O basico

Ha!
Teclado midi na minha mesa de trabalho .
Design o comércio exterior e a medicina andando lado o lado eheheh =p

O caminho é longo mas estamos caminhando.

drum

G.Achini on fire

Seguindo a tradição como aconteceu com o teclado controlador , agora estamos de olho nessa belezinha aqui do lado

<----- A Staff Drum VWS 09!

É uma bateria eletrônica brasileira que testamos no fim de semana em uma loja de som e ficamos bastante contentes com as possibilidades! Ela vai ser ligada na daw do De Lee G e é ai que as coisas vão acontecer. Logo mais estaremos com ela plugada na daw e começaremos noss ensaios "físicos".


Saca só um tio tocando nela:

Passo a passo

de passo em passo a coisa vai saindo , díficil é segurar a ansiedade =)

Clássicos G.Achini #4 The Crystal Method

Although Jordan and Kirkland are both from Las Vegas, Nevada, the band was formed in Los Angeles, California, in 1993.^[1] The Crystal Method did most of their earlier production work in an underground shelter lovingly referred to as "The Bomb Shelter" in the front yard of a rent house they once shared as roommates. Before production began on Legion of Boom in 2004, they moved the studio into the garage of the rented house; many people aren't aware of this, however, and still believe they work in the actual "bomb shelter", now a nickname for the studio setup.
From: www.http://en.wikipedia.org/wiki/Crystal_Method


Um Clássico:



Esse vídeo mostra eles usando o equipamento como o que iremos usar:

The (International) Noise Conspiracy

The (International) Noise Conspiracy, ou The (I)nc, é uma banda de garage rock com influências punk rock, formada por Dennis Lyxzén, Inge Johansson, Lars Strömberg, Ludwig Dahlberg e Sara Almgren. Dennis formou o The (I)nc logo após o fim de sua banda anterior, Refused. O The (I)nc se orgulha de suas raízes em outras quatro bandas, de onde vieram seus integrantes, Totalt Jävla Mörker (Johansson), Separation (Strömberg), Saidiwas (Dahlberg e Almgren) e Doughnuts (Almgren).

Influenciados por uma citação do cantor folk Phil Ochs, a banda passou a buscar uma mistura entre música e política que fosse. Além disso, segundo o encarte de seu álbum de estréia, The First Conspiracy, a banda procura combater a função da música como espetáculo, conceito tomado da obra de Guy Debord, Sociedade do espetáculo.

Muito do imaginário e das letras da banda revelam influências situaciosnistas e anarquistas.

Copiado e editado de: http://pt.wikipedia.org/wiki/International_noise_conspiracy

Veja aqui:

G.Achini #3 Imogen Heap

Part cool 'n' collected statuesque beauty, part thrilled eight year old, Imogen Heap is struggling to contain her excitement. “For the last year, I’ve had a mission to accomplish,” says the former Frou Frou lass, kicking her pink stiletto-ed heels with joy. From the pride glowing from the songwriter’s grin, it’s clear “Operation Imogen” has been a resounding success. After twelve months of graft in her studio, the bubbly twenty-seven year-old is finally poised to release the glorious ‘Speak For Yourself’’. Filled with grace and passion, and loaded with hooks, it’s a captivating Bjork meets pop-Squarepusher gem of a record and the thoroughly deserving source of her exhilaration.

Following on from her 1998 debut ‘I Megaphone’ and her 2002 Frou Frou collaboration with Guy Sigsworth, ‘Details’, this is Heap’s second release in her own name. But it is her first truly solo album. Out on Heap’s own label, Megaphonic, ‘Speak For Yourself’ has an almighty cast of just one, but it is a triumph of Oscar-winning proportions. Startling lead single “Hide And Seek” is already taking the States by storm. One week after it was played-out in the closing sequence to the season (2) finale of cult drama series ‘The O.C.’, in a prize slot which last season used Jeff Buckley’s heart-rending version of the Leonard Cohen-penned ‘Hallelujah’, ‘Hide And Seek’ leapt from No. 98 to No.32 in the Official Billboard Hot 100 Download Chart, making Imogen the No.1 Electronic Act on the chart. Impressively, the track – which was only available on iTunes as oppose to the many music sites which make up the Download Chart – sold 9,700 copies as a download in one week alone, and more impressively, gave Megaphonic the only independently-released track in the entire Hot 100 chart that week.

