My computer is back up and running, thanks to my friend Thanh!
I've decided to schedule "Undeniable" to be released as a digital single, which will be released on fall 2008. Check out my MySpace to listen to the track!
Sunday, July 13, 2008
Friday, July 4, 2008
Post Number 13, Unlucky Days
My computer died last weekend, and so I can't work on any new music. It sucks, because I've been on a roll with No Eyed Bird, writing tons and tons of material.
4 computer deaths have happened in the past 6 years:
Summer 2003: eMachines Windows ME desktop system
Spring 2004: Toshiba Windows XP laptop system
Spring/Summer 2007: Self-built Windows XP desktop system
Summer 2008: Compaq Windows Vista desktop system
In each of these cases, it was a hardware problem (not software like virus) that took place. Right now, my friend Thanh is working on the compy. Hope it turns out OK so I can get back to work audio engineering work!
At the moment, I'm taking the extra free time I have to build even more content on No Eyed Bird. Check out the ezine at http://www.noeyedbird.com/
Here is a 3-part editorial in which I wrote about electro-house:
Electro-House (Part 1) UEFA Euro 2008: Consolation Prize To The Germans
Electro-House (Part 2) History
Electro-House (Part 3) Two New Artists
Alrighty, have a nice Fourth of July, and lets hope my computer gets fixed!
4 computer deaths have happened in the past 6 years:
Summer 2003: eMachines Windows ME desktop system
Spring 2004: Toshiba Windows XP laptop system
Spring/Summer 2007: Self-built Windows XP desktop system
Summer 2008: Compaq Windows Vista desktop system
In each of these cases, it was a hardware problem (not software like virus) that took place. Right now, my friend Thanh is working on the compy. Hope it turns out OK so I can get back to work audio engineering work!
At the moment, I'm taking the extra free time I have to build even more content on No Eyed Bird. Check out the ezine at http://www.noeyedbird.com/
Here is a 3-part editorial in which I wrote about electro-house:
Electro-House (Part 1) UEFA Euro 2008: Consolation Prize To The Germans
Electro-House (Part 2) History
Electro-House (Part 3) Two New Artists
Alrighty, have a nice Fourth of July, and lets hope my computer gets fixed!
Monday, June 16, 2008
I Am Now A Music Blog Writer
I have been working a 9-5 job ever since the end of May. Making money is nice, but it's not easy, considering how repetitive it can be. A 40+ workweek can drain the life out of the most energetic spazz-tastic caffeineheads.
For the first two weeks, work dragged on pretty long throughout the day. It got boring really quickly.
However, this weekend, I became a writer for the music blog No Eyed Bird.
I pretty much got flung into working on reviews with little lead-in. I set up my profile for the site, my new reviewer's email (max(at)noeyedbird.com), and then hit the ground running. My first review on the blog is of Luthea Salom - Sunbeams Surrounded By Winter. Click to check it out!
I'm also trying to contribute to Dusted Magazine. I emailed them and hopefully by the end of the week I'll get something back, so I can start writing for them, too.
--Max
For the first two weeks, work dragged on pretty long throughout the day. It got boring really quickly.
However, this weekend, I became a writer for the music blog No Eyed Bird.
I pretty much got flung into working on reviews with little lead-in. I set up my profile for the site, my new reviewer's email (max(at)noeyedbird.com), and then hit the ground running. My first review on the blog is of Luthea Salom - Sunbeams Surrounded By Winter. Click to check it out!
I'm also trying to contribute to Dusted Magazine. I emailed them and hopefully by the end of the week I'll get something back, so I can start writing for them, too.
--Max
Saturday, June 14, 2008
Saratoga, And Yet Another Review Of The Dino Soars
Now that it's summer, I've been languishing in the heat, staying indoors to avoid the scorching sun.
Now that I call Saratoga, CA my home, it's been different dealing with the dry heat as opposed to the breezy mildness of Berkeley. Not bad, just different.
It's been about two months since The Dino Soars was released, and since then, I've been taking care of my own personal business, not having time to worry about the music stuff.
Today was a little different.
