• 3 Months Mixtape [EN]

    Mai 31 2014, 9h40

    Tracks: 10
    Time selection: 3 months
    Duration: 00:58
    Quality: mp3 vbr v0 (encoded by me from ALAC via XLD)
    Size: 56,7 mb
    Styles: Electronic, Rock, Techno, Ambient, Doom-Jazz

    Tracklist:
    01. Ария - Без Тебя
    02. Biosphere - When I Leave
    03. Bonobo - Cirrus
    04. Bohren and Der Club of Gore - Prowler
    05. Darkside - Paper Trails
    06. Deepchord - Oude Kerk
    07. Judas Priest - Steeler
    08. Kiss - Goin' Blind
    09. Younger Brother - I Am a Freak
    10. Yagya - Deepchord Redesigns 1

    Collage:




    NOTES:

    Rules of creation
    - generate album collage on http://tapmusic.net/lastfm/
    - from albums that I've got I choosed per one track based on statistics of playings for all time. I did not include a pair of tracks - DM Personal Jesus and DC - Driftwood. Because 1st everybody know and hear I guess, and 2nd - DC is already in list

    How to listen?
    You may click on a cover and streaming the tune on Dropbox. Also You can download mixtape as ZIP, then click on menu with three points and choose "save as zip".

    ps. Русскоязычный вариант сообщения здесь.

    Enjoy!
    Comments are welcome!
    Алексей Романов aka Tranceroute 31.05.2014
  • Как вернуть старый Spotify на Mac [RU]

    Abr 10 2014, 6h39

    Заинтересовался этим вопросом в связи с крайним кардинальным обновлением интерфейса приложения. На скриншотах и в мобильной версии все выглядело куда лучше. В целом новый интерфейс напомнил мне ненавистную мной ios7 (не обновился до нее ни на одном из гаджетов) - минимум деталей и контраста, максимум минимализма. Круглые "оватарчики" не забыли {здесь должен быть щенячий восторг} ! Как и положено у настоящих демократических разработчиков Спотифай, возможность выбрать тему в настройках отсутствует на настоящий момент.:-/

    Итак как откатиться к любой из представленных ниже по ссылке сборке приложения.

    01 Найдите и загрузите интересующую вас старую версию приложения здесь: http://spotify.en.uptodown.com/mac/old;
    02 Монтируйте образ и замените приложение в вашей папке приложений тем, что было загружено;
    03 Теперь убедитесь что Спотифай не обновится автоматически:
    а) Откройте в Finder ~/Library folder - использйте хоткей shift+cmd+g и введите в окне "~/Library" без кавычек и нажмите ввод,
    б) Откройте папку Application Support - Spotify,
    в) Удалите файлы _new.archive и Spotify_new.archive.sig (если они есть),
    г) Теперь откройте текстовый редактор, я скопировал файл с настройками на рабочий стол, открыл дефолтным редактором и удалил содержимое внутри, переименовал (см.следующий шаг), далее переместил их в папку Application Support - Spotify,
    д) Создайте два документа и назовите их "Spotify_new.archive" и "Spotify_new.archive.sig" - без кавычек, такими же именами, как у тех файлов, что вы стёрли в шаге в),
    е) Установите атрибуты созданных файлов. Используйте cmd+i или правый щелчок мыши - установите флажки "защита" и закройте вкладки - на иконках файлов должны появиться изображения замков;
    04 Перезапустите приложение и наслаждайтесь им без авто-обновлений!

    Перевод: Алексей Романов ака Tranceroute
    Оригинал статьи [EN]: http://urls.by/25sf

    10.04.2014
  • My ALL Time 10 Fav' Tracks [EN]

    Abr 9 2014, 6h08

    The LIST

    01 BiosphereKobresia {ambient}
    02 BurialAshtray Wasp {dubstep}
    03 Thomas KönerIlira {ambient/drone}
    04 YagyaRigning Sex {dub techno}
    05 MotionfieldNordic Lights {ambient}
    06 DeepchordStars {ambient/field recordings}
    07 MankInto the Vilkitsky Strait {modern classical/ambient}
    08 Brian EnoDeep Blue Day {ambient}
    09 Aphex TwinPulsewidth {idm}
    10 EvaveLet It Free {house/trance}

    RULES of selection
    - time period - all;
    - only one tune from one artist;
    - all names and genres, no matter what is my taste at the moment.