Sitting among the chiffon curtains and butterfly fairy lights of her Bermondsey studio – the very same one in which Dizzee Rascal recorded ‘Showtime’, though now significantly girlied-up – Heap is the picture of satisfaction. Armed with Pro-Tools, some geeky toys and a room full of instruments ranging from a cello to carpet tubes, she wrote, recorded and produced every glistening note of her remarkable electro-poprecord herself, fulfilling a life-long dream. “I always wanted to find out what I was capable of,” she says smiling broadly.

In 2003 Heap parted ways with Island records, who released Frou Frou’s “Details”, though they were keen to put out the next solo album she felt it was “time for a change of scenery”. Imogen recalls “’I signed my first deal when I was just 17 and I’ve been on one label or another since then. I didn’t think I’d end up releasing it on a label of my very own but once I’d finished I didn’t want to give it all away again, specially as I’d put everything I had into it”.

Working with Frou Frou partner, Madonna and Britney producer Guy Sigsworth had been “an apprenticeship in making amazing records,” says Heap. But Heap was adamant that with her next project, she should get the recognition she deserved. “It’s not Guy’s fault, but with Frou Frou, everyone assumed the man did all the production and engineering, mixing and programming and that the girl – me – just sang,” explains Heap. “And I have to say that really irritated me. We did everything together. I’d been programming on Macs since I was twelve and that was more of a love to me than singing ever was.” After her break-up with Universal/Island, Heap felt the time had come for change. “I loved working with Guy,” she says. “I’d learnt so much from him and all the other various collaborations I’d done over the years. Now I was bursting with ideas and just wanted to get my hands really dirty!"

Writing, recording and owning your own music is a noble aspiration. But as Heap discovered, record labels do have their uses and summoning together vital funds was proving a tad problematic. “I traipsed my way round every bank but I couldn’t get a loan,” she says. “I had £10,000 on my credit card and I couldn’t pay my bills” but just before despair could stick in its claws, Heap’s luck changed. Clocking a “For Sale” sign outside her block of flats was, she says, like a little light bulb going on: “I couldn’t help wondering just how much I could sell my flat to myself for.”

From that moment on, it seemed as though Fate was smiling on Heap. The artist set about re-mortgaging her flat and thanks to a sympathetic surveyor (“I couldn’t believe it,” says Heap, “but he turned out to be a Frou Frou fan!”) she got exactly the valuation she needed. The value of her humble flat had grown by a hundred grand, and with money to burn, Heap kick-started her year-long mission on her 26 th birthday, December 9, 2003 . “I had all my new gear delivered as a birthday present to myself,” remembers Heap, “then I booked my mastering for December 7 a year later. That was my deadline – I was going to make sure I had my new album done in time to celebrate on my next birthday!"

The songwriter set about experimenting. “I just wanted to see what kinds of sounds were coming out of me,” she says reliving her excitement. Alone with her new toys, the singer found a voice she didn’t know she had. And it was a discovery that was to unexpectedly shape the new album. Halfway through the album she set up an online blog www.imogenheap.com to help keep herself in check. “Somedays I wouldn’t get much done as I didn’t have anyone to answer to,” says Heap, “so I thought if I wrote a diary on-line people could see if I’d been crap in the studio and it would keep me from slacking. If I got really stuck on something, just seeing the problem up there would help me tackle it better and one time I even asked those reading the blog to choose a lyrical direction from a poll I set up on my website!”