The sun set red, with all the wildfires happening in the area. The sky was muddied with the haziness of dark beige smoke.
The picture in the sky almost made it seem as if the world was ending. Sitting in a car, whisking by the scenery, it made me feel peaceful and yet paradoxically, restless. Distracted by the moment of beauty, by the ugly, overbearing tan of the sky framing that bright red jewel of a sun, I was able to slough off that burden of routine and make me think once more of the music.
How was my album doing?
A quick search revealed the following:
"On The Dino Soars, Stegosaurus Rex presents an interesting collection of homemade electronica. Unlike most bedroom computer-made albums, The Dino Soars jumps across styles, touching on hip-hop and house beats, downbeat trip-hop, electro-pop, and even a bit of experimental, droney electronica. (more >>)
Where the album really shines is with the more beat-oriented tracks. Opening song "East Bay Kickback" starts the album off strong with a great sample and a solid drum beat, making it the kind of song you would hear in your head while drinking a beer outside on a warm Oakland evening. Another standout track is "Six Sixteen." A great sample and solid hip-hop beat drive this track as it steadily moves through the opening string loop to a chopped-up vocal chorus and back again to the string loop as it is filtered out.
The album also features some great uptempo tracks. On tracks like "Polar" and "Fleeting Disco Do," Stegosaurus creates great disco-style house. Catchy samples that he cuts and rearranges as the song progresses, solid bass lines, and some good 'ol techno beats make these tracks dancefloor-worthy.
Where this album doesn't work as well is in the less beat-oriented and vocal tracks. These tracks especially lack in production value. The sounds are thin and dull compared to the earlier mentioned songs and have a hard time fitting in with the rest of the album sonically. A little more cohesiveness throughout the album and a step up in production level could put Stegosaurus Rex on the same level as a lot of the stuff on Ninja Tune Records." (-Glenn Jackson, NASCENT)
Of course, I had to open up a cool beer afterwards to refresh myself, in an instance of life-imitating-art-imitating-life. East Bay Kickback indeed.
Yet another Friday the 13th conquered.
Now that I call Saratoga, CA my home, it's been different dealing with the dry heat as opposed to the breezy mildness of Berkeley. Not bad, just different.
It's been about two months since The Dino Soars was released, and since then, I've been taking care of my own personal business, not having time to worry about the music stuff.
Today was a little different.
The sun set red, with all the wildfires happening in the area. The sky was muddied with the haziness of dark beige smoke.
The picture in the sky almost made it seem as if the world was ending. Sitting in a car, whisking by the scenery, it made me feel peaceful and yet paradoxically, restless. Distracted by the moment of beauty, by the ugly, overbearing tan of the sky framing that bright red jewel of a sun, I was able to slough off that burden of routine and make me think once more of the music.
How was my album doing?
A quick search revealed the following:
"On The Dino Soars, Stegosaurus Rex presents an interesting collection of homemade electronica. Unlike most bedroom computer-made albums, The Dino Soars jumps across styles, touching on hip-hop and house beats, downbeat trip-hop, electro-pop, and even a bit of experimental, droney electronica. (more >>)
Where the album really shines is with the more beat-oriented tracks. Opening song "East Bay Kickback" starts the album off strong with a great sample and a solid drum beat, making it the kind of song you would hear in your head while drinking a beer outside on a warm Oakland evening. Another standout track is "Six Sixteen." A great sample and solid hip-hop beat drive this track as it steadily moves through the opening string loop to a chopped-up vocal chorus and back again to the string loop as it is filtered out.
The album also features some great uptempo tracks. On tracks like "Polar" and "Fleeting Disco Do," Stegosaurus creates great disco-style house. Catchy samples that he cuts and rearranges as the song progresses, solid bass lines, and some good 'ol techno beats make these tracks dancefloor-worthy.
Where this album doesn't work as well is in the less beat-oriented and vocal tracks. These tracks especially lack in production value. The sounds are thin and dull compared to the earlier mentioned songs and have a hard time fitting in with the rest of the album sonically. A little more cohesiveness throughout the album and a step up in production level could put Stegosaurus Rex on the same level as a lot of the stuff on Ninja Tune Records." (-Glenn Jackson, NASCENT)
Of course, I had to open up a cool beer afterwards to refresh myself, in an instance of life-imitating-art-imitating-life. East Bay Kickback indeed.
