Music Not From Music From The Bride Of The Gator
Music From The Bride Of The Gator
Skip To About Half-Way Through The "Single Tracks" Section For Convenience
A common goal of my productions is to mis-use software and hardware. Even though I (painfully) learned the French Horn in a grade 9 band class, I never learned how to properly read sheet music! I still managed to play decently, even if I don't want to pick it up again. In 2009 I, without knowing what I was doing and before I knew /anything/ about music, composed noisy jams in a school music software for the fun of it, by slamming on random keyboard typing to produce notes. It was not until a few years later I realized I was already on my way to becoming a musician... Flash forward to today. Now, many of my sounds are produced by me pushing strange corners of programs and machines, and not knowing how to do something right but going on ahead anyhow. What I care about doing is creating soundscapes that are, if not pleasent, interesting enough to listen to- especially for my own enjoyment!
DJ Ruffty Presents: Music That Makes Me Dance [A Double Mixtape] is my second and third (or just second?) mixtape[s], both/each featuring an hour of music that seriously makes me want to constantly dance! Each mixtape within it is split based on Sublimeness versus Intensity, so that people don't have to listen through something painfully loud/noisy for them! Each side is also arranged to have a kind of progression to it, or at least a nice connecting flow, in what kind of approaches there are in each song. As always, I'd really like it if anybody who enjoys this supports the artists they like! That's why I'm sharing music I love, because I hope other people love it too.
DJ Ruffty Presents: Music That Makes Me Smile is my first mixtape, featuring songs that greatly uplift my mood whenever I listen to them. I tried to include a range of sounds, and space them out to have a good flow of content, which I think works well! There's plenty of artist information included- please support the creators you enjoy!
I produce music under Qube, DJ Ruffty, Local Oscillator, and Gator Bride Sound Team. Qube is usually used for more experimental, intentionally composed ambient work, and is used the most. DJ Ruffty is for goofy buffoonery, unintentionally composed noise bunk, and is used less often because it's mostly a joke. Local Oscillator is rarely used, for specifically my audio works made out of sounds from my Casio SA-35 kiddie keyboard. Gator Bride Sound Team is a hand-on-knee name I made up specific to the soundtrack 'they' made.
Even Greater Hits 2010-2016 is the sequel to "Greatest Hits", both in conception and curation. Like the subtitle suggests, the origin of the music goes back as late as 2010, up to and including the day of release. Similar to "Greatest Hits", Even Greater Hits doesn't seek to have a unified concept, but focuses on interesting track arrangement. Also, I feel like the general quality of the music is much higher than before. Even though some of the songs are from the first days of my attempts at making music, my years of experience since with editing have helped me make them really shine! Read more I've said about it over here, and reviews here.
Music Not From Music From The Bride Of The Gator is a successor to my previous album, Music From The Bride Of The Gator, seen below. It features some tracks that didn't make the cut in the original, as well as some technically new material inspired by the original. It is well beefed up by the release relating to a public release of the previously secret website, which now contains, amoung other things, a newly created Skirt Dingo Records Pamphlet and Catalog! This EP is more centered on continuing the aesthetic of the Gator Bride Sound Team, and the music helps carry along the more visual materials. Also, be sure to check out my extensive tumblr posts about all this available here and here!
Music From The Bride Of The Gator is easily my largest release yet, both as an album and as any work. It features 50 tracks spanning almost my entire history of audio creation, right up to the present! It also has many other mediums addressing the content, mostly centered around a glitch art tracklisting booklet that I mashed into a series of plain images, PDF, txt, and even a large website that I also wrote four essays for. Music From... is a huge boundary break for me in many ways, and I'm incredibly glad to have created it and all surrounding it. There's also a promo track for the album you can listen to here if you want to spare a minute! Also, you can read about the release here.
Greatest Hits 2011-1992 was my first big release- a general compilation with both full tracks and a buncha lil bits I made. I'm still happy with a few tracks on it, and amused by others. I've been working on following it up, but I've been doing so many projects that it's hard for me to stay focused on music over anything!
One-Way Mirror was my first release, which is pretty okay I guess. I don't have much anything to say about it, except the title tracks were two mixes of something I was trying to make with the intention of being used in a game, but unfortunately I didn't hit the right notes with either.
I have quite a few individual songs on my soundcloud, some of which may appear in a fuller release and others which were ideas I wanted to just share right away! I'll highlight some individual tunes I'm fond of. If any of the links do not work, refreshing the page should help.