    ALL tracks with STREAMING PREVIEWS.

    GENERATED via

    http://www.lastfm.ru/user/Tranceroute/library/loved?sortBy=plays&sortOrder=desc&page=1

    ps. my account's TIMELINE (general statistics)


    08.04.2014 Romanov Alexey aka Tranceroute
  • Bonobo - The North Borders Tour Spb'2014 [RU]

    Mar 28 2014, 8h59

    Вт 25 Мар – Bonobo, Re'sequence



    В качестве вступления, давненько я не был на подобных мероприятиях.) Крайнее пожалуй было в 2011м году на Бюрене. С музыкой товарища Bonobo познакомился не так давно (ластик утверждает что в июле 2013го), а я честно говоря не припоминаю точно - по мне так в конце 2013го. Собравшись в отпуск в город Санкт-Петербург весной сего года решил проверить список предстоящих там ивентов и нашел для себя интересным только один - выступление Бонобо с его крайним альбомом.

    Купил билеты через интернет на сайте muzbilet.ru с распечаткой дома (бесплатно). Взял ВИП с привилегией столика и диванчика+отдельный вход и гардероб. Немного удивило что достался 1й столик - брал билеты далеко не в начале их распродажи. Отъезжая в Спб успешно забыл распечатанные билеты дома.) Забрал в офисе Музбилета. Забавно, в дороге предпринял пару попыток попасть в личный кабинет клиента на сайте Музбилета - не смог. На мой комментарий по этому поводу, представительница офиса этой самой конторы ухмыльнулась и ответила - да, это не просто! У них какой то не простой способ входа, в прочем в процессе покупки билета это выглядит почти доступно.

    В день ивента так вышло что припоздал, в 20:00 значилось начало события, а я только выползал из метро. Тут и транспорт на руку сыграл и выход перекрытый из метро практически перед самым носом. На разогрев в лице Re'sequence естественно опоздал, в чем принципе не очень был разочарован - давеча проверил пару треков сабжа - не внушило.

    Оказавшись у клуба продемонстрировал "стадный" рефлекс - на подходе к клубу обнаружилась очередь уходящая за здание клуба - стал в нее. В процессе выяснилось что очередь состояла из безбилетных камрадов и таких же не далеких тусовщиков как я. Дальше веселее, прошел, сдал одежу в гардероб и подошел на контроль, где мне заявили - так вы не с того входа зашли! И гардероб у вас отдельный! /Holy balls!/ Забрал одежу, пошел на другой вход - как минимум перспектива часового ожидания в очереди в общий гардероб меня не прельщала. На другом входе встретил другую очередь меньшего размера, но более плотную. Опять включил режим барана, спустя пяток другой минут ожидания - сесуриту заявил, кто с билетами, продвигайтесь! Вообще не понял что это за очередь и заминка была?!?

    Наконец то внутри клуба, пройдя контроль - попал в вип гардероб, сдал одежу и поднялся еще на этаж по напрочь прокуренной лестнице - внутри курить как выяснилось нельзя, но на лестнице никто не запрещает. Покурил. Официантка показала наш столик и ОМГ, я был в шоке - столик находился на 2м этаже - над сценой, сбоку (см.фото). Сразу за бортиком висела массивный ряд колонок и железа держащего эту конструкцию. Открывающийся вид был плачевным. И тут Остапа осенило! Вспомнил, как читал отзывы о клубе и конкретно о таком вот столике.