The soundtrack to Heap’s cycle rides between her Waterloo home and her studio may partly explain the cross-pollination of genres that is ‘Speak For Yourself’. Pedaling to the glitchy electro-sparks of Avril, Squarepusher and Cursor Minor, to contemporary classical composers Arvo Part and Ryuichi Sakamoto to the pop/punk/rock of Cornelius and the Foo Fighters. And though the album's dominant personality is electronic, Heap says, it's also intrinsically vocally-lead. The lyric-based songs are accompanied by vocal segments, layered over each other and treated just like the pianos, strings, guitars, and harps are. And like all the other live instruments, her voice is tweaked, compressed or put through harmonisers to achieve the perfect sound. “I write in terms of the voice being a part of the score more than one vocal line hovering over a backing track,” she explains. “I’m so lucky I’ve ended up with such a bizarre voice. It’s distinctive enough to hold itself in whatever music I throw at it.”

However the real emphasis here is on the minutiae; the fluctuating dynamics beneath the soaring sounds. Aside from textured incidental noises, like trains rumbling past the tracks outside Heap’s studio, breaths, sighs, whispers and intimate vocal quirks make this electronic wonder sound human again. And this warmth compliments the intensely personal nature of Heap’s songs.

‘Speak For Yourself’ is vulnerable, exposed and flooded with emotion. So what’s it all about? Heap pauses for thought…“It’s quite tricky writing lyrics for “love” songs when you are happy and content with your man,” she laughs. “The subject matter can get pretty repetitive, so sometimes I found myself running away with a naughty thought or stealing a friend’s situation and eventually the song would turn itself into something all by itself”. And yet Heap’s cinematic vignettes are remarkably vivid. Elusive little fantasies or based on real life? For example, epic closer, “The Moment I Said It” is a tumultuous scene of badly-broken news; stark electro-a cappella “Hide And Seek’ a hymn to disbelief, betrayal and grief awhile “Goodnight And Go”, which features Heap fan, Jeff Beck on guitars, is a wistful ode to forbidden love.

With the album done and dusted, Heap can’t help but revel in her serendipity. “Ever since I decided to do this on my own, great things have come my way,” she says sitting back in her fluffy studio chair. Not withstanding her star-struck surveyor, other factors have also seemingly conspired in her favour. Last year, Scrubs-star Zach Braff personally selected the Frou Frou track ‘Let Go’ for the soundtrack to his critically acclaimed indie-hit and directorial debut, ‘Garden State’, helping fuel the Imogen Heap fire. Musical directors across a variety of television outlets have clamoured for her tracks; in addition to ‘The OC’, ‘CSI’ and ‘Six Feet Under’ have also featured her music and LA’s influential KCRW station is already spot-playing album tracks. For a couple of months before release "Speak For Yourself" has been floating in and around the music business and a few household names have been in touch with Heap since hearing ‘Speak For Yourself”, hoping to book her for knob-twiddling duties. “I thought I might like to get into producing other artists records one day but it seems one day is already here and I’m really enjoying it”.

It’s no surprise Heap emanates a burning self-belief. ‘Speak For Yourself’ has been a test of her abilities; a test she’s passed with glowing colours: “In the past there were times when I wished I had been listened to,” she says, “but I’ve never really known if I was right. This time, from the start I’ve done things my way.” Part cool ’n’ collected statuesque beauty, part thrilled eight year old, Imogen Heap is struggling to contain her excitement. “I feel nothing can stop me,” she says through a huge grin. “This is just the beginning and I can’t sit still with excitement to see how things are going to pan out.”

From: www.myspace.com/imogenheap

G.Achini #2 Basement Jaxx

Basement Jaxx started in Brixton, South London in 1994, where they held a regular club night called Rooty, the namesake of their second artist album.

In 1999, the group released their first full length album, Remedy, to wide acclaim. Remedy includes the "Red Alert", "Rendez Vu", "Jump N' Shout", and "Bingo Bango" singles. Basement Jaxx also released Jaxx Unreleased, a compilation of b-sides, remixes, and other assorted material, in 1999.

