This recipe was inspired by a few of my Facebook friend’s love for super hot chilli sauces, and particullar Jon who is allergic to tomatoes, so I’ve used red peppers instead. Nearly all the ingredients are red because that’s the colour of FIRE! BURNING HOT FIRE! OK – enough of the subtle hints – this is a very hot sauce for people who’ve been eating hot things for years – if you find Tabasco hot then please eat that instead !!!ULTRAVIOLENCE NAGA FIREBIRD SAUCE WILL BE TOO HOT FOR YOU!!! Disclaimer over. It is also designed to be a tasty, natural sauce and is not intended to make anyone ill or be uneatable – I ate around 50ml every night for four nights and felt fine.
Finished finished


5 dried ghost naga chilli peppers
8 fresh Thai birdseye chillies
2 large red peppers (capsicums)
50g muscavado sugar
4 fresh garlic cloves
3 sprigs fresh rosemary
50ml red wine vinagar
200ml red wine (any kind)
200ml water
Olive oil
  • Preparation time 15 mins
  • Cooking time 2 hours
  • Makes around 600ml
Firebird ingredients


1/ Preheat oven 160 or 180 (fan)

2/ Take the rosemary off the stalk and put in a bowl with the ghost chillies. Add the red wine and the vinagar. Leave.

Firebird bowl

3/ Chop the two red peppers into quarters, removing the flesh and seeds. Peel and quarter the onions. Destalk the birdseye chillies. Peel the garlic. Put into a roasting traywith a big slug of olive oil and a good shake of salt. Put into oven for 45 minutes, stirring halfway through cooking time.

Firebird roasting

4/ Put the cooked ingredients from the roasting tray into a saucepan. Rince the roasting tray with the 200ml water and add that too. Fianlly put in the red wine and ghost mixture as well as the sugar and bring to the boil. Reduce to very low heat and simmer for an hour.

Firebird 4-saucepan

5/ Allow mixture to cool slightly then blend thoughroughly using a hand blender or jug style mixture. Ready to eat as soon as it’s cooled. Yum yum and ouch! Keeps for three weeks in sealed container in the fridge.


Serving sugestions

Goes great with all the usual suspects…especially wraps, fajittas and burgers.

serving 2

The Firebird greets you with a friendly sting from the birdseyes followed by a deep burn from the ghost nagas. Also flies well as a cooking ingredient..very handy if you live with a non-chilli head…just split the portions before they finish cooking and add the sauce to yours!


You can get most of the ingredients from the supermarket and the nagas from eBay. The sauce costs less than buying pre-made sauces online, but not by much. Totally fresh, though…you have to love it!

In early 1999 I had one of life’s more bizarre experiences when visiting Nightbreed Records in Nottingham. I was having a general chat with label owner Trev Bamford and checking out their new recording studio. The tour got round top their retail stock room where Trev pointed to a magazine on the wall and said something along the lines of “I wander who that bloke is!” I did a bit of a double take, the second time around realising that it was a stock photo of me. I’d only had a few front covers, but I kept my surprise and jubilation to myself, saving my little money for beer instead of buying a copy – normally big press pieces would be passed on to me, but somehow this had slipped below the radar. I was also rather embarrassed that I didn’t know about it, which is quite sweet in retrospect.

The magazine was Sideline, a European music magazine, still very popular in it’s online iteration nowadays. I was signed to Earache Records and every few months Sarah (their fantastic press officer at the time) would hand me a few sheets of questions to answer for smaller UK publications and European media that I almost invariably hadn’t heard of.

The alternative to the written question format was phone interviews which I’d always struggled with. The language gap was a main problem – my first attempt had been in 1993 when calling a German number on a bad line – it turned out that the interviewer wasn’t the journalist, he was just reading out preset questions, of the ilk (and I’ve remember this one like it was yesterday) “which is your bigger idea of hell – hardcore techno or the prison of a Gameboy!” When I tried to veer from the format he repeatedly told me “but I do not like industrial techno – I only like grindcore and death!” and the knockout blow “I am doing this interview for my friend because he does not speak your English!”

But I’d never fared well with UK phoners either – the year before Dan from the label had brilliantly set me up with a half page in Loaded magazine, but the interview had not gone well and I felt I had misrepresented myself, and the journalist gave an accurate transcript of my making little sense. I dreaded sitting on the phone making a fool of myself and managed to avoid the situation almost completely after that. Conversely, in person to person interviews journalists normally “got” me –  I had a wacky and self-deprecating sense of humour but I was serious about my music and could emote about it quite well when prodded.