    Итого, о клубе - звуке, удобствах и тд - место просто ужасно, звук УГ, обозрение УГ. За что уплочены кровные? На что подруга четко возразила - за поджопник (пардон) и столик! Переговорил с официанткой на счет миграции - показала свободные места, которые оказались далеко не лучше. Совет, беря билеты в это заведение, пользуйтесь схемой - чего я не сделал и попал впросак. Туалет оказался вполне сносным - кабинок 6-7 довольно просторных и вполне опрятных внутри. Цены, вполне приемлемые для клуба - далеко не космические как можно бы было предположить из названия клуба. :) Персонал вполне дружелюбный, даже сесуриту (несмотря на то, что читал о них не хорошие отзывы). Публика, вполне вменяемая.

    О концерте, по прибытию в клуб попал на саундчек Саймона и вот спустя 10-15 минут вышел ОН. Аплодисменты, свет - краткое приветствие Саймона и открывающая тема Cirrus. Понеслась. Треклист выступления см. в фото. Прозвучало не мене 3/4 из North Borders и хитов из Black Sands и Days to Come. После последующего анализа треклиста выявил один эксклюзив - выделен в программе. На подпевке у Саймона была английская певица Szjerdene, у которой к слову есть свой сольный альбом! Собственно на North Borders два трека было записано с ее участием - Towers и Transits. Так же в соместном репертуаре имеется кавер на песню Donovan "Get Thy Bearings". Что могу сказать о ней, приятный джазо/блюзовый с фирменной "хриплостью" голос. У меня возникают отсылы к солистке Morcheeba что по внешнему виду, что по голосу.)) Остальная команда состояла из 3-4 человек. Один солировал на саксофоне и флейте, другой на синтезаторе. Еще один на барабане. Сам Саймон стоял за неизвестным мне инструментов фирмы Novator (см.фото), внизу перед ним находился ноутбук. Он не только играл на Новаторе, но и периодически брал гитару и барабанные палочки - правда на чем он отстукивал мне рассмотреть не удалось.)) Проиграв около 80 минут Саймон взял микрофон и было попрощался, я удалился в гальон (туалет по флотски:д), как мне потом доложили - артисты удалившись и распрощавшись вернулись выступить на бис по настойчивым просьбам публики. Было отыграно еще три трека или два..? См. треклист, треки под чертой... Ну и собственно все, Саймон сказал See You nex time, bye bye... И еще три-четыре слова на русском - очень четко, без акцента.))

    В целом выступлением Саймона остался доволен, клуб конечно подпортил все впечатление, что было вполне ожидаемо - такие ж у нас клубы! Ну и сам виноват отчасти - выбирал то место сам! В качестве заключения, в гардеробе удалось пройти без стояния в очереди - хотя она была, не шибко большая. Ну может на минут 15-20, на тот момент когда мы выходили. Посоветую ли вам идти на Саймона - безусловно! Посоветую ли идти в клуб Космонавт? Да, только осторожно. :д



    Отснятые мной фото и видео можно посмотреть здесь.

    03.04.2014 Алексей Романов ака Tranceroute
  • About the Sound [EN]

    Fev 18 2014, 12h41

    1. The Introducing:

    At first, Tribute to tough audiophiles - redirect:D

    1.1. The most common misconceptions on the subject of digital audio

    2. Software test
    - iTunes
    - Winamp
    - Windows Media Player
    - Foobar2000

    3. Comparison of the lossless codecs

    4. Additional
    a. About iTunes more detailed. How to improve default possibilities.:
    - AppleScript;
    - Ten great AppleScripts for iTunes.

    *For now I using two scripts, This Is The Last Song, Save Album Art As Folder. It would be nice, if You advice me more of them.;)


    You may download the separate scripts right here - Doug's AppleScripts for iTunes ♫ and here: iTunes.Pluginsworld

    b. Test of my acoustic system Energy RC-10, by stereo.ru

    Some graphical quotes


    Frequency response



    Nonlinear distortion factor



    Input impedance module


    Notes:
    I collected here the most interesting material about the sound. Glad to hear any comments, advices, notices etc. Unfortunately not all articles here on english, so You may use Google Translator.

    ps. a bit of visual side, photos of my system and machine.

    last modified 20.04.14
  • TOP 2013's, beginning of 14's albums

    Fev 15 2014, 8h42

  • The 25 Most Influential Ambient Albums Of All Time [EN]

    Abr 29 2013, 13h09

    Introducing words.

