Making an album isn’t all cherry pie. When y’re, like me on your quest for anything you, in this case me, would play alongside your, in that case my heroes and, then get away with it.

So. I did a neat little effort on my last Tapeslave album Dubtape. I needed to go further, deeper, be more authentic and … be myself. So I decided I needed to go back to the drawing board, forget most of what I now as a muscician, a virtuoso, drummer and tech-head. Just let it all go. That meant doing some serious homework on my production skills and my pathetic efforts as an engineer. Watch a ton of vids and listen to a mountain of records I know as long as I’ve been listening to anything, yet this time with the ear of a novice. Paying attention only to that what I’ve always took for granted. And listen with the ear of a rookie, but with the understanding of a veteran. I needed to study the grand masters, again. This time with a different intention. This time not take my luggage for granted and come in with a blank slate and willing to learn it all over again.

… so thus I did. I met and learned more than I’ve bargained for. I came out a different, humble, and totally novice person at the end of it. And I realize now, after a decade or two of making albums on my own that with every one I take one tiny step closer to knowing that I know truly nothing and every thing I do, I owe to each and everyone of you, who show, teach, and have gone before me.

… there is nothing new under the sun

Thank you guys.

Now. I’ve most of all been a synth guy and as I keep coming back to the albums that shaped my life as a music man and audio tech head, I’m equally faithful to the instruments I play. Not having them available to play at the spot and with the coming of virtual and in the box, I’ve come to indulge in the wealth of the available. I’ve made it a hobby to emulate the acoustic and other instruments I play, in the box. Pathetic at best, but I’m getting better. Mark my sounds.

I’m not making any excuses. I’ve made another album. I want you to listen and make up your own ears. I hope you like it as I’m liking it, away from the mountain of effort I promised I wouldn’t put into it, yet I did, triple.

My love, respect and deepest regards go to: Rreall, Rob and Laurens. You are and always have been my lifeline.

Special thanks and acknowledgements go to: Howard Scarr, Dave Pensado, Trevor Horn, Rob Papen, Jack Joseph and Evangelos for your unrivaled sounds, programming and timeless legacy. I wouldn’t be the one I am without, … you.

so. where are we from here now … ? Frankly? I haven’t got a clue mate… but I’m one step closer to nothing. And for now, nothing sounds pretty darn good to me.

Leaves me to state the obvious:, stay tuned, keep listening and be cool. *

pick up a courtesy copy here.

yours, gratefully and very tired but content,


release date: 2014 05 20.


Every once in a while you know you’re working on something very special. While listening to the third round of bounces of my new forthcoming album Galactica. Never before took the mixing process so serious and has it taken up so much of my time. It saddens me to look at the fact the concept of the album has gone out the window with the coming of the digital stores where anyone can buy a single track from what otherwise is meant as a whole. As such I’m looking for ways to release this album as the album it is. Funny though how the writing of the tracks didn’t take half as long and half as much effort as the technical and engineering side of it. As I’m steering towards the overproduced I’m also losing fear of precisely that. Once again the learning curve steeps while working on an album and finding myself blessed to be able to do so much in the box, as out of it. The symbiosis is mind blowing. Due to the fact the entire album exceeds the one hour limit, it is a handful to take in. But every time I make the journey it leaves me with satisfaction and amazement. Of how every time I manage to build a construct of sound and harmony superseding the previous ones. And telling a totally new musical tale all together. I’m also pretty flabbergasted about how the technical side has become so intertwined with the musical aspect of all of it. How shaping the audio and sonic part has become pivotal to the perfecting of the end state of the album as a whole. And in how it has gained such a musical share in the process, rather than the whole technical, mythical part. I’m glad I can find the patience to make these recordings sound the way they do now and most of all feel the way they make me feel. It’s all about energy, emotional energy, anyways. And the art of preserving it in order to ignite it when played back. I’m blessed to have the musical background I have and being able to pull from all I have got stored in my little grey cells and probably in my DNA by now to do just that. By what my father and uncle handed me when I was young. And to make it all come full circle again. To be finding myself being the recording artist, the producer, the engineer and mastering artist whilst having and maintaining a clear relationship with each of these schizo individuals living within me. Listening to all of it, closely is the key.


I’m not as outspoken as I’d like to be, these last days. So let us do something about that today.