Their next full length album, 2001's Rooty included singles "Romeo", "Jus 1 Kiss", "Where's Your Head At?", and "Get Me Off". The music video for album opener "Romeo" is a parody of a Bollywood movie. "Where's Your Head At?", became a huge international hit in 2002 (see 2002 in music) and is perhaps Basement Jaxx's best known song. Xxtra Cutz was released just after Rooty, containing b-sides from this album's singles.

Cover of Rooty

2003 brought Basement Jaxx's third full length album, Kish Kash, which included contributions from Lisa Kekaula (of the Bellrays), Me'shell Ndegeocello, grime MC Dizzee Rascal, Totlyn Jackson, JC Chasez, Siouxsie Sioux, and Phoebe. From this album, the tracks "Lucky Star", "Good Luck" and "Plug It In" were released as singles. The track "Good Luck" was re-released in 2004, after exposure from being the theme to BBC's Euro 2004 coverage. Kish Kash was recognized the following year at the 47th Grammy awards, winning Buxton and Ratcliffe the inaugural Best Electronic/Dance Album award.

Cover of Crazy Itch Radio

In 2005, the duo released The Singles, comprising of all the singles from their previous three albums, some earlier releases (featured on Atlantic Jaxx Recordings: A Compilation), and two new tracks, "Oh My Gosh" and "U Don't Know Me", which were both released as singles. The Singles (Special Edition) was also released, which contained the original compilation, as well as a bonus disc entitled Bonus Traxx, which contained many previously unreleased tracks, as well as some remixes of existing Basement Jaxx songs. They appeared as a headline act on the Pyramid stage at Glastonbury Festival in 2005 after Kylie Minogue was forced to pull out after being diagnosed with cancer.

Their fourth studio album, Crazy Itch Radio, was released on September 4, 2006 in the UK, simultaneously with its first single, "Hush Boy" . The album features guest vocals by Martina Bang, Johnny Blaze, Lily Allen and Robyn. After the release of "Hey U" as a single in March 2007, they will begin work on their fifth album, which may be released on Atlantic Jaxx Recordings.

In addition to their own work, Basement Jaxx have become in-demand remixers. Their more prominent work includes "4 My People" by Missy Elliott , "Like I Love You" by Justin Timberlake and "She Wants to Move" by N.E.R.D.

Good Luck - Classic!!


In: http://en.wikipedia.org/wiki/Basement_Jaxx

Raizes

Afinal de onde viemos?

De Lee G também canta.
Punkeka - Inferno em Gênova


Gx canta também e G.Achini também toca bateria.
Makazumba - Quando o manequim defronta o espelho



=)

Feliz aniversário aos piscinianos ai , Leo , Biro , Marcell!
Hoje é o dia do Leo o cara ta estudando lá na gringa , logo mais vai ser o rei do som heaheae! Parabéns marroneys !

Equipamentos

Bom , estamos atrás de nossos equipamentos .
G.Achini vai tocar bateria , logo estamos procurando um pad ou triggers legais para usarmos , o nosso maestre De Gee Le vai montar a Daw-Unit e eu ja achei oque eu vou usar pra produzir as tracks , tocar e soltar samples ao vivo.

M-Audio AXIOM-61!

Technical Details

• 61-key velocity-sensitive semiweighted action keyboard with assignable aftertouch
• 8 MIDI-assignable trigger pads
• 15 assignable buttons, including 6 transport buttons

Agora é levantar a grana e achar um esquema bom pra importar ou comprar em um esquema bom por aqui.