    In 2002's, producer Jeff Towne and journalist Peter Manzi from New Age Voice Magazine, have created rating of most significant works in style for all time. For selecting of it, were invited following artists - Steve Roach, Robert Rich, founder of record company Hearts of Space - Stephen Hill. As a result were selected 25 albums. There are like an classical albums of Steve Roach and Brian Eno, as well as usually classified as - Tangerine Dream, - Aphex Twin, The Orb and even - Miles Davis. Thus, ambient definition has been quite extended.

    Full list of experts who took a part in creation of this list:

    Stephen Hill, founder of Hearts of Space;
    John Diliberto, producer and radio dj of Echoes syndicated radio;
    Barbara Taylor, founder and editor in chief of New Age Voice Magazine;
    Steve Davis, producer of Hearts of Space;
    Howard Givens, founder and vice president of Spotted Peccary Records;
    Lloyd Barde, founder and vice president of Backroads Music;
    PJ Birosik, founder and vice president of Musik International;
    Bryan Reesman, musical journalist and author of New Age Voice Magazine;
    Forrest, founder of Waveform Records;
    Chuck van Zyl, dj of Star's End Radio;
    Steve Roach, ambient producer;
    Robert Rich, ambient producer;
    Jeff Pearce, ambient producer;
    Dave Maier; Ph. D., Columbia University Computer Music Center;
    Jeff Towne, producer of Echoes syndicated radio;
    Peter Manzi, managing editor of New Age Voice Magazine.

    And here the list:
    The 25 Most Influential Ambient Albums Of All Time


    Closing words.
    Article source. English translation and lastfm adaptation* by me. originally article presented on wikipedia in russian and romanian lng's. Original article "Beyond Echoes" from New Age Voice Magazine is doesn't exist anymore.

    *I made all names "clickable" and fixed some titles as they are presented here, in lastfm database.

    Hope that you'll find my work usefull, AR.
  • My own best of 2012 [EN]

    Dez 26 2012, 12h25



    THE LIST
    • Voices From The Lake Feat. Donato Dozzy & Neel - Voices From The Lake
    • Burial - Kindred EP
    • Burial - Truant/Rough Sleeper
    • Clubroot - III - MMXII
    • Deepchord - Sommer
    • Deepchord - Tonality Of Night
    • DeepChord Presents Echospace - Silent World
    • Loscil - Sketches from New Brighton
    • Steve Roach And Dirk Serries - Low Volume Music
    • Raphaël Marionneau - Le Moment Vol.2
    • Matt Darey - Blossom & Decay
    • Monolake - Ghosts
    • Yagya - The Inescapable Decay Of My Heart
    • Biosphere - Compilation 1991-2004
    • Tor Lundvall - The Shipyard

      UPD:
    • Steve Roach - Back To Life
    • Thomas Köner - Novaya Zemlya
    • Aes Dana - Pollen
    • Kettel & Secede - When Can
    • Steve Roach – Soul Tones
    • Steve Roach, Byron Metcalf - Tales From The Ultra Tribe


      NOTE: order of it's random. There are releases that was released in 2012 ONLY. Albums that was released in 2012 but not in list - is too weak, anyway, feel free remind me some works - I could forget something.
      The users of what.cd can check it as collage here what.cd/collages.php?id=16058

      Back to LastFM statistics, let me introduce my top 15 artists of this year (by amount of listenings).