But my favourite interview format was – and still is – the written Q&A format as it allowed me to give proper thought to anything raised and come up with an informative and/or entertaining response. That’s exactly how I prepare my music – alone and in my own time. The Sideline interview is a very accurate insight into how I saw my music at the time – the images are hi res so click on the pages to give them a read. A couple of times it’s a little unclear that I’m being ironic, and one comment is pretty offensive, as I haven’t added a proper context – please ask in the comments box if you spot it and are interested.

Thanks to Sideline magazine and Earache Records for this brilliant little memory – I’m far from being a nostalgic person, but my albums, a select few gigs and a few other bits and pieces make me very happy to look back on. Having finally tracked down a copy of on eBay after 13 years, Sideline #25 is one of those things.

I’m on the right sitting in the courtyard of Sheffield Corporation with Leighton, co-promoter of Resistanz. Leighton’s first gig as promoter was Ultraviolence back in 2004, and he invited me up to Resistanz last year as a guest. He offered Ultraviolence the chance to play on April 8th 2012, effectively a comeback show as we hadn’t played live for seven years, because of my ill health. I had hoped to be completely cured for over a year before committing to the huge task of getting a new band together and mixing the music up to date, but it was too good an opportunity to pass on.

Here we are on the Sunday afternoon, dressed down rather. Our new singer Sam has chosen a post-post modern  fairisle number, whilst I’ve gone with a blue “save the tiger” T! The show sold out, so an audience  of 1000+ would have intimidated anyone not used to large audiences, however Sam remained composed and sang singing Elektra and Separation, as well as handling the soundcheck well. Most people get embarrassed with the inevitable “one-two-ing” which are part of the job. Sam will be performing more tracks at our next show and I’ll be writing new material for her voice shortly. Being part of an all day line-up can make getting a good sound difficult – my long time sound engineer John Paul did a brilliant job on the mix, along with assistant Tristan and the Corporation’s Pete & Mark.

One big change from the last time we played out is the speed of information with use of smart phones – here Mel Allezbleu has been caught miscommunicating. Mel was Ultraviolence grinder in 2004-5, now repatriated to keyboardist, a role she had performed many times in shows with Icon of Coil and The Chaos Engine, amongst others. Some might be expect that bands with female/pretty keyboard players would be miming, but we didn’t consider that as an option here – it’s all done right or not at all. It’s tough to learn keyboard lines the Ultraviolence way as I tend to go with intricate drones, as opposed to the simple melody approach favoured by much electro-industrial music. After much work we got there, all sounding killer. Luckily Mel’s fave synth, the K-Station as a virtual equvilant in the V-Station so we were able to bounce sounds around via email.

With the band now being a four piece there won’t always be room (or venue licencing) for angle grinder or fire swingers, so we’re hiring on a show by show basis. Here are the brilliant and charming Asha Tank and Eve Dearbhail Travis, master portraits of health and cool. Asha and Eve her good enough to agree to angle grind for us at the last minute when it became clear that the show demanded it, performing on Macochist Fury, Stigmata and Hardcore Motherfucker 2012.

Guitarist and keyboard player Paul Bachelor has been a friend to Ultraviolence since his previous band Ion played with us at The Electric Ballroom, Camden in 2001. We were larking around on Facebook when we came up with the idea of having live guitar in a UV show. This was a pretty big step – I made no secret in previous years of the fact that most of the music was played off a digital tape so to risk the pitfalls of live performance was always a risk. However, I really didn’t want to comeback the same as 2005, so more live stuff was an exciting challenge. We all needed eye protection from the grinding sparks and here Paul sports a pair of shades in a photograph that  brings to mind a cybernetic John Lydon.

A few minutes before stage time and nerves were a bit raw – first live show for seven years, completely new band, six people on stage, fast festival equipment changeover – what could possibly go wrong? I really did think I’d been a fucking idiot and over-reached myself completely at various stages of preparation, but when the lights go down and the music comes on everything changes, the world as I know it ceases to exist and my only purpose becomes to express the side of my personality that I do not otherwise show. To expose the inner soul and to attack. To make the bass drum reign.

I had worried that I would be nervous when onstage but was not so at all and felt completely at home by the end of the second track, Joan. The audience were tremendous – I hope you all know how grateful we were for our awesome reception – we really had no idea what to expect. My muscles were all tensed for the entire 45 minutes but I didn;t notice any discomfort at all at the time. I once came off the stage with a hand covered in dried blood from a hand injury but noticed no pain for hours.