Review do Axiom-25 ( igual mas com menos teclas):

G.Achini #1 e Prodigy

Tarrrrrde, I´m G.Achini. Hj é meu niver, faço 22 e em comemoração venho dar minha primeira contribuições.
Não contribuindo muito com inovação, mas apenas como estréia prestigiar um clássico, escolhi o Prodigy pra começar por ser a banda de eletrônica que mais mexeu comigo e me influenciou desde pivete.
Segue abaixo um pequeno texto informativo tirado do Wikipedia:


Os The Prodigy são uma banda britânica de música eletrónica e a par dos The Chemical Brothers são uma referência dum sub-género desta, o big beat. Iniciaram a sua carreira em 1990, quando Liam, Keith e Leeroy se cruzaram num clube na cidade onde viviam, Essex e decidiram formar um grupo, com Keith e Leeroy a ocuparem a posição de dançarinos, dando assim um contributo para que a música que Liam criava, ganha-se vida em cima dos palcos. O primeiro concerto aconteceu no The Labyrinth em 1990, ao qual se juntou por divertimento Maxim Reality (no papel de master of ceremonies, MC), acabando por ficar até hoje nessa função. Desde então a banda que começou a tocar em raves pelo Reino Unido, tem realizado concertos em vários pontos do mundo, passando pelos principais palcos e festivais da Europa, Austrália e Estados Unidos da América até aos destinos menos usuais, como o Líbano, Indonésia e Malásia. A banda possuí já 16 anos de experiência, com altos e baixos, sendo o auge da carreira em termos comerciais, quando o single Firestarter em 1996 rompeu o mainstream, criando condições (a par do single seguinte Breathe) para que o terceiro álbum da banda, The Fat Of The Land fosse número 1 nos tops de vários países (22 ao todo, na primeira semana seguinte ao lançamento, incluindo no difícil top dos EUA) expandindo assim ainda mais a sua base de fãs. A banda já recebeu várias nomeações e prémios da indústria discográfica, no qual o destaque vai para Grammys e vitórias em várias categorias da entrega anual dos Prémios Europeus de Música da MTV. Os The Prodigy encontram-se neste momento em digressão, com poucas datas agendadas, para que o processo de gravação do próximo álbum, ainda sem título e com edição prevista para meados de 2007, não seja afectado. Liam descreveu o próximo álbum como sendo mais melódico, tendo afirmado numa entrevista ao site de fãs, Nekozine em Agosto de 2006, que já existiam 18 canções. Nessa mesma entrevista Liam prometeu que iria colocar online, no site oficial, uma série de demos pré-experience, o que sucedeu em meados de Setembro, quatro dessas cinco demos eram até então desconhecidas,os seus títulos são OZ, Evil Minds, Dr. Zupan e Lift Me.

From: http://pt.wikipedia.org/wiki/Prodigy

Assista aqui:
Prodigy - Fire

Track do Dia - Subfocus - Airplane

E ainda estreando noss pastinha de compartilhamento, entre e baixe , vou sempre por um som la:
http://extego.4shared.com/

reactable: basic demo #1

Saca o naipe.
Esta é para o De Lee G

Musicas que inspiram #4 - Refused

Mais uma do lado bem pesado , uma banda adorada pelo nosso maestro-eletro Dee Lee G , ela é conhecida como Refused.
Vejam o video ao vivo e sintam a qualidade da parada , foda.

Refused was a hardcore punk band originating from Umeå, Sweden. They formed in January 1992 with Dennis Lyxzén, David Sandström, Pär Hansson and Jonas Lidgren and released their first demo, Refused, the same year. The band went on to release one more demo, five EPs and three albums (not including The Demo Compilation or The EP Compilation) before breaking up in 1998. Refused's final line-up consisted of the members Dennis Lyxzén, David Sandström, Kristofer Steen and Jon Brännström who released everything from Songs to Fan the Flames of Discontent (1996) to the definitive album The Shape of Punk to Come. In this album, Refused drew heavily on the influence of the Washington, D.C. hardcore band, Nation of Ulysses, New York hardcore band Born Against, as well as the writings of Karl Marx, anarchist Errico Malatesta, and the Situationist International. The band were already well known for their vegan and straight edge stances. Refused broke up the same year as a result of expending all their creative energy and wanting different things. Lead singer Dennis Lyxzén went on to form The (International) Noise Conspiracy, and 93 Million Miles while the other members, as well as venturing into their own projects, formed the group TEXT. Dennis Lyxzén and David Sandström also got together with other friends in 2004 to make the self titled The Lost Patrol Band album. Kristofer Steen is now a director and made a documentary on the band's last year in existence called Refused Are Fucking Dead.

