New York, NY, April 17, 2008: To remind the public, members of the music industry and U.S. legislators of the central role and rights of those who conceive and create music, ASCAP (the American Society of Composers, Authors and Publishers) today officially launched a ‘Bill of Rights for Songwriters and Composers.’

This awareness-building initiative centers around 10 core principles, including ” We have the right to be compensated for the use of our creative works, and share in the revenues that they generate” and “We have the right to license our works and control the ways in which they are used.”

For those of you who don’t know. ASCAP is one of the societies that collect performance royalties for us when our music is licensed and played on things like TV, video games, radio, or other public performances..

Make Your Voice Heard! Sign now.

Click here to read more.

www.octavarecords.com is now online, it’s just basically a splash page at the moment. I wrote a newsletter subscription code for the front page today, so anyone who signs up may be updated of the official launch. I’ve done massive amounts of work behind the scenes on the administration panels and database structure mostly. I’ll soon be into the front-end user interface stuff.

I basically created an editor in php that I can use as a common editor for all the various database functions, much like how scaffolding works in Ruby on Rails. If you’re not familiar, there is a screen cast called Creating a weblog in 15 minutes to show how much it can speed up and simplify things by not repeating a million lines of code. I basically lay down definitions in my php pages containing information about the database structure, such as:

• Database row names
• Database row type (e.g. Integer, Boolean, Text, or even things like File. — As an example, the code will make things like Boolean appear as a check box when editing or adding new entries.
• Friendly names, displayed as labels, such as ‘Name:’
• If the database is storing integers to refer to another database table, such as artist id #1. This section also includes data referring to the table ‘artist’. Giving definition to the id number that’s stored as an integer.
• And a few other options.

The common included file will then generate pages to Display, Add, Edit and Delete database entries based on an array of information describing the database. It’s been a lot of work creating the code, but it will simplify things in the long run, because I’ll be able to re-use the code in other projects.

So, basically, I’ve just been über-geek lately… Perhaps it’s time I buy one of those illuminated wi-fi signal status detector shirts from ThinkGeek? Oh well… What am I talking about? Take a look! You, too, are entangled in this infernal cobweb of a net, so I know you want one!

Octava will be the new home for my various music projects and collaborations, past and present. Including: The Underground Bass Masters, Polaroid Kiss, and Audesi. I will also be producing and mastering new music by Xavier Orengo.

Audesi – Wave Profusion (Rough Draft)
[See post to listen to audio]

There, just two feet below him, was the stream — alive, sparkling, thrilling. He had known about it all along, but at that moment he actually saw it flowing beneath him.

Audesi – The Infernal Machine
[See post to listen to audio]

I decided I’m sick of the flow of slow computers and waiting for softsynths to load and of connecting tracks and everything… It just seems like the flow of everything is becoming SO SLOW!! I’m sick of it!

I hooked up all my hardware synths, at least with as many audio and midi cables that I could find. So now I’m surrounded in keyboards at the moment. I programmed a beat on my Electribe ES-1 and started playing my synths. :) It’s nice to record things quickly, although Cubase was crashing a ton for some reason when dealing with real MIDI and then my Korg controller KB quit working, so I couldn’t make better piano with one of the softsynths I was using… lol.

Audesi – Slow Birth
[See post to listen to audio]

I used to own a record label. That label, Luaka Bop, still exists, though I’m no longer involved in running it. My last record came out through Nonesuch, a subsidiary of the Warner Music Group empire. I have also released music through indie labels like Thrill Jockey, and I have pressed up CDs and sold them on tour. I tour every few years, and I don’t see it as simply a loss leader for CD sales. So I have seen this business from both sides. I’ve made money, and I’ve been ripped off. I’ve had creative freedom, and I’ve been pressured to make hits. I have dealt with diva behavior from crazy musicians, and I have seen genius records by wonderful artists get completely ignored. I love music. I always will. It saved my life, and I bet I’m not the only one who can say that. -David Byrne

Read the full article: David Byrne’s Survival Strategies for Emerging Artists — and Megastars

There was recently a post from Trent Reznor of NIN, with stats of Saul Williams latest record. I couldn’t find a direct link to it on www.nin.com, only an RSS or Atom feed link. So I cut and paste it. I hope nobody minds.