The set worked out that there were quite a few tracks for my vocals, but I still had a fair bit of kit to operate as well. I mixed the live electronics through a 12 channel Mackie mixing desk, along with a Novation Xio keyboard and a Korg Monotron hooked up to a Behringer vocoder. Fucking Beheinger broke, though so no electronic voice sounds. A shame as I spent considerable time and money getting it all going, but on the other hand the show went so well without it’s kind of got that hassle out of the way and I’ll be leaving the stupid thing at home next time. The Xio has a nice XY pad for sound manipulation wich I enjoyed using, especially on Death of a Child. I might expand on that idea and use an iPad next time out in London this August but we’ll see.

Mel looking magnificently imposing with her K Station perched upon a gun metal Ultimate Support stand,  complete with custom LED’s. The live keyboards added unpredictability and potential chaos to the show, although I detected no mistakes whatsoever. The live filters are never the same twice. Some smart clothes choices and excellent lighting by Tom Arnold helped all of us to look our best.

Paul looks every inch the rockstar here. He even brought along a Marshall amp which sounded totally kicking, a supercharged V12 of a noise. Paul had a bit of a torture test learning the apparently random attack bursts of Electronic Death Resistanz, amongst others but was more than up to the challenge.

All these great photos were taken by Dokka Chapman, who was kind enough to put up with us for the weekend – this is my favourite. I do the occaisional guest lecture to music tech students and I always say that to follow the route my life has – writing and performing leftfield electronic music – you can’t expect to earn than a basic living – possibly not even that. But you may get to keep moments that you  absolutely cannot buy with any amount of money. I have a few – the first playback of my finished first album was the best but what you see here runs it close. I had been in some humbling physical and emotional pain for a long time and to have my music appreciated isn’t something that I’ll ever take for granted. To see myself and the band like this – built from nothing –  is an achievement I’ll always treasure, no matter what happens. In many ways I am very lucky.

Thanks again to the band and everyone else I’ve mentioned as well as Phyll, Stuart, Gadge, Sian, Jaf, Lee and Sam for helping to make this the best Ultraviolence show ever.


Posted: January 31, 2012 in Music
Tags: , , , , ,

Blowing the Ultraviolence speakers lately…

Neophyte  Mainiak

Stunning gabber production from Dutch mastersn bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb –  the cat have liked it so much he just ran up to the speakers and  across my keyboard…Neophyte’s usual mix of 909 and hoover sounds is perfected here with an expert build up of fist pumping noise over the 4.5 mins. I heard this on Radio 1 of all places when I got up at 4 in the morning the other night, and I ordered the album from HMV – maybe Neophyte will eventually get the huge profile they enjoy in Europe over here sometime. The last time I bought a Neophyte album I had to import from Holland for a small fortune and when it finally arrived they’d used one of my vocal samples on the first track, The Hardest Remake. I don’t mind the sampling but at least I could have got a freebie, eh, EH?

Motorhead Motorhead

No Sleep ‘Til Hammersmith has got to be the greatest live album ever made, so by extension this has to be the best live track ever recorded…or maybe Overkill from the same album…or possibly Neophyte’s Always Hardcore, which doesn’t, um ,appear on a live album! I’ve been going through music by some my childhood sweetheart metal bands lately – Motorhead still rule for sure, you can truly feel the energy and sincerity in the music, and that never dates. Around ten years ago I was lucky enough to meet Lemmy and he was unlucky enough to meet me…I made a total knob of myself but I’m sure he’s forgotten by now and so should I. But it’s hard. I wrote a whole blog piece about it but it was so fucking miserable I had to ditch it.

Harrison Birtwistle &  David Harsent The Minotaur

OK this is an opera, but it must also be the most truly hardcore music I’ll be looking at today. No CD or download available, you’ll have to sit through all 2.5 hours on DVD or Blu Ray…not such a chore when the stark, monolithic like sets with teutonic lighting are beautifully shot and featuring scenes of cannibalism and rape as the Minotaur contemplates his own dual nature…the monstrous bull and the more monstrous human that lurks inside him, whilst his duplicitous assailants fuck each other over whilst innocents get gored to bits! The atmosphere is almost as crushingly miserable as when I think about the day I met Lemmy.