Mais em:
http://en.wikipedia.org/wiki/Refused

Assista aqui:
Refused - New noise ao vivo

Músicas que inspiram #3 - Aphex Twin

Aphex Twin (born Richard David James on August 18, 1971 in Limerick, Ireland) is an electronic music artist, credited with pushing forward the genres of techno, ambient, acid, and drum and bass.

Richard D. James was born of Welsh parents Lorna and Derek James in 1971 in Limerick Regional Hospital, Ireland. He grew up in Cornwall, England, enjoying, along with two sisters, a "very happy" childhood during which they "were pretty much left to do what [they] wanted." ^[1]

Mais: http://en.wikipedia.org/wiki/Aphex_Twin




Assista aqui:
Aphex Twin - Come To daddy

O começo

Esse é o começo de uma longa história com trilha sonora dançante! Me sinto honrado de entrar nesse projeto maluco ao lado de duas das pessoas que mais gostam de musica e entendem de produção musical em Campinas.
É um projeto ambicioso e cheio de desafios que, se forem vencidos, irá render baladas devastadoras!!
Um brinde ao início e viva a boa musica!! tintim

Musicas que inspiram #2 - Squarepusher

Squarepusher, the performing pseudonym of Tom Jenkinson, is an English electronic music artist signed to Warp Records. He specialises in the electronic music genres of drum and bass, musique concrète (sampled digitally rather than by tape), and acid, albeit with a significant jazz influence.

Jenkinson was born in Chelmsford, Essex in 1975 and was educated at King Edward VI Grammar School. A self-taught drummer and highly skilled bass guitar player, his style of extremely fast, cut-up beats mixed with fusion jazz and interlaced with synth lines and samples has gained him a cult following. He is a friend of Richard D. James (Aphex Twin), and his albums have been critically acclaimed for their forward-thinking approach to electronic music.

Jenkinson performs live, playing with a fretless or fretted bass guitar, a laptop, and other hardware. He appeared twice on BBC Radio 1's The Breezeblock show. On 26 June 2005, Squarepusher played at London's Royal Festival Hall as part of the Show "Songs of Experience" a tribute to Jimi Hendrix. His 12 minute performance was built up of a medley of Hendrix tracks played solely on the bass guitar with the use of effects.

One of his brothers, Andy Jenkinson, is also a respected recording artist, under the name Ceephax Acid Crew. A third brother, Jonny, also performs and occasionally supports his siblings on tour as a drum and bass DJ.

Squarepusher's latest full-length album, Hello Everything, was released on October 16th, 2006.

Saiba mais:
http://en.wikipedia.org/wiki/Squarepusher

Veja ao vivo:

Baixe seus cds:

http://rapidshare.com/files/2074465/Squarepuher_-_Hell0_Everything.rar http://ifolder.ru/151045
http://ifolder.ru/383426
http://rapidshare.com/files/909063/1996_-_Port_Rhombus_EP.rar.html
http://rapidshare.com/files/631055/1997_-_Burning_N_Tree.rar.html http://www.megaupload.com/?d=S3B75KEZ
http://www.filesend.net/download.php?f=20e23276733a6a1d4234d29bcac7475d
http://www.mugwump3.com/Squarepusher/Music%20Is%20Rotted%20One%20Note/
http://www.mugwump3.com/Squarepusher/Budakhan%20Mindphone/

Músicas que inspiram #1

Uma influência do lado darkside:

Atari Teenage Riot, banda alemã de hardcore digital também chamada de technocore, formada em 1992 por Alec Empire, Hanin Elias e Carl Crack. Posteriormente Nic Endo uniu-se a banda. Apesar de a sonoridade da banda ter sido rotulada por muito tempo como "eletrônica" o próprio Alec Empire dizia que não era um rótulo que o Atari Teenage Riot se encaixava pelo som da banda ser "Barulhento demais" segundo Alec.