I’ve been having a ball with all the hi-fly engineers on Pensado’s Place and a bunch of other places slash video’s, speaking out and supposedly letting all of us in on their recipes for their secret hot-sauce. I really enjoyed the interview Jack Joseph Puig did with Dave Pensado at the House Of Rock. It is truly heartwarming and very informative on a tech level in a cool kinda way. These two are great and truly wonderful and remarkably talented human beings. But back to the said; showing us how to use our plugs is fun and stuff but it doesn’t do too much for me. In the end it’s really the hardware at the end of the equation between you, me, the engineers, the ears and the taste and experience that ‘leave some space for God to walk into the room…’, for the real magic to happen. The ability to make certain key decisions at certain equally specific times under even more so, specific circumstances. Period. Next there’s that discussion on the whole ‘loudness’ thing, whilst preaching that the mix has to really come out nicely on the laptop speakers and the ear buds ‘cause that’s what everybody listens on most of the time. What the fuck is that all about. I mix for the compositions to come out right and  loud as reasonably possible; on any frigging system, with the best possible in mind firstly, the club secondly and hell yeah I make sure it sounds ok on my twenty five bucks desktop speakers so the mindless consumers get their fair share of quality too. But really guys; you expect us to believe all that ? I’ll stop there before I melt. i remember seeing a clip from Brauer who explicitly answered "I’m not going to tell you that…" when asked about a ‘real’ little mixing secret in the brauer-ize bag. With a huge grin. I truly believe in the ‘sharing is good’ thing, but it only creates a bunch of drones, a flock of clones. Trying to re-do what’s been done over and over and over and over again. My one and only episode, for example, would be very brief: I would show you the favorite plug of the week and go through some of the ways I’d use it and then tell you to forget about it and to go: MAKE UP YOUR OWN FUCKING MIND AND EXPERIMENT UNTIL YA CAN’T NO MORE WITH EVERYTHING YOU CAN POSSIBLY GET YOUR HANDS ON. … you feel me?

Headroom baby.

I’m pushing the envelope with my production schedule and I’m literately working my kidneys out of my back to get it all done in the time I’ve set out for it. Not the smartest thing but …. Luiz DePalma’s 124. EP’s a gem. All about the magic tempo’s 124, 129.5, 133 etc. Did all the tracks on this one in 124 and with something minimal on my mind. I think it turned out really sweet. The new Artwerk - The Art Of Tech was more of a release from that and I let myself fall down the ladder back to where I belong. Next on the list are: 7WFIO where I take a famous Nadia Ali sample and rip it to pieces in a lingering way. Then Public Records, four harder and pumping techno tracks on one disc. Tracks are done, some final gathering and mastering to do and off it goes. I’ve finished the Orcio - Beyond remixes, four of ‘m on a plate. Came out nice too I think. All these will be out next month, around the 20th or so. Then, hhh, let me sigh for a second, there is a The Binary Quartet EP / Album I’m finishing up and a live album I did, do in Ableton; Wood Steel and Stone which i’m still scouting a location for to record a completely live version of the album to be released simultaneously with the studio version. And last but not least there’s Galacticaaaaa. Listening to the first bunch of mixes as I’m writing this and feel that it’s pushing towards the end of its birth. But I’m not in any hurry with that one. Kind of want it not to be over and so I keep fidgeting with it. But it’ll be done before the summer. I have no clue as to what I’ll be doing after that and rightly so.




This would probably, definitely maybe, be the last post of 2013. Back in the studio doing what I do best. With a rejuvenated view on things and all the time to spare. I’ve closed the book on this year which brought me a lot of really good stuff, alot. I’m all focused on 2014 and my mindset’s on what music is waiting in the gloom. I feel happy looking and listening back on 2012 and 2013 but I’m just tingling with excitement of what is about to come. Galactica, 124., W.S.and S. Minimalistic, the new Orcio, all great new stuff that got started over the last few months and I’m in no hurry to finish but will reveal themselves next year. I really want to bring some tasty gravy to the table. I’m just happy that I have the time and place to apply what I’ve recently learned, to it. Grateful, for the lack of a better word. I’m slowly restoring what got lost before I came to stay in the Colombian Sun and drive Villa Maya. To get, be back on top. Sober, and féliz. Time is all you need, right ;-) Happy 2014 all. Sky’s the limit…