It’s a strange time to be an artist in the recording business. It’s pretty easy to see what NOT to do these days, but less obvious to know what’s right. As I find myself free from the bloated bureaucracy of major labels, finally able to do whatever I want… well, what is that? What is the “right” way to release records, treat your music and your audience with respect and attempt to make a living as well? I have a number of musician friends who are either in a similar situation or feel they soon will be, and it’s a real source of anxiety and uncertainty.I’d like to share my experience releasing Saul Williams’ “The Inevitable Rise and Liberation of NiggyTardust” and what I’ve learned from the process. Perhaps by revealing of all our data – our “dirty laundry” – we can contribute to a better solution.

“A quick history: Saul makes a great record that I produce. We can’t find the right home at a major label. We decide to release it ourselves, digitally. Saul does not have limitless financial resources so we shop around for a company that can fulfill our needs. We choose Musicane because they are competent and are willing to adapt to what we want. The results are here: niggytardust.comWe offer the entire record free (as in totally free to the visitor – we pay bandwidth costs) as 192 MP3s, or for $5 you can choose higher fidelity versions and feel good about supporting the artist directly. We offer all major CCs and PayPal as payment options.Here’s what I was thinking: Fans are interested in music as soon as it’s available (that’s a good thing, remember) and usually that’s a leak from the label’s manufacturing plants. Offering the record digitally as its first appearance in the marketplace eliminates that problem. I thought if you offered the whole record free at reasonable quality – no strings attached – and offered a hassle free way to show support that clearly goes straight to the artists who made it at an unquestionably low price people would “do the right thing”. I know, I know…Well, now I DO know and you will too.Saul’s previous record was released in 2004 and has sold 33,897 copies.As of 1/2/08,154,449 people chose to download Saul’s new record. 28,322 of those people chose to pay $5 for it, meaning: 18.3% chose to pay.Of those paying,3220 chose 192kbps MP3 19,764 chose 320kbps MP3 5338 chose FLACKeep in mind not one cent was spent on marketing this record. The only marketing was Saul and myself talking as loudly as we could to anybody that would listen.If 33,897 people went out and bought Saul’s last record 3 years ago (when more people bought CDs) and over 150K – five times as many – sought out this new record, that’s great – right?I have to assume the people knowing about this project must either be primarily Saul or NIN fans, as there was very little media coverage outside our direct influence. If that assumption is correct – that most of the people that chose to download Saul’s record came from his or my own fan-base – is it good news that less than one in five feel it was worth $5? I’m not sure what I was expecting but that percentage – primarily from fans – seems disheartening.Add to that: we spent too much (correction, I spent too much) making the record utilizing an A-list team and studio, Musicane fees, an old publishing deal, sample clearance fees, paying to give the record away (bandwidth costs), and nobody’s getting rich off this project.But…Saul’s music is in more peoples’ iPods than ever before and people are interested in him. He’ll be touring throughout the year and we will continue to get the word out however we can.So – if you’re an artist looking to utilize this method of distribution, make of these figures what you will and hopefully this info is enlightening.Best,TR”

Let me know what you think. Thanks. :)

Frozen Remix CD [3CD Set]

810

Three CD’s featuring the Audesi Remix of the Celldweller track ‘Frozen’ and 42 remixes by other artists is available to order now for $14.99. [Pre-Sale] Orders will ship the 1st week of December.

Click here to purchase.

Polaroid Kiss’ First Performance

The audio is hard for people to make out which song it is.
Click here to listen to a sample of Love in Transition.

Here’s another video of me and Tim setting up for a show at The Trapp Door.