    • Biosphere 1 789
    • Thomas Köner 1 075
    • Steve Roach 968
    • Aphex Twin 548
    • Motionfield 507
    • Raphaël Marionneau 492
    • Monolake 473
    • Yagya 458
    • Deepchord 453
    • Tor Lundvall 447
    • Deepchord Presents Echospace 379
    • Access to Arasaka 376
    • Mank 353
    • Loscil 344
    • Brian Eno 331

      ps. I think I forgot post top tunes, here they are:
      1 Thomas Köner – Ilira 80
      2 Biosphere – Kobresia 67
      3 Mank – Into the Vilkitsky Strait 59
      4 Yagya – Rigning Fimm 58
      5 Brian Eno – Deep Blue Day 54
      6 Deepchord – Untitled 51
      7 Motionfield – Nordic Lights 49
      8 Mank – Quiditty, the Dream-sea 45
      9 Biosphere – The Things I Tell You 43
      10 Yagya – Rigning Sex 42
      11 Aphex Twin – Pulsewidth 39
      12 Biosphere – Le Grand Dome 38
      12 Biosphere – Poa Alpina 38
      12 Biosphere – When I Leave 38
      15 Access to Arasaka – 00xfroc4 37

      Discovery of the year
      I decided to add following section with artists and concrete works that were released not in 12's, but was opening for me this year. I've opened many superb works and digging deeper some styles. Some of them I trying to listen before, but couldn't feel and understood then.
      Burial - Untrue;
      Boards of Canada three official studio albums;
      Tor Lundvall;
      Aphex Twin SAW I;
      Roderick Julian Modell/Stephen Hitchell stuff;
      Steve Roach;
      Nest - Retold;
      Mank - Isbjorn;
      Monolake;
      Brian Eno - Apollo;
      Marconi Union - Tokyo;
      Conforce - Escapism;
      Kraftwerk;
      Access to Arasaka - :Port;
      Mick Chillage - Tales from the Igloo;
      Telefon Tel Aviv - Fahrenheit Fair Enough;
      Manuel Göttsching - E2E4;
      Patrick O'Hearn - Glaciation;
      Deadbeat - Radio Rothko;
      Sleep Research Facility - Deep Frieze.

      Merry Xmas friends! Wish you happy New Year and many good music forthcoming!
      Alexey aka Tranceroute 26.12.
  • Two and a Half Questions with Access to Arasaka jun`22 2010 [headphonecommute]

    Nov 21 2012, 8h32

    - Where did the name Access to Arasaka come from, and what does it mean?
    ::Access To Arasaka, quite directly, came from Netrunner. It was a card game shoot-off of the Cyberpunk 2020 roleplaying game. When attempting to find a name to fit this project, that one leapt out at me. It felt like a call-to-arms for everyone interested in dark futurism, in a way.

    - How would you describe your music?
    ::I don’t entirely know. The style is really just a mixture of every influence I’ve ever had, past and present. As the general idea of this project is a way to describe the future I anticipate, the sounds and styles themselves are an homage to every song that has already taken me there.

    - Who are some of your influences?
    ::Many of my influences seem to be split between the newer IDM and glitch-oriented music (Autechre, Clark, etc), and the electronic music from the 90s (Orbital, Spacetime Continuum, etc). And, as I am unashamed to admit that I’m an 80s child, I am still inspired by Pet Shop Boys, Visage, Depeche Mode, and the like.

    - There are some post-apocalyptic references in the titles of your tracks. What is the story behind Oppidan?
    ::Oppidan was based on a short story I wrote. It has never escaped the draft stage, and probably never will. The story follows a girl and her residency in one of the many street gangs inhabiting a district of several destroyed Chicago blocks. The story itself is more of a character study, yet I tried to create the album as a description of this actual world, and the events that take place within her story.

    - How has the exposure of your music changed since you got signed to Tympanik and Spectraliquid?
    ::It has changed drastically. I was completely weary of putting it out on the internet in the first place. Once I did, to my amazement, people started to listen. And, for some strange reason, like it. As soon as Tympanik and Spectraliquid got a hold of me, the amount of listeners has been growing beyond my expectations. It’s a very strange feeling.

    - What is your production setup like? What software do you use?
    ::At the moment, I’m running mostly hardware. My studio consists of an Alesis Ion, Korg X50, Microkorg, Korg Electribe EA-1, Roland SH-101, and a Sirkut SNB. For sound editing, I use Sound Forge. And for general track construction (as well as a lot of the drum programming), I use FLStudio. I had started my music production on early versions of these programs, and have more or less stuck with them ever since. Must be a comfort thing.