Ultraviolence vs Beyonce Violent Single Ladies

This unofficial mash-up was on YouTube a while back but got scooped up in the Great Music Purges of 2011. An inspired idea, you will notice from superb production sound wasn’t done in hour on Traktor LE. In fact it is the work of Graeme Norgate, well known as soundtrack composer on multi-zillion seller N64 game Goldeneye and more recently for the audio design of multi zillion selling Crysis 2. I was lucky enough to go for a bite to eat with Graeme lately. He had a,um, Lemmy burger. Download the track here… is live!

Posted: May 15, 2011 in Uncategorized

After several weeks of tinkering the new Ultraviolence website is ready to visit. Whilst was great in its day I wanted something markedly different as Ultraviolence gradually becomes a serious concern again, along with a snappy new URL. I went with a FLASH website courtesy of Wix so I could program it myself from scratch and update everything easily – and it is very easy indeed so I’d suggest anyone might enjoy having a play with a Wix template. Its taken ages to get everything on there, though and I’m still adding things and streamlining it – please let me know if you have any comments or suggestions concerning ease of use, content or anything else.

Where have I been?

I have posted a few things about my long term illness but to avoid any confusion or speculation I will be explicit. I had severe chest pains starting in late 2005 which lasted 3 months and were diagnosed as costochondritis – a painful swelling of chest tissue. The pain was aggravated under exercise or sudden movement of the chest as well as (seemingly) by stress and raising my voice– I spent most of the 3 months in bed, aside from a few things I had to do including several agonising gigs. The symptoms re-occurred mid-2006, again diagnosed as costochondritis and lasting around 3 months. This time I was more frustrated and attempted to “do” more, but ended up drinking alot of alcohol and putting on weight. The pain began again late 2006 and was this time accompanied by stomach pains, as wearing a torture tunic. Meantime, I had moved to Scotland where hospital appointments took up to six months. After many appointments and tests I was diagnosed as having oesophagitis – painful damage to the gullet caused by acid reflux – a kind of chronic heartburn. With appropriate (and some less appropriate) drugs the pain eased slightly, but was nowhere near going away as was expected. I moved back to England in late 2008 where a proper investigation of the pain was instigated. Although the pain was still there, I tested negative for oesophagitis. The options were that costochondritis (for which there is no straight test) had been the main source of pain all along (the oesophagitis being incidental) or that the pain from either ailment else had caused neural damage or any combination of the above. This takes us into 2009 and fortunately was gradually feeling better, and had started doing bits of cycling and taking an interest in music again. I therefore decided with the consultant from the entertainingly named Pain Clinic that the relief was sufficient not to go through further investigative procedures. There were however further symptoms of (definite) acid reflux, and (apparently unrelated) corneal erosion and to cap it off a spell of bone fusing in a toe leading to gout – not bad for someone who gave up the booze for three years!

What I am doing?

I have been completely healthy since October of last year so I decided should that continue for a year I’ll consider gigging again. I can’t contemplate gigging with the full on chest pain – the circumstances appear custom made to aggravate the symptoms and it is not something that would make for a great performance. DJing is much easier, though, and I could cope even if things went tits up. Following an enjoyable Eurostar jaunt to Belgium last December I have a serious interest in preparing and playing mixes for people, whereas in years gone by DJing was more a promotional tool.

Where am I going?

My first UK appearance for 5 years will be at Electrocide in Preston on the 6th June – for full details check and the event’s Facebook page – also check the Electrocide jingle on I’ll be spinning around 90 mins of Ultraviolence familiar and new as well as cutting edge hardcore electronica from the artists I love. More dates will be tricking in so keep checking or see the contacts page to get updates.

Also check out…

Music DJ Narcotic and Nevermind’s United States of Terror  is an extraordinary release recalling New York hardcore pioneers Disciples of Annihilation’s tunes of the 90’s, also on Industrial Strength Records. This keeps the same core elements of pounding high velocity 909 drums, short speed-metal guitar samples and distorted uber-aggressive vocals whilst sounding shockingly fresh – I think is may be down to the arrangement and the fact that DOA’s tracks were wrongly dismissed by many as “easy” music to make and so were copied only unsuccessfully, leaving the path clear for someone to pick up the mantle. Fifteen years on and here it is…

If the idea of beautifully composed images of burning oilfields set to classical music appeals to you then you’ll love Werner Herzog’s meisterwork Lessons of Darkness. I used to watch this all the time on VHS and it’s great to have the DVD, even if I had to import an R1 disc.