Tim and Earl

I think I was putting a 9-volt battery into a DI Box. lol.

lvl – Home (Audesi Remix) Streaming Sample
[See post to listen to audio]
Appears courtesy of FIXT Music.

808
lvl – Home (Remix EP)

Audesi – Shallow Reminder
[See post to listen to audio]

Kind of Phat (Beat)
[See post to listen to audio]

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By Jenny Poplar
Posted 10/25/2007

In less than one year, Salt Lake City’s Polaroid Kiss has accomplished things that might cause musicians in more metropolitan cities to shake their fists in the air. How, they must be asking, does a band with no formal public-relations or marketing team and who’ve scarcely played out or even recorded a full-length album accumulate 26,000-plus MySpace friends? How do they receive international airplay and acclaim for their one single and receive requests to perform live with established European-based artists including Chris Corner, aka IAMX, formerly of Sneaker Pimps?

Polaroid Kiss guitarist Tim Burgess—the most recent addition to the quartet—shrugs and, with a slight smile, replies “I think people are getting sick of traditional guitar-driven bands. That’s been done so much in the past few years. They want something new.”

Or retro.

If the runaway success of Polaroid Kiss is any indication, synthesizer-driven bands are making a big comeback. Of course, that’s discounting those who never ever stopped loving electronic bands.

Producer, songwriter and jack-of-all-instruments Brandun Reed says that Polaroid Kiss has received a great deal of attention in Europe, especially in Manchester and Berlin.

“Germans love synth. The old joke is, when America had Lynyrd Skynyrd, Germany had Kraftwerk,” co-producer/multi-instrumentalist Earl Dixon says.

Reed and Georgia-born vocalist Tom Bennett founded Polaroid Kiss in December 2006 following a lively conversation about their divergent musical tastes at a local dance club. Reed and Bennett are both DJs who adore electronic music, but the bulk of Bennett’s vocal experience—true to his Southern roots—has been fronting folk, acoustic and indie acts including Salt Lake City trio O Discordia, a far cry from the abrasive post-punk music that Reed generally enjoys.

Reed and Bennett wanted to produce highly danceable music that begged for multiple rotations at the club. Intelligent, catchy lyrics were also a must. Reed eventually invited Dixon—who has been friends with Reed since the fifth grade—and Burgess to join Polaroid Kiss to ensure a fuller, more developed sound.

Reed and Bennett’s vision is finally starting to come together. Their first single, the moody-yet-infectious Faint, New Order and Nine Inch Nails-influenced “White Lines and White Lies,” has fared well online and in several local clubs where it’s often blasted on repeat. Reed notes that he has even witnessed several people singing along as they dance.

“We’ve really taken our time,” Reed says. “Although we had a lot of ideas from the beginning, we didn’t rush into the recording studio or start booking shows immediately. We made an effort to put a lot of thought into what we’re doing.”

Bennett says Polaroid Kiss is in the process of recording a full-length debut with (fingers crossed) Kelli Ali—another former member of Sneaker Pimps—as guest vocalist. “Her management contacted us because they liked our sound,” Reed says.

Word of mouth still hasn’t landed Polaroid Kiss a proper label, though, and they’re on the hunt for a home. “I’ve always been happy to work really hard and do things myself. I’ve always made my own merchandise, for instance,” says Bennett, who has fronted bands since age 15. “But it does get really exhausting, and it would be nice to eventually have someone to help us with that.”

Reed says Polaroid Kiss’ first major live performance will include a carefully choreographed light show and several other flourishes. “Even though our music is very danceable, I want to make sure we put on a really good performance. Sometimes electronic music isn’t the most exciting thing to see live. We want to make our shows very enjoyable for the audience.”

POLAROID KISS w/IAMX @ The Urban Lounge, 241 S. 500 East, Saturday Oct. 27, 10 p.m. 24Tix.com

Courtesy of  Salt Lake City Weekly. View the article here.

