[audio] Noize Creator live at Norbergfestival 2006

Noize Creator live at Norbergfestival 2006 by Humorless Productions on Mixcloud

Here’s a Noize Creator show that I didn’t record myself, but I’d happened to have had in my ipod. Originally it was just a board tape, so I worked my magic and remastered it and threw in some crowd sounds. Presto, live album.

And I wouldn’t bother posting it here, except it seems that this board tape isn’t even available anywhere on the internet any more, which is sorta baffling because it’s a great one.

This is one where he starts off slow and brooding and menacing, and then gradually gets faster and heavier, and then faster and heavier, and then faster and heavier, and then faster and heavier, and then faster and heavier, and by the end it feels like the world is about to collapse.

The first half of the show showcases his proto-industrial dubstep, before all the brostep wub-wub-wubs infiltrated the genre and made it the biggest embarrassment since electoclash. Then it ramps up in the mid-section and his breakcore sounds make their way to the forefront. It gets poundier and poundier while keeping all the breakcore sounds, and he rounds it out by adding a little bit of his metalcore noise (but thankfully, not too much).

Originally recorded at Norbergfestival, Norberg, Sweden, 2006.

I’m moving to Salt Lake City

slc winter skyline

Good news. Got a job. Moving this weekend from San Diego to SLC.

San Diego is a perfectly good city, but it’s time for me to move on. And SLC was absolutely at the top of my list of cities where I’d like to relocate, so I think it’s all gonna work out.

I haven’t done too many recordings lately, and I certainly don’t think moving to SLC will provide me any more opportunities for live recording than San Diego. If you wanna play the word association game and I say ‘city with an amazing underground experimental aggressive electronic music scene’, neither San Diego nor Salt Lake City will be on the tips of anybody’s tongues.

The best thing about living in San Diego in this regard was that it was (more or less) just a stone’s throw from LA, where the noisy electronic music scene is markedly more active. And now that I’ll be in SLC, that option is now off the table.

So, I know this is the most unfortunate announcement, but it looks like I won’t be pumping out recordings like I used to. I’ll definitely still make an effort, but that’s just the reality of the situation.

But I will of course keep my eyes and ears open, and will always appreciate it whenever anybody contacts me here or via my FB about shows that might interest me. If it’s a big enough deal, I wouldn’t mind driving the 6 hours to Vegas to record a show. I’m always open to recording non-electronic music as well.

Also, and not so incidentally, if any of you who are reading this are in SLC, please drop me a line and say hi. Or if you have friends there who would be hip to it, please, by all means. Or if you have any tips as to whom I should introduce myself, please let me know. I still want to be involved with the underground electronic music scene, no matter where I’m living.

This by no means signals the end of Humorless Productions. If nothing else, maybe I’ll have more time to work on my original music and/or movie scores.

slc dntn night

The Young Gods live at Roadburn 2009 remastered


If you didn’t know, the authoritative blog for all difficult or otherwise impossible to find live recordings and bootlegs from 80s, 90s and 2000s goth and industrial bands is Dark Circle Room (blog, FB). They’re huge on Sisters of Mercy, and have an extensive catalog of all the big names from those decades. Lots of videos as well as mp3s, and all for download. Many of the recordings don’t sound all that great, especially the audience bootlegs which probably will appeal only to the diehards. But they also have many board tapes, tv broadcasts and audio rips of pro-shot VHSs which are worth grabbing.

I was browsing through their Young Gods selections when I found a download of a webcast of a performance at Roadburn Festival in the Netherlands in 2009. So it sounded pretty good in the first place- no doubt they just fed the main board mix to the internet. In effect, a board tape. Young Gods are one of my all time favorites, so I was stoked to have found it. At the same time, me being an audio engineer, nothing ever meets my ears without me thinking, ‘hmm, I bet you anything I can make this sound better.’

The instrument balance was done for the speakers in the venue, not for the webcast/recording, so it’s understandable that some stuff will sound kinda weird. In this recording, the vocals were buried way down in the mix, and the drums were way too loud. I’m sure in the hall it sounded fine, but for my purposes, I wanted to try and even that out. And I have the tools and the skills to do that, so I did it. Also, one thing that plagues every webcast are the little hiccups and drop outs in the audio, and this one was no different. I fixed up all of those as well, and also fixed the overall level which was a bit lacking in the original.