Yet another Friday the 13th conquered.
Wednesday, May 28, 2008
Behind Steg Rex: Finances
I want to thank two of my friends, JC Miguel and Diane Velasco. They saved my worthless skin.
Before I go on, let me explain to you: money is tight these days. (No shit, Sherlock!)
As you no doubt know, the American economy is in a recession. Bernanke, chairman of the Fed has made a bunch of unprecedented moves in the history of the institution in order to avert the economic situation from overwhelming the civil society.
Jobs have been hard to find, people are less willing to spend money, and selling music has been very tough.
It didn't help me at all, because I had no money to finance Steg Rex (equipment, general capital, promoting, marketing...)
I graduated from Cal in December, just when people were realizing that the job market was cooling down, and things became pricier. Being unemployed and burnt out from writing massive amounts of papers, I had a lot of time and energy to work on Stegosaurus Rex. During those few bleak months, I was employed part-time as a contractor for Ask.com, which brought in just enough money to cover rent, and a small bit of food. At the end of every month, I had very little money to spend or save. Trying to promote Steg Rex was stressful because I had no capital, no room for error. If I didn't judiciously budget every dollar I spent on Steg Rex, that would mean I lost that dollar, and that meant that I would probably have to make a meal more meager.
I applied to full-time jobs left and right, often sending my resume to 10 sources a week. Less than 5 contacts actually got back to me in those past 6 months.
I was losing hope, because I definitely wanted to eat better, and I wanted some more money to spend on Steg Rex.
Come late April, an opportunity fell into my lap unexpectedly. My friend Diane Velasco sent me an email one day about Yahoo; they were hiring some contractors who could work full-time.
I jumped right on it immediately. This could be the big break in the job market that I had been looking for all those 5 months!
Diane's boyfriend and my good buddy JC went through the interview process and got hired. I was pretty happy for him, and I was ready to join, too.
The interview process for me was riddled with hiccups. Someone lost my emails, someone else misspelled my email address, there were lapses in communication...
In short, I had no clue if I would be hired.
Last week, I got an email telling me to meet at Sunnyvale to take care of business on Tuesday, May 27th.
My heart skipped a beat. Could I have finally made it?
---
The past two days working at Yahoo have been tiring. Training is tedious and the coffee doesn't hold as well as I would like it to.
But it has been fucking worth it. I'll now make enough to cover more than just rent and food.
I can go ahead and further fund Stegosaurus Rex. Let's hope that I can take both my career and my music as far as I can go.
Once again, thank you, JC. Thank you, Diane.
--Steg Rex
Before I go on, let me explain to you: money is tight these days. (No shit, Sherlock!)
As you no doubt know, the American economy is in a recession. Bernanke, chairman of the Fed has made a bunch of unprecedented moves in the history of the institution in order to avert the economic situation from overwhelming the civil society.
Jobs have been hard to find, people are less willing to spend money, and selling music has been very tough.
It didn't help me at all, because I had no money to finance Steg Rex (equipment, general capital, promoting, marketing...)
I graduated from Cal in December, just when people were realizing that the job market was cooling down, and things became pricier. Being unemployed and burnt out from writing massive amounts of papers, I had a lot of time and energy to work on Stegosaurus Rex. During those few bleak months, I was employed part-time as a contractor for Ask.com, which brought in just enough money to cover rent, and a small bit of food. At the end of every month, I had very little money to spend or save. Trying to promote Steg Rex was stressful because I had no capital, no room for error. If I didn't judiciously budget every dollar I spent on Steg Rex, that would mean I lost that dollar, and that meant that I would probably have to make a meal more meager.
I applied to full-time jobs left and right, often sending my resume to 10 sources a week. Less than 5 contacts actually got back to me in those past 6 months.
I was losing hope, because I definitely wanted to eat better, and I wanted some more money to spend on Steg Rex.