I was headed out to see Mandy this morning and I had been on the freeway for a short time and my rear tire had a blowout. Suddenly there was this huge rumble and my car slightly slipped as if riding on a small patch of ice. I thought either my tire blew out or my engine exploded. haha. Something was wrong. So I pulled over and attempted to put on my 50mph miniature spare tire, but it turned out the wrench I had was the wrong size and it was slipping as I was trying to turn the bolts. I had to call my dad, as he was getting ready to head off to work to come out and help me out. He had the right tool and we got everything fixed and I got home.. Sort of scary, I always worried about having a blowout. I’m lucky that my car was very controllable and I didn’t lose control. Anyways, it looks like I’ll need to hitch a ride to practice for a few days, until I get my tire fixed.

Tonight I have my rig over at Mandy’s and I’m preparing my patches and learning my parts for Stop Motion. For the last little while I’ve had a mobile studio that I’ve dragged around with me everywhere. We practice again tomorrow evening.

It was good to hear the music performed with us all together and it was also sort of exciting. We only had enough time to get through White Lies a few times. The other night and this morning I only had enough time to prepare the synth patches for White Lies, so I will have my patches ready for Love in Transition the next time and probably another song or two’s backing tracks ready. I’ll practice a bit more by my self tomorrow and bring a hardware compressor and EQ to use with Tom’s vocals. Brandun will be recalling the original guitar and bass effects so that it sounds as close as we can get it to our original version.

PK is in search of a drummer in the Salt Lake City, UT area for live shows. We have a show quickly approaching and may have to do the first show without a drummer. If you have pretty tight timing, are into it, and have access to electronic triggers preferably with sampling capabilities so that we can give you the proper kit sounds, get in contact via MySpace. Thanks.

This is a demo track I created for Sample Logic‘s new sample library called ‘The Elements’. I created it using only sounds from the library. It ships October 15th and is available to preorder now for $299.

The Elements is a 13.5GB/4 DVD library that contains over 1,700 instruments, tempo synced loops, and multis designed with you in mind. It operates on both Mac and PC platforms and is delivered in Audio Unit, VST, DXi, and RTAS formats. The library comes preloaded with Kontakt Player 2 software and is ready to go out of the box as both a standalone instrument and plugin. The library can also be loaded and customized in the full version of Kontakt 2.

The Elements is a collection that will transform your work, pushing the envelope beyond today’s standard music and sound design. Since the instruments are broken up into 6 intuitive elements, you won’t waste any time browsing through unneeded sounds. These cutting-edge instruments were crafted to excite, inspire, and electrify, practically begging you to create.

The library is packed with deadly, ear scraping ambiance to serene melodic choirs; glitched out distorted beats to funky harmonic guitar licks; woofed out basses to spine bending transition impacts; traditional brass ensembles to psychedelic spirals of exotic colors. with a bunch of extra sounds made from unicorns, hobbits, and dragons, this library is sure to be fun for the whole family!

More info at www.samplelogic.com

I’m over at Mandy’s now. She’s asleep and I’m up working on putting THIS site together. I’ve moved all my old blogs and the sparse collection of newer ones since 2003 to this new site. It’s not public yet, but I’m working on it. Sorting through all the photos and entering the most correct dates I can find. I should have a huge collection of photos on here. I don’t really take photos like I use to, but maybe I can get back into it again. I will go through and add past entries and sets of photos that I’ve never released in blogs before.

Tomorrow (Actually today, since I’m not on a normal schedule), Polaroid Kiss starts practising for upcoming gigs. I’ll be playing synth. I have to stop by my house and grab some equipment, load it up. I also should go through some files to help prepare my parts, so I can have the sounds I need loaded up and ready to play. I think most of the day will be preparing synth patches and putting together the backing tracks instead of working on the full practice session. Preparing set lists and deciding on what parts who will play, etc..

I am going to start a production blog soon, which will contain some engineer type tests I’ve done with various plug-ins, etc.. I might also add some information about the DSP code I’ve been dabbling in. It could be interesting.
:)

Polaroid Kiss – Stop Motion
[See post to listen to audio]

Credits: Tom Bennett, Brandun Reed & Earl Dixon
Produced by: Brandun Reed & Earl Dixon
Mixed & Mastered by: Earl Dixon

Appears courtesy of FIXT Music.