    - What are you working on right now?
    ::I have just finished the next full-length album, which looks as if it shall see the light of day via Tympanik. There will probably be a good two to three weeks away from music after this is all finished, in which I will do nothing but watch Robocop on repeat and eat a Funyun every time he fires his gun. If I don’t die from a Funyun overdose, I’ll get back to work on this rubbish soon.

    SOURCE: http://reviews.headphonecommute.com/2010/06/22/two-and-a-half-questions-with-access-to-arasaka/
  • Interview with Access to Arasaka nov`14 2010 [abstraktreflections]

    Nov 21 2012, 8h29

    Deriving his name from the “Cyberpunk 2020” card game “Netrunner”, Access To Arasaka emerged on the scene in 2009.

    His debut album Oppidan on the well respected label Tympanik Audio proved him a force to be reckoned with. “A futuristic journey of a cerebral nature, demonstrating a virtual equinox of surgical beat work and densely-layered atmospheres, Oppidan transcended complexity and innovation in electronic music to arrive at the very edge of its own inner space.” (quoted from Tympanik) Now in 2010, he presents the much anticipated follow-up, void();.

    We here at Abstrakt Reflections we’re fortunate enough to catch up with the Rochester, NY producer for a candid interview. Here’s what he had to say:

    AR: You’ve mentioned that you live in Rochester, New York, and have so all your life. Would you mind mentioning a bit about your childhood as it relates to where you are now? Â Looking back, can you see hints that you would become an electronic musician? Â Or did this course of events unfold as a surprise?

    Rob: My childhood was somewhat typical of any 80s child, I’d imagine. Arcades, MTV, Pet Shop Boys, laser backgrounds in my school portraits. I think that certain things from that era definitely shaped me, though. Mainly the music and films. There was an overall aesthetic in 80s entertainment that really seemed to blend darkness and light. Perhaps I am speaking mainly from nostalgia, but it felt like a time where we were right on the brink of the future, and we knew it.

    I never believed I’d become an electronic musician. It was something I had thought of, and very much wanted, yet I never felt that I would have the equipment or the talent to create the music. The latter still evades me, in many ways.

    The moment that I decided to finally try is still very clear to me. It was a late-winter night, the kind where the feeling of spring somehow made its way through the cold. I was listening to Aphex Twin‘s IZ-US on repeat, and something just touched me. I felt that if I was going to have a future in music, that was it.

    AR: You’ve mentioned a number of stylistic changes over the past ten years, from progressive to drum and bass to minimal and so on. Listening to your releases as Access to Arasaka I’ve noticed your focus seems to lean further from the IDM and more toward the ambient at times. Â Do you feel you are headed in a certain direction stylistically? Â Are subtle changes in your style the result of a conscious or subconscious effort?

    Rob: To be honest, I have no idea which direction I’m headed in. I never really have. Part of me worries that I’ve found this equation that works, and that I will simply repeat myself until there are no more listeners willing to devote their time to it. The focus on ambience is somewhat of a conscious decision, though it does vary from track to track. The concept of the album, the feeling behind the song, my personal life while I’m making it, all of these come into play. Even if I start out with the intent to make something very much rooted in IDM, the story being told by the music can often drag it into a different direction without me entirely allowing it to.

    Subtle changes in style are both planned and chaotic, it seems. I do try to alter the general feel of sounds or drums with each release, so that it doesn’t become stagnant. But a lot of my process is simply allowing the music to use me as an instrument for its creation.

    AR: Do you feel your success and exposure as an artist has influenced your music in any way? Â Do you compose and shape certain tracks based on feedback from fans or reviewers? Â Or do you work in more of a vacuum with yourself as sole critic?

    I began writing only for myself. However, I’ve come to realize that if I were acting as my sole critic, I would end up never releasing anything. I can be generally happy with certain aspects of songs, but as soon as I finish an album, I discard it. I don’t entirely know why, but I have never personally been blown away by anything I’ve made. Acquiring listeners over the years has helped to give me an outside view, and shows me that what I’m doing is somehow right.