Muitas vezes os lugares onde o Atari Teenage Riot tocava não suportavam tecnicamente as grandes distorções e o barulho feito pelo quarteto e muitos aparelhos simplesmente estouravam. Para Alec Empire o som do Atari Teenage Riot poderia ser chamado de "Riot Sound" (algo como som de revolta) e a música do ATR gerava sempre tumultos.

Em 1999 em Berlin (cidade natal da banda) houve um grande tumulto envolvendo centenas de fãs do grupo e a Polícia local. O grupo chegou até a ser investigado pelo Verfassungschutz, uma repartição do serviço secreto alemão que investiga grupos que representam perigo para a sociedade. O Atari Teenage Riot chegou até ser preso em outra apresentação em Berlin, por terem "incitado as pessoas à violência" durante uma passeata anti-nazista em 1° de maio. A banda estava tocando a música "Revolution Action" em um caminhão estacionado no meio do evento quando de repente começou uma briga entre a polícia e os manifestantes, que totalizavam cerca de 30.000 pessoas.

De acordo com Alec Empire, "frontman" da banda, "houve um grande distúrbio, e era difícil cantar por causa do gás lacrimogêneo. As pessoas jogavam pedras e a situação saiu do controle. Os policiais atiraram pedras em nós e depois acabamos presos." Depois de poucas horas, porém, a banda foi libertada sem ter que pagar qualquer tipo de fiança.

Mais em:
http://pt.wikipedia.org/wiki/Atari_Teenage_Riot


Escute aqui:
Atari Teenage Riot - Delete Yourself



Assista aqui:
Atari Teenage Riot - Revolution Action (Banned Version)




Download do CD Burn, Berlin, Burn!:
http://www.badongo.com/file/2284354

Videos que inspiram

Pendulum tocando ao vivo:





Destruidor.

Encontro #1

Escute o rascunho da música love > power:

O blog e o caminho

Ola amigos , este é o blog/arquivo/empolgação de nosso novo projeto com nome provisório de Extego http://www.purevolume.com/extego

Eu Guilherme sempre gostei e sempre quis criar uma banda que tivesse elementos eletrônicos então comecei a estudar e produzir alguns sonzinhos , sempre bem de leve coisas bem simples nas horas vagas e resolvi voltar e fazer as coisas acontecerem.

Juntei-me a Biro baterista de minha falecida banda Makazumba http://www.myspace.com/makazumba e a Gu o criador do famoso e revolucionário estúdio-móvel-profissional Sputnik .

Esta é uma empreitada bastante díficil e desafiadora por que depende de muito investimento de tempo e dinheiro. O desafio do tempo é que eu sou designer , o Biro trabalha e estuda com comércio exterior e o Gu é médico ou seja temos um sério problema com o tempo para produzir , nos encontar , definir metas etc.etc..etc.
O desafio do dinheiro é que todo equipamento eletrônico é importado e carissimo , e precisaremos de muito equipamento pra começarmos a produzir seriamente e principalmente tocar ao vivo.

Mas somos assim , viemos de uma cultural adolescente do d.i.y o famoso faça você mesmo , criamos bandas , shows , protestos , estúdio por que não fazer uma banda agora?

É algo novo e nós adoramos isto eheh!

Já existe o nosso purevolume com algumas músicas antigas produzidas por mim Guilherme em http://www.purevolume.com/extego apenas rascunhos sem mixagem etc..etc..

Escute aqui a música Relaxe rascunho #1:


Próximo post vou colar as fotos de nosso primeiro encontro físico sobre a banda , eu e biro =)