Another bargain Xbox indie game is Infinity Danger, a simple series of bullet hell battles fought against a series of randomly generated modular bosses. I clocked up over 5 hours on this and I reached world ranking 45 – forcing me to commit the sin of pride – not bad for 60p. Killer electronic speech flattering satisfying laser blasts, too.

I’ve recently been doing a spot of educational work and last February performed a guest lecture to music technology students at Confetti Studios in Nottingham. As a demonstration of shifts in the music making process I made a new version of 1996’s Heaven Is Oblivion single – here follows an explanation of how the chorus section was made with slides from the presentation. Should you have no interest in music technology, but would like to listen to the finished track click here.

Heaven Is Oblivion first appeared as the final track of the episodic Ultraviolence album Psycho Drama. Although, like most of the album, the subject matter was dark the track was upbeat and released as a single in the following year as it was believed by record label Earache, myself and several names in the music biz to have some mainstream crossover potential. (audio example)

All of the Psycho Drama album  was recorded at my home which I believe in retrospect to have resulted in some substandard vocal recording. However, around £9000 had been spent upgrading my home studio to a standard capable of producing the electronic sound I wanted and so there was no further money left for microphones and acoustic treatment or for hiring a commercial studio. There was however an additional budget for the single version and a recording was made during a day at Protocol Studios in London, with original vocalists Didi Goldhawk and D Quest. The Protocol mix was hurried on unfamiliar equipment and was rejected but the 24 track vocal recordings from the session were used for a new, shorter home version that would become the single, mixed on my Tascam M1600 desk. The 2011 version was recorded within a PC computer using Cubase 5. It is my opinion that mainstream DAWs are very similar to one another in nature and quality but differ in respect to interface, quirks and minor functions – in short I prefer Cubase 5 because I am used to it. I like to mix digitally although it took time to get used to after spending years with an analogue set up, where you would constantly ironing out imperfections and seeking complete separation and purity of sounds, where you might need to add “faults” or ” humanity” to a digital mix. Both domains have pluses and minuses and it would be folly to claim one to be “better” than the other.

The chorus section of Heaven Is Oblivion is loosely based on a triumphant four bar melody section from Beethoven’s 9th Symphony, with the more whimsical 4 bars, both appropriate to the subject matter. The simple backbone of the melody was originally created using an Emu Proteus 2 Orchestral module which was supplied with a bank of 128 sounds which were a mixture of synthesised and sample sounds suited to replicating classical music and cost around £800. Here it is replaced with the modern equivalent East West’s Symphonic Orchestra, one of many minorly different VST plug-ins on the marketplace  containing many gigabytes of orchestral samples.  It sells in various iterations, costing from around £100 for the budget “silver” version heard here – the multiple microphone placements and expressions are surplus to this kind of work. It is worth noting that although Heaven Is Oblivion may be heavily influenced by classical music it was not my intention to produce classical music cheaply by using electronics, but more to use electronics to create a new sound that would create the deep textures and resulting emotions possible with orchestral music. (audio example)

The biggest change  in creating music at home over the last 16 years has been, for me,  the physical size and monetary expense of the equipment, and no more extreme example of the latter can be found in this choir section. 16 years ago, in order to have usable choir samples, I had to buy an sampler with at least 8mb of RAM, in this case an Akai S2800 plus a 270MB hard drive all piling in at a whopping £3000. The actual choir sample CD, the decent Peter Sidilocheck’s Classical Choirs was a more reasonable £50. As I didn’t own a CD-ROM (noisy and unreliable) I had to play each sound into sampler from an external CD player.  For the remake I have used East West’s Symphonic Chiors, which weighs in at £300 and 40GB and will run on a modern domestic PC. Symphonic Choirs contains a “Wordbuilder” function whereby the virtual choir “sings” words entered into a text box by the user. Although the technology is still embryonic, sounding nothing like a real choir performing from a lyric sheet, I have used the function can garner some interesting hooks that hint at the message of the track, and the result is more interesting than the generic sampled choir of the 1996 mix. (audio example)

The original bland keyboard sound of the Roland JX1 is replaced by Camel Audio’s Alchemy VST synth, its morphing additive sounds are rather like saples that can be fully manipulated as synth sounds, lending itself well to distinct electronic orchestral sounds, as hear in this synth- wind preset. The arpeggiator sound of the finished track is also courtesy of Alchemy, with some automation of the morph control providing additional interest as well as a dramatic whoosh for the bridge sections. (audio example)

Some straight old skool synth to keep the sound pallet from straying into faux classical territory courtesy of Native Instrument’s Prophet 5 emulator, the Pro-53, replacing Oberheim’s ultra-phat but non-editable Matrix 1000. (audio example)