So what I ended up with was a pretty great recording. I know I’m not the only Young Gods fan out there, so I sent my remastered version to Dark Circle Room and asked if they could post it. They were kind enough to do so, and it’s now available for download from their blog. Go get it here.

[video] Oake live in Los Angeles, 20 March 2015

Like many of you, I hear a massive amount of new music. Most of it is garbage; every once in a while I’ll run across something that’s actually worth dropping into my ipod. Almost never ever do albums come along that totally knock me off my feet and blow me away and shoot straight up into my top-10-all-time list.

But recently one of those albums hit me over the head, and I was fortunate to not only see/hear the band perform, but also record the performance.

So drop what you’re doing and go get Auferstehung by Oake, an album by a duo from Berlin which combines some bleak, end-of-the-world, apocalyptic industrial with some gorgeous, ethereal, almost opera-like female vocals.

But don’t take my word for it. Here’s a song from that performance. From 20 March at Mount Analog’s Nuit Noire XI at Jewel’s Catch One in Los Angeles. All audio and video recording and post-production by me.

[audio] Venetian Snares live in Seattle, 7 June 2008

Here’s one that I played on my Mixlr internet radio shoutcast thing a couple years ago, but seemingly never bothered to post to any of my blogs.

It’s a monstrous live set by Venetian Snares at El Corazon in Seattle that I recorded in the summer of 2008, on the same weekend that Detrimentalist was released.

Unfortunately, if you’re in the US, I think this one might be blocked for you. Some legal BS about licensing or something. Sorry, not my call. Complain the Mixcloud about it if you want, but I’m gonna guess that their hands are tied. Everybody else around the world, have a blast.

(0:00) Deep Dicking

(2:25) Splooj Guzzlers

(7:14) Crashing the Yogurt Truck

(10:56) Mongoloid Alien

(14:47) Einstein-Rosen Bridge

(17:21) Poo Yourself Jason

(19:14) Kimberly Clark

(20:24) CCUK

(22:12) Husikam Rave Dojo

(25:22) Sajtban

(29:53) Eurocore MVP

(31:19) Circle Pit

(33:30) Szerencsetlen

(34:21) Gentleman

(37:05) Kétsarkú Mozgalom

(43:31) My Half

(45:55) Masodik Galamb

(49:58) Dollmaker

(51:44) Crackest

(53:49) Make Ronnie Rocket

(57:30) The Most Sadistic (Necro mix)

(1:01:33) All the Children Are Dead

(1:05:22) Befriend a Childkiller

(1:10:17) A Lot of Drugs

(1:11:50) Hand Throw

(1:13:45) Kakarookee Hates Me

(1:17:10) Skelechairs

(1:20:21) Skelechairs (Megamix)

(1:24:14) Where’s Bill?

(1:27:26) Winnipeg is a Dogshit Dildo

(1:30:18) Winnipeg is a Dogshit Dildo (reprise)

Venetian Snares live in Seattle, 7 June 2008 by Humorless Productions on Mixcloud

The Humorless Productions restorations of a few tracks from Metallica’s …And Justice for All

(edit March 2015)

With the recent headlines concerning Metallica’s 1988 masterpiece …And Justice for All and the assertion by mix engineer Steve Thompson that it was Lars who ordered him to ‘bring down the bass so you can barely hear it in the mix’, I thought it a good opportunity to share with you these reconstructions I did of a few tracks from that album.

I could have sworn that I posted these tracks to my blog when I did the reconstructions two years ago, but apparently I was mistaken about that. Better late than never I guess.

TL:DR version- some video game has Jason’s parts isolated for five Justice songs: the title track, Blackened, The Shortest Straw, One, and Dyer’s Eve. I re-inserted the bass tracks into those songs and mixed/mastered it properly. Other people had attempted to do the same thing, but invariably went totally overboard with the bass parts, pushing them way too loud in the mix. My mixes sound exactly how the album should have sounded, before Lars’ interference.

Two of the five songs were rejected by Soundcloud immediately over copyright concerns, but for some reason three of them didn’t trigger any flags, so those three are below.

Full technical details and exhaustive wordage follows the tracks.

(original text from Spring 2013)

Proper progressive thrash, mixed properly. I’ll tell you the story-

As we all know, …And Justice for All has no bass guitar in the mix. There’s no disputing it. Of course, rumors have swirled over the years as to why this is, the most prominent theory having something to do with the rift between Jason and the rest of the band at the time when they were recording the album, and that the other guys in the band dropped Jason’s part out of the mix and as big FU to him.

