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    Music, noise Making, insects, industrial decay, nature & wild landscapes...

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  1. I was the one who asked about the Grace Jones remix in that AMA. I was surprised he answered, and was so up for it - and even more so that he got in touch. Seems it’s all going ahead, too. Great guy.
  2. CS2x

    Nintendo Switch

    I’d love a new Golden sun game on the Switch…or, anything, really. Sorry; I know this isn’t the thread for boring moaning, and it seems plenty here are getting enjoyment from their Switch, but it’s been an increasing disappointment now for me (even if Odyssey remains a contender for best game ever.) I had a Wii U & every lauded game on that and already get indie games on my laptop. Every year I peer into the Switch release schedule to see if there’s going to be killer new title, and each year the machine continues to remain largely unused. A new Golden Sun would be a cause for celebration for sure.
  3. any updats go this?
  4. @Loik V credern - yes, it is / was a pretty weird life. You meet some good singers and making the stuff is fun, but putting lots of work in for free that can’t even be released isn’t so great after a while. I also met one or two people who kept changing their minds; one week they liked the track and seemed so excited, the next their partner or whoever said x about it so “could we change this? And this? And this? And, like, start again?” I find it hard to say no anyway! But I don’t know nearly as much as many people do about that pop producer world and don’t know if how I did it was “normal”, and stopped doing that around 2013; I have friends who work with singers and liaise with managers and so on and have been hammering that for years, but I haven’t got the energy, hunger or aptitude to hustle or follow things up in that way. So various kinds of media work seemed a more peaceful path, even if you miss some explosive possibilities (and even if people down the command chain can still reverse decisions.) And I can very much relate to your Instagram experience. It can seem everything works in reverse with sharing today, and I appreciate you being open about that because it’s kind of what the OP was attempting to express. It is great you pursue what interests you and that play is an essential part to what you do. It’s quite hard to relate to people who don’t do that, just as they sometimes seem to find it weird to be driven by that and not much else… @johnj, thanks for the kind words! If I had answered not too long ago, I would have said I’m not really in music any more - because of these intense tinnitus / hyperacusis issues. As others have mentioned here, I was just looking at working in any simple (quiet) job situation, unrelated to music. But as of late I have found ways of working around it! And have begun taking on some work again, and making loads of tracks just for fun. Really it has been crazy difficult since this kicked off two years ago and then seemingly got even worse, and so dark at times that the O.P scenario seems so irrelevant and easy. But there are good, or better, days. Sleep is still a big challenge (without chemical aid), but apart from live stuff (I had to abandon a gig on the night for a jazz / pop band I play in as even with ear muffs AND ear plugs the levels were too much), I am doing studio work on “good” ear days again, and even on tougher days. It’s caused me to be very evangelical to teens I know, to not to blast their ears! The guys I know often assume they’ll be fine with loud volumes, but they’re possibly one concert, earphone or car drive away from chronic torment. Sorry for talking about myself so much! But I do enjoy reading others do the same, so maybe it’s ok.
  5. This thread is a great idea. I felt to share a new re-release. Sometimes I’m engaged in audio experiments with resulting frequencies that are a bit extreme, but on other occasions friendlier / less confrontational avenues seem engaging! https://robertloganmusic.bandcamp.com/album/you-me
  6. @johnj, sure I am happy to share. I met Lana in 2008 (I think!) The contact came through my friend Ivor Guest, who was sought as the 2008 Grace Jones album he produced called Hurricane had just come out. If managers or singers approached him to "try out" a producer he often asked me to make the track with him, and at the time Lana was one of a number of singers who came through. She was really likeable and kind of vulnerable, in the positive sense of the word. You felt like you could say anything with her. I think I was 20 or 21 at the time, and she would have been a similar age, but already had quite a clear idea about how she wanted her vocal to sound and insisted on doing it a certain way. I've included the track we did below - I think it's quite good for under 2 days work. A lot of it came out of playing the Moog Voyager while she sang along. She liked the piece at the time, but we sent it to her manager and heard nothing back and that was eventually the end of that. She then blew up not too long after, I think? I am not in contact with her any more but am happy to answer more questions if you have any. As for FKA Twigs...I met her (her artist name was just "Twigs" in those days) through Myspace, as she was on that site searching out producers to try ideas out with. This was in 2008. She soon came over to my studio after a couple of messages and phone calls and Electric Affection was the first track we did (you can find that on the SoundCloud too.) She was extremely fun to work with; great sense of humour, open to many ideas, even got along with my parents really well. Tracks came fast, out of a lot of free, spontaneous and super-great energy...involved much furious MPC bashing and machine tweaking and 'what would happen if?' type experimentation. She was really lovely and patient even when got lost in editing sounds/music on the screen away from the hardware for hours. We ended up doing 5 other full tracks together through that year to two years. She seemed open to experiment with various styles and references - but did have clear vision and ambition. I didn't, really; was just messing around and had no sense about how to release that kind of material properly, so it was inevitable she would move on, looking back. Interestingly, there was much more of an emphasis on a punk-ey kind of raw sound / new wave / post-punk sound for her then...She seemed really interested in pursuing that at one point. I then got lost in exploring other musical ideas and went abroad and we kind of lost contact. Her current sound is amazing, and strangely I think that's the direction we might have gone in had she wanted that then. But she has gone above and beyond in that electronic world...it's great to hear the brilliantly textural sonics she pursued in the end. Happy to share more once again if you want to know more!
  7. It's been nice reading this thread and the fun people have had with various electronic gizmos. I'm usually crap at sharing, but thought some here might find these synth improvisations interesting, especially to hear the kinds of sounds you can make on the Nord Lead 3 (a kind of misunderstood and brilliant synth in my mind; so sad it's discontinued), Moog Subsequent 37, Korg MS-20 mini, Elektron Machinedrum, Roland Juno 106, Roland JD-XA, Waldorf Rocket etc. Obviously you don't need any of that gear to make good music, but I tended to always find new instruments brought new inspiration. If you're short on time the fun really starts at around 2:17, where how the Machinedrum controls all the other synths is clearer (and I try to play things whilst holding a camera with another hand.)
  8. Again, I’ve really enjoyed the honesty in all recent posts and appreciated reading every account anyone shared. Thanks for what you wrote - I want to respond to some of those things, but selfishly also want to vent. To be honest, everything has got so much worse for me that I kind of find the O.P almost amusing. In retrospect I had it really good then and should have been more thankful - at least I was still able to earn a living off creating new music in some capacity for film projects and other things (even if the personal stuff increasingly met with tumbleweeds.) I’m facing the reality that I’ll probably have to retrain now, but the problem is being a freelance composer / musician is all I’ve ever known since the age of 16 or so. Am 34 now. It’s not just that work has entirely dried up since then anyway (and, whilst trying to reach out am terrible at the “hussle” side) - increasingly weird hearing / tinnitus problems mean that, while I can still make good tracks (according to friends who like that sort of stuff and will give an honest critique of mix/sonics), I can’t do it with the enthusiasm or near the speed of before and certainly not in any outside situations where I can’t control volumes / keep them low. Have no experience working in any other field, and this skillset is not particularly transferable. Has anyone else had to face this? Moving from having only ever known one kind of specific creative freelance work to something totally different? It seems so daunting; have been frozen over it for months. I mean it’s obvious others have had to take this path - I’ve just never met them!
  9. CS2x