Plush layers and spot FX were provided by the S2800 which I have spiritually replicated using ReFx’s Nexus sample player. Nexus contains many expertly programmed, lush presets and I have been careful not to over-use it, as productions can quickly sound like a Nexus fest. Such temptations are not beyond the resistance of mainstream producers and you will hear Nexus recognisably in many chart productions. I have used Native Instruments Battery as a sample player, as I have no need for the extra functions (such as complex keyboard mapping) of their more extensive Kontact counterpart. Here it plays a short classical music sample with a little manipulation within Battery for an electronic feel. (audio example) Now we can hear all the chorus layers together, first raw (audio example) and then panned out with a little EQ and reverb. (audioexample)

I do not have the original vocal samples from Heaven Is Oblivion, so I decided to create something completely different using Image Line’s budget DAW Fruity Loops (now rebadged FL Studio) speech generator.  The sounds were manipulated within Battery and through Prosoniq’s classic (and discontinued) Orange Vocoder. I have lifted a single vocal sample from the original CD which adds a euphoric touch, used sparingly save for in the climax of the piece in the second bridge. I believe these vocals to be at least “as good” as those in the original track, so I have turned a limitation into an advantage – something essential when working within a limited budget.

Solid State Logics’s X-EQ is the only equaliser used in Heaven Is Oblivion S2. Firstly because using one type of EQ can gel the sound in the same way as an analogue mixing desk might, and also because X-EQ has a beautifully transparent sound that can also be automated and used for filter sweeps (as heard on the kick drum early in the finished track) – the filter sweep can also act as an EQ duck so you get a “two for the price of one” dramatic effect together with non-intrusive sound separation. The brilliant graphic interface thankfully makes no attempt to replicate traditional controls and also makes use of a spectrum analyser which can be seen in green behind the EQ curve. Careful to turn it off after use, though, as instances quickly gobble CPU power.

When mixing a traditional band  an aim would normally be to place the instruments into a convincing space. Reverb in electronic music is very different in that it is instead used to embellish and fatten sounds and to place them into a deliberately unworldly sound space. The artefacts associated with actual spaces are generally undesirable. The versatile sound of SSL X-Verb wins over convolution or plate emulations – again the modern GUI makes the usable presets easy to edit and wins out over old fashioned dials and pretend LED readouts. Most of the delays in the finished mix are also X-Verb.

The initial mix of Heaven Is Oblivion S2 runs at 2’40” and took around ten hours of programming to complete. It can be heard here. It is adequate in demonstrating the above points and was deliberately made in such a way as to allow for easy remixing – for instance a dubstep or hard trance version could be made by adding rhythms and only minimal changes to the core elements. However (as is often the case) I grew emotionally attached to the track as well as becoming curious as to what would be possible if it were extended to a full four minutes or so, so spent a further fifteen hours or so making what I consider to be a finished version – click here to listen to it. I feel it to be superior to the original from a technical point of view and possibly from an artistic one, as the increase in dynamics and sonic textures make for a more fulfilling listening experience. Of course, the new technology makes this much easier so on a level field I would say the new version is about “as good” as the ’96 version was fifteen years ago. It is unfortunate that the this music will not see a commercial release, but it was enjoyable to accomplish such a piece of music without feeling under pressure and I hope that Ultraviolence fans will appreciate hearing it free over the Internet. There are many more elements of the track that I haven’t had time to go into here – perhaps I will expand on this article at some point.

Links: Confetti StudiosSteinbergEast WestNative InstrumentsCamel AudioReFx, Image LineSSL, Earache Records

Click here to listen to this exclusive track. I was considering making a 7” single and even got as far as mocking up the electro-goat’s skull sleeve design with 80’s punk inspired “sticker”, but it isn’t really representative of the direction that I’m going in and the feedback I’ve had from people is often “where’s the vocals, then!?!”  I used it a while back as a demonstration when I was giving a guest lecture on music production techniques, as it was made quickly and so is simple enough to explain in an hour. However, in the same lecture I suggested to the students that storing up new music on your hard drive is pointless, so as it’s over a year old I’ve taken my own advise and am giving away the MP3. I may well rework it or chop it up for spare parts at some point, in the meantime crank it up and I hope you get as excited listening to it as I did making it…EEEEEELLLECCTRRONNIIKKKK!!!!! On second thoughts, you might break something…DEATH!!! DEATH!!! DEATH!!!