Come late April, an opportunity fell into my lap unexpectedly. My friend Diane Velasco sent me an email one day about Yahoo; they were hiring some contractors who could work full-time.
I jumped right on it immediately. This could be the big break in the job market that I had been looking for all those 5 months!
Diane's boyfriend and my good buddy JC went through the interview process and got hired. I was pretty happy for him, and I was ready to join, too.
The interview process for me was riddled with hiccups. Someone lost my emails, someone else misspelled my email address, there were lapses in communication...
In short, I had no clue if I would be hired.
Last week, I got an email telling me to meet at Sunnyvale to take care of business on Tuesday, May 27th.
My heart skipped a beat. Could I have finally made it?
---
The past two days working at Yahoo have been tiring. Training is tedious and the coffee doesn't hold as well as I would like it to.
But it has been fucking worth it. I'll now make enough to cover more than just rent and food.
I can go ahead and further fund Stegosaurus Rex. Let's hope that I can take both my career and my music as far as I can go.
Once again, thank you, JC. Thank you, Diane.
--Steg Rex
Thursday, May 22, 2008
Steg Rex RSS Feed
The Stegosaurus Rex RSS feed is now up. Just pop this little link into you favorite newsreader:
Steg Rex RSS Feed
Cheers!
Steg Rex RSS FeedCheers!
Wednesday, May 21, 2008
Sea Breeze
I just finished cutting a new disco-house track called Sea Breeze. The last time I made any disco or house was around early June of 2007.
It's been almost a year, but I still got it!
When I first began formulating the concept behind the Stegosaurus Rex project in 2005/2006, it had been roughly 2-3 years since I last made any music. I began making music around 2001 in high school, and due to the limitations of what musical equipment I had (basically, nothing) I made only trance music. Trance (the cheesiest kind) was still kind of big amongst some crowds in school, and that's all I made. It was easy, because everything revolved around 140 bpm, everything was in a major scale, and finding trance synth sounds was an easy job.
I worked under the moniker of MiXCHure in those days, and I produced the cheesiest pop trance.
However, in the back of my head, I always wanted to make disco/house music, which I began listening to around the age of 9 or 10 with an old mono channel Magnavox radio. I would keep the radio by my pillow and listen to old disco jams on Saturday nights while I drifted off to sleep.
It bugged me; why couldn't I make any house? Nothing sounded funky. Every attempt at house music ended up sounding like crappy trance.
I stopped the MiXCHure project in the summer of 2003 as I prepared to go to college. My computer died, taking with it all my source files for my music, and along with it, my desire for making music. The first two years of college were times of restlessness for me, because I had no outlet.
In 2005, I began making music again, under no moniker, because I did not intend on making a new musical project. At this point, I had studied some jazz and blues theory and understood a little bit better about the scales and chords that are related to disco and house.
I was, of course, pretty rusty, and I had with me a demo version of Fruity Loops, which did not allow me to save any of my source files. All my music in those few years sounded extremely amateur and simple, yet the main structure for house tracks became embedded in my mind.
I began to seriously pursue a music project again in late 2005, early 2006. I dubbed this project Stegosaurus Rex, and I began focusing on hip-hop and electro-house. Most people understood the hip-hop part. Most people didn't understand electro-house at all. To them, this was just "porn music" and they got a kick out of seeing what I could produce.
My experimentation with house music, however, was not limited to seeing this wonderful stuff as just "porn music" because I grew up loving the disco music aesthetic. I loved the thick, lush, layered sounds of classic disco. I loved the stripped and chopped-up elements of electro-house, as heard in the work of Daft Punk. I also loved it because it was just funky, plain and simple.
2006-2007 was a year of great strides with the house music, as I began sampling as well as learning how to program my own custom patches in different software synthesizers. I could control the texture of a dance track, making it hard and glitchy, or smooth and mellow.
I had conquered house music.
By this time, I had begun recording live instruments such as guitar and drums, and quickly moved off to producing experimental rock and more hip-hop because I was no longer limited to just synthesizers.