Gangsta Lead Extravaganza! lol.

Appears courtesy of FIXT Music.
From the Take It & Break It Remix Competition.

Own Little World Remix CD

A double CD featuring the Audesi Remix of the Celldweller track ‘Own Little World’ and 25 remixes by other artists is available to order now for $12.99 by clicking here. Official release date is June 1st, 2007. You can leave comments here. Enjoy! :)

Add To Cart

Combo Deal:

Or, indulge yourself or a friend with the Own Little World Combo Sale and get the Own Little World Remixes Double CD & $5 off the Limited Edition Own Little World Vintage Burnout T-Shirt for $47.98

Add To Cart

Track Listing:

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Besides the remix for Celldweller, you’ve also produced a fair share of your own music. As Celldweller’s sound is somewhat different from yours, how difficult was it to adapt your style of making music to fit a Celldweller remix?

Dixon: This one was a bit challenging at first. It took me about a week to come up with an idea I wanted to run with, but I’m always up for the challenge to work on something different and to take the chance to expand my musical palette. I enjoy taking an idea and twisting it around to play against peoples expectations. For example, with our ‘Own Little World’ remix, I added an erhu to the chorus, which is this crazy bowed two-stringed Chinese instrument. I had a lot of fun creating the remix, and I already have something laid down for the Round Two track, ‘Frozen.’ Ideas have been flowing from my mind before I even got access to the tracks stems!

Creating this remix could potentially gain Audesi’s own music some exposure among Celldweller’s fans. What are your hopes for Audesi? What are you looking to accomplish musically?Dixon: We would like to share what we do with as many people as possible and in return, hope for the ability to sustain ourselves by doing what we love the most! I believe there are universal goals pertaining to both Celldweller and Audesi’s music. We both enjoy blending multiple genres of music together to create something unique, as well as spending countless hours in the studio perfecting those amalgamations. I’ve noticed Celldweller fans have a wide array of musical tastes, both industrial and entirely outside. They’re also into groups like NIN, Depeche Mode, Massive Attack, New Order, Aphex Twin, The Cure, BT, and Imogen Heap. These are also just a few of the influences that we mix together to create our sound and also some similar tastes our fans share amongst each other.

What’s next for Audesi? In the past, the members of Audesi released CDs as Underground Bass Masters. What can people expect from your full-length debut in 2007?

Dixon: Our debut will encompass the gamut of electronic music while having a rock sensibility to it. I promise it won’t be another boring dance record, nor quite what you would have expected to hear from a member of the Underground Bass Masters, either. You’ll hear more vocals, guitars, bass guitar, breakbeats, straight beats, acoustic instruments, as well as some homemade synth concoctions of our own! We also hope to take the show on the road and to, in the future, venture into other avenues of music such as film scoring and producing other artists.

Appears courtesy of FIXT Music.
From FIXT Music / Position Music Production Music Series – Volume 32 (Electronic)

Earl [Audesi]

BT’s Message:

I wish I was addressing our community under different circumstances. Unfortunately an event has occurred that in my opinion warrants a unique approach that ends not only in a solution for the situation that I have found myself in, but also takes a fresh look at how we can help better serve our entire community as a whole. I have been robbed of much of my current gear, for both recording and three different live shows.

I will pay anyone either $20,000 US Dollars or my equivalent time as a producer in exchange for the name and affress of the perpetrators. This information will be more helpful to me, than just getting my gear back. Over 150k dollars of gear was stolen, including my main show computer containing the entire show for This Binary Universe. THis is priceless to me, as is my Hartmann Neuron and Dave Smith Poly-Evolver.