    The listeners and reviewers have definitely been factored in with creation since then. They have both quelled and embellished my artistic self-doubt. I still write for myself, and focus mainly on my intended goal. But I want them to continue being happy with what I give them. In some ways, it makes it harder. The reaction to this project has been greater than I ever thought possible, and I don’t think they really know how much it means to me that they continue to listen.

    I knew with the creation of void(); that I would lose some listeners. It wasn’t as full and cinematic as Oppidan, and thus turned some people off. But that’s the price we pay as artists. We can never please everyone, and I have to remind myself of this so as to not put a stylistic muzzle on my
    own music.

    AR: Your original music is often conceptual; whether it be based on a short story, event, emotion, etc. Â Yet, you also do a lot of remix work for other artists. Â How would you say your creative process differs when working on another artists material? Â Do you make an effort to interpret and conceptualize or is it more experimental?

    Rob: My remixing process somewhat depends on the source material. There have been times when I’ve tried to be very thoughtful of the original’s feeling, simply filtering it through my own experiences. The remix for Klangstabil‘s “Vertraut” was a good example of this. Though I wanted to give it my own style and everything, I used the background story and emotion of lost love from the original, simply interpreted via my own stylistic ways and with my own memories.

    Other times, with songs that don’t entirely have a concept to them, I will listen to the original track over and over again until they paint a picture or write a story in my head. I then take whatever vision came from it and try to express that in my own way, while incorporating their elements as well.

    I absolutely love remixing, as it’s a way of exploring worlds other than my own. And it’s a chance to pay reverence to those artists that I adore. It’s always an honor to remix something by someone else.

    AR: You mention cyperpunk as a back drop to your inspiration. Â Do you find yourself weaving issues or events beyond the common scope of cyberpunk (information, technology, corporate elitism, etc) into your music?

    Rob: Very much so. Though the world of cyberpunk is a main drive behind this project, I often find that I wish to express fairly personal feelings with my music. The way I make it fit with this project is by weaving these feelings into a story somehow set into that futuristic world. It’s as though these things didn’t happen to me, but to someone else, many many years from now. Therefor, all my cyberpunk listeners stay happy, and I get to let off some steam. Music is my therapy.

    AR: Does Access to Arasaka bear a message for today? Â Are you focused entirely on what could be?

    Rob: Well, it’s hard to say. The message itself may vary with each listener. Yes, it’s based out of what could be, and what might happen in the future. Or, rather, what I want to happen. But a lot stems from the present. Cassiopeia was imagined during a night of star-gazing with friends and a budding romance. :Port was built from people-watching at an airport, with a slight sense of loss and change.

    Ultimately, despite the concepts behind each album, I’m not entirely sure this project even has a message. I never wanted to completely force an idea down anyone’s throat. The message is a constantly morphing code, that seems to be decrypted by each listener in varying ways. The message is whatever you hear.

    Actually, wait. The message is always this: Watch Robocop.

    AR: I’ve noticed a gradual improvement in your production. Â How much attention do you devote to production as an artist? Â Is this something that has improved on its own or do you make a conscious effort to improve technique and acquire new tools?

    Rob: Thank you. I spend a lot of time trying to improve on production, though I sometimes backtrack. Originally, with the free EPs from 2006, I didn’t spend much time on mastering or recording or anything at all. As people began to listen, I worked harder at it. I got better sound equipment, I spent more time focusing on quality of recordings, etc. I’m still not where I want to be, and probably never truly will be. But I’m going to continue to teach myself for as long as I can, and constantly push myself to create something better than the last one.

    AR: What does the future hold for Access to Arasaka? Â Would you mind giving us a sneak peak? Â Any new short stories or ideas you’d care to reveal?

    Rob: I do have a few ideas, but I can’t entirely say. My inspiration is fickle, and I often jump around between things. All I can say for certain is that while I’m working on the next album (whatever that may be), I will also be working on at least one more free EP for everyone.

    SOURCE: http://www.abstraktreflections.net/interviews/accesstoarasaka/