In the past few months, sitting down to make house has been hard, because something that started off funky would end up as hip-hop or rock, because I was compelled to slow down the tempo and then add samples or add guitar.
I decided to sit down and really stick to making a house track this weekend, because I wanted to see if I still had those disco-making skills.
I started out with some nice chords and string pads, and a nice funky bass. I layered the 909 over it all, for a great little beat.
Next, I fired up REAPER and stuck in some subtle, muted guitar arpeggios.
A little reverb here, a dash of delay there.
Voila! A deep-house track! Something a bit different from the other types of house music I had done before. It sounded so sublime, so subtle, so sexy, I had to call it Sea Breeze.
I guess I did the roots of Steg Rex proud. If only young little Max Chen in high school, making his trance music could hear what he would be doing in just a few years' time.
It's been almost a year, but I still got it!
When I first began formulating the concept behind the Stegosaurus Rex project in 2005/2006, it had been roughly 2-3 years since I last made any music. I began making music around 2001 in high school, and due to the limitations of what musical equipment I had (basically, nothing) I made only trance music. Trance (the cheesiest kind) was still kind of big amongst some crowds in school, and that's all I made. It was easy, because everything revolved around 140 bpm, everything was in a major scale, and finding trance synth sounds was an easy job.
I worked under the moniker of MiXCHure in those days, and I produced the cheesiest pop trance.
However, in the back of my head, I always wanted to make disco/house music, which I began listening to around the age of 9 or 10 with an old mono channel Magnavox radio. I would keep the radio by my pillow and listen to old disco jams on Saturday nights while I drifted off to sleep.
It bugged me; why couldn't I make any house? Nothing sounded funky. Every attempt at house music ended up sounding like crappy trance.
I stopped the MiXCHure project in the summer of 2003 as I prepared to go to college. My computer died, taking with it all my source files for my music, and along with it, my desire for making music. The first two years of college were times of restlessness for me, because I had no outlet.
In 2005, I began making music again, under no moniker, because I did not intend on making a new musical project. At this point, I had studied some jazz and blues theory and understood a little bit better about the scales and chords that are related to disco and house.
I was, of course, pretty rusty, and I had with me a demo version of Fruity Loops, which did not allow me to save any of my source files. All my music in those few years sounded extremely amateur and simple, yet the main structure for house tracks became embedded in my mind.
I began to seriously pursue a music project again in late 2005, early 2006. I dubbed this project Stegosaurus Rex, and I began focusing on hip-hop and electro-house. Most people understood the hip-hop part. Most people didn't understand electro-house at all. To them, this was just "porn music" and they got a kick out of seeing what I could produce.
My experimentation with house music, however, was not limited to seeing this wonderful stuff as just "porn music" because I grew up loving the disco music aesthetic. I loved the thick, lush, layered sounds of classic disco. I loved the stripped and chopped-up elements of electro-house, as heard in the work of Daft Punk. I also loved it because it was just funky, plain and simple.
2006-2007 was a year of great strides with the house music, as I began sampling as well as learning how to program my own custom patches in different software synthesizers. I could control the texture of a dance track, making it hard and glitchy, or smooth and mellow.
I had conquered house music.
By this time, I had begun recording live instruments such as guitar and drums, and quickly moved off to producing experimental rock and more hip-hop because I was no longer limited to just synthesizers.
In the past few months, sitting down to make house has been hard, because something that started off funky would end up as hip-hop or rock, because I was compelled to slow down the tempo and then add samples or add guitar.
I decided to sit down and really stick to making a house track this weekend, because I wanted to see if I still had those disco-making skills.
I started out with some nice chords and string pads, and a nice funky bass. I layered the 909 over it all, for a great little beat.
Next, I fired up REAPER and stuck in some subtle, muted guitar arpeggios.
A little reverb here, a dash of delay there.
Voila! A deep-house track! Something a bit different from the other types of house music I had done before. It sounded so sublime, so subtle, so sexy, I had to call it Sea Breeze.
I guess I did the roots of Steg Rex proud. If only young little Max Chen in high school, making his trance music could hear what he would be doing in just a few years' time.
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