This list is a very fraction of what was stolen:

1. Dave Smith PolyEvolver (Serial #271) + flight case serial number (FZKB61W)
2. Hartmann Nueron + flight case – Has my Patches in it
3. MacPro 2.3Ghz Dual-core Xeon, 4gigs RAM (Serial # OWC53FB1GD4GBK), 2 hard-drives
   (10,000rpm Western Digital-WDGWD1500ADFD and 250gb harddrive)
4. Furman SPB-8C pedal board, Line6 powersupply, Boss TU-2, HBE Power, Scream w/Fat boost, Electro Harmonix Memory Man Deluxe, Morley Alligator Volume Pedal
5. Line 6 Variax 700 (Black) – wonky tuning knob and TBU tunings
6. Novation ReMote SL 61-Key
7. 2 Roland VP-550′s + flight cases (FZKB61W)
8. SE ribbon mic and Titan
9. M-audio Condenser microphones, Solaris and Luna
10. 2 sets of Shure E5 InEar monitor

As many of you know, I am interested in the human condition and the spiritual nature of all of the work that we as a community create. I am not asking for this information for retaliation. I am asking for this information and implementing an unothadox approach in the hopes of actually recovering my music and equipment.

I would like to formally initiate a community project in this forum and am interested in starting a not for profit corporation / reclamation project that serves the music community in two ways:

A simple subscription service you can sign up for to register and “thumbprint” all your gear with photo log (unique markings, etc.) And serial numbers, so if something is stolen from you and resold, either on ebay or other online retailers, or in a pawn shop, ect, it can be found and returned. Tagging (or Microchiping is another option.) More importantly that if you are an aspiring musician who isi unable to afford gear that is new organiztion collects new, old, donated, unused gear and software from musicians and manufactures, (such as discontinued and backlisted items, or if 10 percent of all recovered gear was designated for this project) and gives these to musicians and producers that can’t afford to buy them. We can also create educational wordshop opportunities where the participants could leave the workshop with the gear they need.

To start this, we would need an attorney and or law firm with expeience in setting up non-profits that would work pro-bono and many prominent musicians and companies willing to start this initiate to help create a different climate of possibility for aspiting musicians that provides opportuity for all to create. Not only do I want to protect our communities ability to make music and keep things they have earned, but also create work opportunities and workshops for people that are coming up.

In this country, I feel like amny, if not all of us feel disconnected from the possibiliy of actually effectuating real and lasting change that effects others in an impactful and empowering way. Maybe this personal setback, will make it possible for some kid who can’t afford an audio interface, some software, a computer and other things needed to make music, even one person, the opportunity to make music that brings light to a place deeply in need of it.

Please write: gear@binaryacoustics.com

Thank you.
BT

Updated.. Complete list of items stolen…

Quan /Brand/ Article /Serial Number /Model Number

1 Dave Smith, PolyEvovler, 271, n/a
3 Oddsey, Poly Evolver Case, FZKB61W, n/a
3 PC Audio Labs, AMD Dual Core Laptops, PS206FJ44701, PS206FJ44702, PS206FJ44703,
1 Nueron, Hartman,-Company out of Business n/a
1 Hartman Neuron-Case Anvil
1 Apple Intel Duo, Mac mini-1.83 Intel Core Duo, ZX652E2AJSHD,
1 Mac, 160 Gig Mini Hard Drive
1 Hard Drive Instilation Fee n/a n/a
1 Apple, Mac Mini Ram,
1 Apple, Apple Care, n/a n/a
1 M-Audio Axiom, Axiom ,61key controller,
1 Yamaha Axiom, sustain pedal, Sustain
2 Apple, Logic Audio, Dongles n/a White New
1 Apple, Dual Xeon MacPro, 2.3Ghz Dual Xeon dual-core, YM635189UQ2
1 Mac Pro 4 Gig’s of RAM, OWC53FB1GD4GBK, OWC Ram 240 Pin FB-DIMM
1 3 x 10,000 rpm hard-drives, WDGWD1500ADFD / SEAST3400630A5
1 NVIDIA Quadro Video Card, Nvida, 5400
1 LCD, Samsung 19″
black duffel bag- (Contained ALL show cables, fiber optic cables, Wirlwind Hand Made Snakes and 3 tuners)

