually. What I've said to them, and what I think they
|
|
finally remember, is that as hippies we started off the change the
|
|
planet. Before the rave phenomenon came along, we were down to our
|
|
last patch of ground, holding on like grim death for the last little
|
|
free field available for a festival, and we had forgotten what our
|
|
original purpose was. We just wanted to survive, keep as quiet as
|
|
possible, as low a profile as possible so we wouldn't be bumped off
|
|
our last refuge. WRONG! What's happening with the Zippies is
|
|
millions of reinforcements are coming over the hills, tens of
|
|
millions. The reinforcements we've been prying for during the last 25
|
|
years... here they come! Accept them for what they are. Now we can
|
|
win!
|
|
This is the middle class, this is the techno people, this is
|
|
the sons and daughters of the ruling class. This is what we asked
|
|
for, so let's not look a gift horse in the mouth. The ravers will
|
|
get lost if they don't have the hippy wisdom. How are you going to
|
|
get urban youth out into the country unless you offer what they think
|
|
they want? They get out there to dance and then -- lo!
|
|
they discover cacti, then they discover Native American culture, and
|
|
so on... They're not going to discover these things unless there is
|
|
something to get them out of the cities. This isn't about mega-names,
|
|
or mega-bucks-- it's just people.
|
|
It's not just a young thing. In England, people are dancing
|
|
from 14 to 80. We're no ageist, sexist, racist, or any such thing.
|
|
The first step is getting there to dance, to the shamanic tribal
|
|
dance."
|
|
[ So, what do you think of Zippie?? Send me your opinions and I'll do an ]
|
|
[ issue on it... ]
|
|
|
|
:<:>:<:>:<:>:<:>:<:>:<:>:<:>:<:>:<:>:<:>:<:>:<:><:>:<:>:<:>:<:>:<:>:<:>:<:>:
|
|
From: joshua@server.dmccorp.com (Joshua Lellis)
|
|
|
|
CD review.
|
|
Nirvana Unplugged.
|
|
|
|
Bitching Album! I loved it.
|
|
1 About A Girl - Song originally released on their Bleach album. Ok, if
|
|
you like acoustics, but the vocals are drowned out by the acoustic guitars.
|
|
|
|
2 Come As You Are - I liked the Nevermind version better. Only cause the
|
|
solo in it seems like a time gap, because the acoustics.
|
|
|
|
3 Jesus Doesn't Want Me For A Sunbeam - One of my newest favorite songs.
|
|
Accordian in the background, KC singing in the foreground. Awesome
|
|
|
|
4 The Man Who Sold the World - A David Bowie Song, but good nevertheless.
|
|
It's made the hair on the back of my neck stand up (don't know if that's
|
|
a good thing though. )
|
|
|
|
5 Pennyroyal Tea - I've heard this is on In Utero. KC did this one all by
|
|
himself.
|
|
|
|
6 Dumb - This is definately on In Utero. Just as good, if not better.
|
|
|
|
7 Polly - On Nevermind, but not that much of a dif between the two.
|
|
|
|
8 On A Plain - It seemed to go on forever.....
|
|
|
|
9 Something In the Way - Ok. I guess.
|
|
|
|
10 Plateau - Really wierd sounding song, have to be half asleep to enjoy it.
|
|
|
|
11 Oh Me - Oh no.
|
|
|
|
12 Lake Of Fire - COOL! This was a Meat Puppets song, according to KC. If
|
|
you buy the cd, this is the one you've got to listen to first.
|
|
|
|
13 All Apologies - Yeah, we've heard this on the radio. Kinda gets old
|
|
real quick.
|
|
|
|
14 Where Did You Sleep Last Night - Cool. Gotta listen to it a few times
|
|
to understand the lyrics, but cool after that.
|
|
|
|
All in all a good buy.
|
|
--
|
|
The sky bleeds blood at night when no Joshua Lellis - Jacob Latter - Stauf
|
|
one is awake and listening. Morning is joshua@server.dmccorp.com
|
|
the time for the imp to rest, and Stauf @ CE (telnet 128.8.11.201 5000)
|
|
midday ends the peacefulness when man realizes he will die. -- JL
|
|
|
|
()()()()( CD REVIEWS: )(by)(billy)(biggs)()()()()()()()()()()()()()()()()()()(
|
|
T: Millenium L: 10 tracks : 62:53 D: 1994
|
|
A: Front Line Assembly Best Track: [1] Vigilante
|
|
BB: The latest FLA adds tons of guitars (metal) and even a rap track. Much
|
|
different, but still retains alot of their old style. See the interview for
|
|
more info. I'd say it's a good buy, but I was much content with their older
|
|
works.
|
|
---- 7/10
|
|
------------------------------------------------------------------------------
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--<----<----<----<----L - I - N - e ----- N - o - i - Z ---->---->---->---->--
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------------------------------------------------------------------------------
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>> Scheduled 4 upcomming issues: <<
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<< Zippies?!? (Send me your opinions!!!) >>
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>> Heavy Duty Chapter 6 <<
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Submit! Submit! Submit! --- We need submissions!! --- Submit! Submit! Submit!
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END LINE_NOIZ.24
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--
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+ Billy Biggs Ottawa, Canada | =itwouldbetheultimatetriumphofhumanreason=
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+ ae687@Freenet.carleton.ca | =forthenwewouldknowthemindofGOD= S.Hawking
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