    I love Röyksopp; their sonic detail, quirks & unique harmonic approach means even the catchiest tracks sound uniquely 'them' and have layers of interest. It's not crazy music, but it is lovely when I need more of a pop fix. After a while, Melody A.M and Junior have emerged as favourites, along with the Do It Again E.P they released with Robyn in 2014. A song like Happy Up Here sums up what makes them so special for me; really warm sounding, full of detail, a total ear worm, easily likable for almost anyone - but with some surprising choices in the sound and harmony department. Or on the other end, Monument (the E.P version) sums up how cool and atmospheric they can get. Their music somehow 'sounds' Norwegian' to me too. It's just a personal preference thing, but I found The Inevitable End a bit heavy and less interesting musically; I usually like 'darker' music, but did miss the more unusual chordal choices that some of their other music, especially Junior, had. It's a bit more portentous and straight ahead...(Sordid Affair is a delicate and amazing song, though. One of their best.)
  10. Thanks for sharing. You’re not alone in this experience - I was just talking with another musician how I posted a new release on my personal Facebook, got over 30 likes, and literally 0 listens on the hosing site. It can feel sad taking note of these stats / talking about them, but it was fascinating to see how little people actually engage compared to a few years ago. Also, as someone else said in this thread, it’s hard to relate to the lack of curiosity (although I appreciate how much busier everyone else may be than me in life, haha)...if I were to see anyone (be it an old school friend or family member) has posted music or whatever, I couldn’t help but be curious as to what they’ve been doing. The lack of transferability applies to many areas it seems. I don’t mean to share this in a name-droppy way (hate that kind of stuff), but rather by way of another bit of interesting evidence of this. Before they got big I made tracks with Lana Del Rey and FKA Twigs. Over the years I’ve put those on SoundCloud, really just to give an example of how I can work with vocalists (haven’t actually got that many examples of such work!) For a whole year they got hardly any attention, until one of the tracks was posted to a forum. They shot up overnight, but what’s fascinating is that in the years since, there is close to 0% cross-pollination to any other tracks on there. Of course I expected this, and never posted them expecting people to care about my solo music (why would their fans care? - as stated, they’re really on there as examples of vocal work.) But coming from a background of looking up the personnel involved in a record and exploring what else they’ve done, of really getting in rabbit trails, I did find that fact that that *never* happened odd. Those guys may be pop, but their new music is interesting / unusual enough that surely some fans would be slightly savvy about the background construction of music. It’s not because they hate the productions, because I get lots of nice response to those tracks alone. I guess the internet has brought about more hurried one-track-use than I envisioned years and years ago, modern YouTube trawls notwithstanding...!
  11. CS2x

    new york

    In the cold light of day!
  12. Thank you very much, Blunted!
  13. In the nature of sharing, and for a change of pace, here is something (that can be downloaded for free.) On the eve of 2020, two new tracks of mine were put out on a pay-what-you-want basis on Slowfoot Records for a period as a gift for the new year. I’ve re-uploaded these on a new bandcamp site, along with a new 2020 track “Kid Droid Dreams” to complete the picture. The new release is again pay-what-you-want and the tracks particularly close to my heart. https://robertloganmusic.bandcamp.com/album/you-me
  14. idiwa, thanks so much for sharing so openly. Really enjoyed it. It's very helpful to read honest accounts of this journey, especially in terms of feeling we should be at position x by now, issues of comparison and the impact of being "being a professional" on making new stuff. Your description of sharing anything with work or detail put into it on social media is spot on; putting up anything except casual personal moments does feel pointless. On occasions decent discussions / friendly debates can still erupt on Facebook, but sharing created things on Istagram or any other platform...there's not really actual engagement as far as I can see. "You get a few likes and then its yesterdays news, todays chip wrappers. Its not cherished by those that see it...it's just some Generation Game conveyor belt of content that keeps on moving" just about summarises it, as you put it!
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