Now, I don’t know any better or worse than anybody else, but I don’t buy this at all. I think it was a purely technical decision.

The problem originates in the kick drum, which in the album version, sits way down at 60 to 100 hertz. I don’t know if that’s intentional, but every music producer, every mixing engineer and every mastering and remastering engineer should know that that’s gonna spell trouble, because that’s the range normally reserved for bass. You can sometimes get away with it in electronic music, but for rock music, the kick drum should be centered a little higher, say at 150 hz, which will give the bass guitar a little bit more breathing room down at the bottom end.

I think what happened, was that when they mixed the album, the drum faders go up first (as is standard procedure for just about any audio engineer on the planet), and everything else fills in their own spot in the mix. When it was time for Jason’s faders to go up, all that low end accumulated right at 60-80 Hz, and no doubt it sounded like crap. The only way around it was to drop one of the faders, and we all know who hit the chopping block.

The thing is, there’s not only one way around it. Because it’s really the simplest of procedures to throw an eq on the kick drum and drop the 60-80 Hz and (if needed) boost the upper low end which gives plenty of room for the bass to live beneath it. Why they didn’t just do this I have no idea. The fact that they didn’t sorta gives credence to the whole ‘FU Jason’ theory. But at the same time, bands know that their names will forever be stamped on their releases, and because of that, won’t want to release anything with such monumental imperfections. But perhaps I’m being naive.

But whatever the reason(s), I’ve made an attempt to fix it. I started with Shortest Straw. And it’s funny, because I started working on it on a whim by applying my own synth bass part, which sounds like a weird idea, but actually it sounded pretty damn good. But then (for one reason or another, I really don’t remember) I came across a YouTube of Jason’s isolated bass part for the song, as uploaded by user metfan4l here. I thought ‘how does this person have access to this?’ In doing some research I discovered that some songs from the Justice album were included in some music video game where the individual parts could be isolated and exported, is this correct? Well, I’m not a gamer at all, so this was news to me. I don’t know if that’s where these bass parts originated, but it’s what I ended up using. We all know that YouTube’s sound quality ranges from questionable (even on the high definition uploads) to utter garbage (on just about everything else), but this sounded good enough that, with a little processing, it would sound good enough for my purposes.

So here it is, the fully restored remix/remaster with Jason’s bass part slotted back in place. The result? Instant awesome! Seriously, once you get accustomed to these versions, you’ll never go back to the originals ever again. Coincidentally, the album came out 25 years ago, so I guess you could call this my attempt to commemorate the original’s 25th anniversary, and hopefully to improve upon it.

And now I’m thinking, how have I not run across other people’s attempt to restore these songs? Quite frankly, I’ve not really been interested in Metallica since this album came out 25 years ago, so it’s not like I’m just gonna hear any remixes unless I go looking for them. But when searched around the internet, I only found a couple, and it seems like those who attempted to do it got all hyped up on finally hearing Jason’s part and got all carried away and ended up totally overloading the mix with low end. Am I the first one to make an actual proper mix of these songs? The mix that should have ended up on the album itself? How is it possible that the internet isn’t flooded with And Justice for All remixes? I dunno, but I couldn’t find any.

Couple notes-

1. The way I did it is I had the cd mix on one stereo track and Jason’s part on another. When mixing, I was really tempted to try and warm up the cd mix even a little bit, to try and move away from its very clinical, sterile sound. I tried a couple things, but nothing worked to my satisfaction, so in the end I left the cd mix untouched, outside of dropping some of the low end to make room for Jason’s bass as I described above.

2. I’m well aware of all the ‘loudness wars’ controversy that exploded all over the internet surrounding Metallica’s later releases. Even though this version that I’ve uploaded looks totally brick walled, it’s just Soundcloud’s visual representation that makes it look like this. Everything I’ve ever put on Soundcloud ends up looking a lot more blocky than it actually is, and this one is no different. For the band part of my mix, I used an aiff that I pulled straight off my original release cd. I did all he arranging/mixing in Presonus Studio One 2, and the final master in Soundtrack Pro, all on a MacBook Pro.

Comments, critiques, suggestions? Throw ’em at me.