List
1 Furman pedal board, SPB-8C
1 Line6 powersupply,
1 Boss, Tuner, TU-2
1 HBE Power Screamer w/Fat boost, n/a
1 ElectroHarmonics memory Man Deluxe , n/a
1 Alligator Volume Pedal, Morley,

6 Cables ,(1/4 monster cable connectors) Monster n/a
1 Road Ready Guitar Flight case n/a
1 Variax 700 guitar, Line 6, black
1 Line 6 Hard Case, FZKB61W
1 Novation, 61keyboard, ReMote SL
2 Roland, Vocoder, VP-550
2 VP-550 flight cases, SBK
2 yamaha VP-550 sustain pedal,
1 Gemini-MKII Microphone, SE Electronics ,
1 Titan Microphone, SE Electronics,
2 M-Audio, Microphone, Luna
2 Shure E5 In Ear Monitors, E5
6 Paintings, Various Russian Artists
4 Paintings, Brian Transeau

This wasn’t on the list. A dk. green, 6string Yamaha bass guitar with an inlayed Mother of Pearl “infinity symbol” (figure 8 ) in the lower neck, slightly off center.

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If we can find either this guitar or the Neuron, we’ve more than likely got the theives. Both of those items are rare. If you do come across either of them, or anything else, do not approach the person or establishment. Call the police!

(I’m looking for snapshots of the paintings)

Thanks for all your support!

BT

All of the remix finalists and other entries are still available to be listened to and commented on at: http://www.remix.celldweller.com/archive/browse.php

I’d like to thank everyone who voted as well as congratulate all the finalists as well as the other winners, DJ Lee and Needles Eye. Great work everyone!

Thanks so much for your support!

212

I just finished co-writing, producing, mixing and mastering Love in Transition for Polaroid Kiss. There’s a dramatic difference. I’ve added totally new drum programming and patterns. Sound design, synth parts and changes with the bass line. A lot of vocal editing on Tom’s performances. It really pops out from the demo.

Credits: Tom Bennett, Brandun Reed & Earl Dixon
Produced by: Brandun Reed & Earl Dixon
Mixed & Mastered by: Earl Dixon

Update:

Love in Transition is available as part of the White Lies and White Lines single on iTunes. Here’s a link:

I looked out the window, the sky was gray.
Everything that I’ve known has long since passed away.
I walked outside without locking the door,
I got in my car and I drove away.

I don’t know where the sky turns blue,
with me and you, where the sky turns blue again.
Singing along the same old song,
I’m starting to see where I’ve been going wrong.

When time leans down to pick us up,
We will learn to drink from lifes cup.
Our souls will burn a mark in God’s design,
Our World will define itself in due time.

Audesi bumper stickers are now available from Cafepress.

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As the sun goes down,
I’ll be waiting for tomorrow to come.
and as I lay here,
I’ll be thinking of you.

So, come tomorrow
I’ll be ready to let it go.
I’ll leave behind my sorrows,
for awhile.

Here, the tide gently sways,
I’ve managed to walk away,
but I can’t stop holding on,
I’m starring into the sun.

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audesi2 (2:08:09 AM): most people pretty much suck. haha. that’s what I figure. very few really kule people. lol
em0_b0i (2:08:25 AM): you couldn’t have said it any better then that
audesi2 (2:08:55 AM): and then some people you’ll think are kule, cuz they’re nice to you.
audesi2 (2:09:21 AM): but you can kind of see in the way they treat other people besides you. and expect that someday they’d probably treat you the same way. lol
em0_b0i (2:10:44 AM): yah, certainly
audesi2 (2:11:46 AM): true worth of a person is in how they treat someone that can do absolutely no good for them at all. lol
em0_b0i (2:12:09 AM): amen brotha

Greets to those kule peeps! ;-)

Le cumha do dhiaidh ní léir dom an bealach a shiúil. Deiridh lucht léinn gur claoite an galar an grá, Char admhaigh mé é is é `ndiaidh mo chroí istigh a chrá: Aicid ró-ghéar, faraor nár sheachain mé í isgo gcuireann sí arraing is céad go géar trí cheart-lár mo chroí.