3423AD Jazz is the last preview for "Even Greater Hits" I've posted. It was also one of the last tracks I really finished for the album, due to it's harshness of sound and apparant difficulty in working with. Though it wasn't the hardest track for me to produce into an (if not enjoyable, interesting) piece, it did require a lot of techniques that I didn't have before I started making the respective album. I hope my learned skill shows!
Cosmic Excursion is one of my "jam session" songs, but it's a bit different than usual since I easily had a pretty continuous collage of sound I could safely excerpt without needing to messily patch it back up. As such, despite having the same origins, the result is clearly seperate from other jam pieces that have a patchwork quality to them. Not that that's bad, it's just different.
1995 In Review, so named for how it makes me think of early electronica/musique concrète experimental recordings, where it's just a bunch of computer clanging noises all over the place and I love it! This track was, as is often for me, entirely made in Synth1 in a jam recording session. Don't ask me how I ended up with these sounds, because I don't know either.
Through The Maw 2015 is a re-working of a much older track that I had forgot I had even produced- rediscovering it stunned me, for how fantastic the heart of it is! The old recording was marred by a weak attempt at a decent idea for an opening and closing, and so I recreated them anew. Enjoy this modern classic!
"Twitter Voice Meme" was an excuse for me to combine together a handful of recordings I've taken over the years using the record button on my phone. The low quality is doubled in incomprehension by every different segment using a unique speaker sound effect. I'm not saying this is good or artsy, it's just a bunch of stuff I had been wanting to do for a long time, finally realized.
VIRTUALIZED WHATEVER is a multi-level remix of a midi file, slamming together a dozen different ways of destroying it. I liked each of the individual takes, and am using them for secret purposes, but I really liked the idea of putting together them all to make an all new, possibly meaningful, sequence that intones memories of the now-far distant original.
Qube - Ghost is my highlight of my own method of recording, where-in I record live my play with the parameters on Synth1, with a single note held down forever, and post-edit the results I like in Audacity to make a new arrangement of the sounds that jump out at me as interesting. It works well for me!
Qube - e2f0a is the track that started my ever-lasting legacy... This is a combination of excerpts from a long jam session I had entirely in Synth1. What I enjoy to hear in the moment often ends up being less interesting or accessible when played back, so heavy re-arrangement is important. Especially since by re-ordering the pieces, I can make something that I couldn't have recorded in the first place. Though this piece is dated for getting far too long at times, there might be a modern re-telling of it someday!
Myth of Promethus - Progress of Industry (DJ Ruffty Degressional Remix) / Robotic Grindstone (Qube Concrete Scrape Remix) is a quadruple set of remixes of two songs, in two parts each. The first part of each was done in OpenMPT, and the second part of each is made from using OpenMPT wrong. Hopefully it is obvious what each section is, because of the very different sounds.
Part 1 was based on me trying to make beats and repetitive elements out of the source. Part 2 is granular synthesis made by recording myself previewing small sections of one of the samples in OpenMPT. Part 3 is trying to draw out the various textures of sounds. Part 4 started when OpenMPT refused to understand a sample when I tried to load it in or out of the program, turning it into various tones of low frequencies depending on what I was trying to do, which I ordered and layered into something, I think, interesting.
Local Oscillator - A Nil Aerospace Hill is a composition made out of sounds that, for one reason or another, becaome these glitchy messes when I was trying to record samples from my Casio SA-35!
Qube - Phones, Cameras, Talking is made out of a loop sample I chopped up a lil, bad recordings of somebody in the distance talking over the phone (with their appreciation), and accidentally echo'd audio output from a video taken on a camera.
Qube - D01 is a track titled after an automatically made Audacity data file. It is in two very seperate parts, not really intended to be a thoughtfully-continous thing, but just two pieces from the same recording. I started by preview-playing a sample in OpenMPT, changing the speed I played it at, limiting the section of audio being played, and re-shaping the sample itself while being played. I then re-edited all the pieces I had into something more cohesive in Audacity.
Qube - Flan + Qube - Flantoc are two pieces with the same idea, for the first half, and branch radically different from then on. Flan is composed of nothing but recordings of my then-dusty and noisy computer fan, and Flantoc is a mix of that with vocals from the infamously bad Frantic, by Metallica (please don't sue me!).
Flan would have existed by itself, had I not read a joking suggestion that everybody remix Frantic. I started turning Flan into the new "Flantoc", and after finishing that, I went back and made the rest of Flan. So, while both songs have some overlap, they are overall different experiences.