My work of the last couple days. I decided to try Matt’s idea.. This is a musical idea that I pretty much played out on bass and sung freestyle without thinking about it too much. It came to me pretty easily and I got it recorded as quick as I could although I’m not sure how it exactly relates to the current situation in my life. lol. The rest was spent on the string arrangement. This is a rough draft.

This Way Forever
[See post to listen to audio]

Every time you look at me, I hope to see. See that look in your eyes that makes me feel complete. Everything I thought I had to say, suddenly vanishes and leaves me in defeat.

Because I have you in my arms, I’m happy and I pray that it will be this way forever.

For everything I ever wished that I could have been and everything we ever hope we can one day be. I see that the World make sense when I see it through your eyes. Destiny has called me to you and everything feels like it’s right.

Because I have you in my arms, I’m happy and I pray that it will be this way forever.

I found the truth in this moment, I learned about the greatest gift God gave the World. I seen all my hopes and dreams come to live, when I opened up my heart, I saw the light. Every time I look into your eyes, I see the signs and I know without a thought. I know without a doubt how it’s meant to be.

This is a newly recorded and altered song idea I originally wrote in Nov 2002. Short lo-fi preview of the nights work:

Ripping Away
[See post to listen to audio]

I feel it ripping away from me,
I feel it turning into dust.
I feel you leaving me,
like it wasn’t strong enough.

Oh, why can’t you see all meaning is dieing?
It meant everything to me and my soul is crying.

So I say, maybe it will… all fade away,
if you’ll just leave me be.
But it will! I swear it will all fade away
if you don’t hold on to me!

Maybe it will all fade away if you’ll just leave me be.
But it will! I swear it will all fade away
if you don’t hold on to me!

I took one last look back and a single breath, I felt your heart beating as I took the step ahead.

My heart let out a deep cry and I could feel you pleading, but it was only in this lonely solitude that I could feel you near.

I have trouble believing in a World so blind, when inner beauty and astonishment only fell on deaf ears. There’s a breeze on the wind that beats within. But that’s something you’d probably never understand, it’s like I’m the only one that’s alive…

I know there’s a place void of walls and full of things you’ve never seen and I begin to understand it now as the path washes clean. These shackles and chains have long since been broken. The ones who have never seen this have tried so hard to rip the truth to pieces and these crushing dreams have left me to be.

The truth was shattered into so many small pieces, but I still couldn’t understand why I couldn’t feel you anymore and I never could understand why I could no longer feel anything, anymore. Sorrow had left me cold and on my knees, but in the end I was the only one left to blame.

I thought I was just one more causality with another moment to be wiped away. I am to blame.

“A drop of acid leaves your eye….it falls into your soul and makes a small burn… each tear you create slowly destroys you.”

Magnified from a thousand miles away, missing you more than a thousand words can say, I can’t forget the past, not so fast. My heart feels as if it has been taken. I stare into absent space and begin to realize, I can’t get this gloom shaken.

The sun shines differently, the air smells different, the feelings inside of me are different, my heart beats differently. The thoughts that run through my head. Different. Even you. Even me. Something’s unclear. Something’s dieing. Something’s no longer real. Something’s certain. I might as well be dead to you. Your heart broken by others, your mind wants me to go away. Will never give me a chance. Another tear is shed as I feel the disconnection. Another pain as I break my promise. Another pain knowing you still mean something to me. Another pain knowing that you lied to me, either then or now, in any case. Another pain knowing that you never felt the same as I did. I felt one day you’d run back to me. That maybe you could see. I believed. I thought… <3 truth/perfection/destiny. I really believed it was meant to be.