Auto Von Bismarck – Bludkind

Auto Von Bismarck - Bludkind Cover Art

The debut EP from Auto Von Bismarck, also known as sleem of sp00. This disc started as an experiment to learn new techniques, but Bismarck decided that someone out there may enjoy the results. The album consists primarily of a funky, odd blend of electro house with a taste of dubstep in the final track, Fangs.

Vocal snippets in the song Bludkind are courtesy of coppe’ :


Matt & The Dronings’ Debut Album, “For Torching”, Out Now

Involved in the East Texas music scene since his early teens, Matthew Curtis, lead singer/songwriter for Matt & The Dronings, started his musical career releasing home recordings independently and through the internet label (from Tempe, Arizona) under the alias of Second Act Overture.


Ralp – Hydrioider

Ralp - Hydrioider - Cover

All of the tracks of these release are made only with one Game Boy DMG and the Nanoloop 1.3 program. Hydrioider album is a session of almost one hour of music performed and recorded in live, with some improvised parts. It was recorded directly into computer with a Pro Sound modification in the Game Boy but without any extra effects, editions or postproduction stages. 100 % DMG and Nanoloop. Hydrioider was created during 2009. The cover is made with Photoshop by Ralp. (more…)

sp00 – Bombdiggety

After a lengthy hiatus, we proudly present the first full-length sp00 album since 2006! This time around, we explore a variety of musical terrains such as maxi-minimalist tech-funk, synth-frommage, rock star guitar heroism, hard ambient++, and auto-toonkore. And yet, despite our foray into new worlds and paradigms, it is still unmistakably, indescribably, extra-terrestrially a sp00 album. We hope you will agree it is the Bombdiggety.


All songs composed and produced by Ariel Gross and Dave Benjamin. Sampling, sequencing, and keyboard by Ariel Gross and Dave Benjamin. Guest keyboard and production on Dry Bones by Taylor Pakula. Drums, guitar, and bass guitar by Dave Benjamin. Drums on Pointy Fingers, Stellar Converter, and Also the Game recorded and mixed by Ariel Gross with help from Matt Helman and the Conservatory of Recording Arts and Sciences in Gilbert, Arizona. Mastered DIY over the internet. (more…)

Ralp – Sequotequal EP

Ralp - Sequotequal EP - Front Cover

Ralp’s Biography:

Raül Peix (Ralp). Multifaceted artist member of Device, Distortled Box and Tricoma, independent collectives dedicated to audiovisual creations. (more…)

ANgR MgMT – In a World


Our planet.  It’s the biggest and most beautiful gift we have, yet almost all of us take it for granted.  In fact, many of us thoughtlessly cause harm to this great gift through seemingly inconsequential actions on a daily basis.  What’s worse is that this type of behavior is condoned and encouraged by our society at large.  As the average income ratio of the richest 1/5 to the poorest 1/5 on the planet soars toward 100:1 and beyond, all many of us can think about on a daily basis is what’s on tv or what we’re going to buy next.  We live as though we’re not intimately connected to nature and to this planet that we are so fortunate to live on.


Nikmis – The Fantastical Nikmis vs. the Evil Dr. Crobe

The Fantastical Nikmis

Album art by Joseph Ratigan.

The Fantastical Nikmis vs the Evil Dr. Crobe

Chapter ONE
One day the Fantastical Nikmis was winning a battle against Dr. Crobes minions. He kept killing them till they were dead by shooting them with his magic powers from his hands. Suddenly he flew real fast and then exploded ON TOP OF THEM! “AAAAHH” Stop killing us please they cried But then it was already done and they died. Or did they? They didn’t really die yet because Dr. Crobe their boss made them really smart with his ultra science powers he learned at evil school. BUt it was ok cause then Nikmis said “by the power of happiness YOU SHOULD DIE” and they did badly. Nikmis one the battle but he did not win the war yet although he wins the war in the end. The war isnt over until later. Or is it? (more…)

ANgR MgMT – Cut Ups EP2

Remixes are good for the soul.  This is true for both the artist and the listener – each grows a bit in moving from the beginning to the end.  This album splits nearly right down the middle in terms of whether the remix was at the request of someone or chosen as a special experiment.  I hope all are as enjoyable to listen to as they were to make!

Special thanks to my sister Lizzy, as I would never have thought to remix ABBA without her, and my buddy boy James Stimac (whose name you should see more often if you’re into art) for the fantastic album cover.

Rules for Live Mixing of Beatgadgets

I just found this article on my old hard drive and thought it might be interesting to publish it at last. I wrote it way back in 2001 before the formation of sp00 when Ariel and I were learning how to mix together live and avoid stepping on each other’s beats. It seems like most of the advice is still relevant today.

Rules for Live Mixing of Beatgadgets
by RamenBoy

I am no expert on the live mix, but I am no beginner either. Here is a set of rules that I have found useful over the past few years as a performing electronic musician. As always, rules are made to be broken, but perhaps these will help people take a detour from audio chaos and find a comfortable mix with other electronic musicians.

1. If you can’t beatmatch to it, don’t. Sometimes, you just want to play a track that doesn’t have the same BPM as what your bud’s playing, and speeding yours up just makes it sound like video game music. Sometimes, it’s ok to just let their track fade out instead of desparately trying to line up your jazzy trip hop with their rigid trance beats.

2. Listen, interact, and communicate. Let other people’s beats affect yours. Let your beats affect theirs. Bounce ideas off of each other.

3. Don’t “oversample”. Let vocal bits enhance the music, but don’t bury it. Space out your vocal samples, and use them strategically.

4. When you’re trying to make a recording of your session, watch the meters! I can’t overemphasize this. Too many great sessions have been fatally mauled by severe hard clipping. Keep your dBs hovering around zero and adjust your amp and deck accordingly. Make sure you match your inputs properly.

5. Transitioning from a swing beat to even time and vice versa rarely works. It all depends on the drumbeat, but be careful of sputtering kickdrums and awkward backbeats when you do this.

6. Take turns being the leader, or conductor, if you will. Electronic music devices often have slightly different interpretations of the same BPM, and if everyone keeps drifting, your mix will turn into mush. Have one person set the standard and let everyone else match it. Ari and I have had a moderate amount of success with the following rule of thumb: whoever’s fading in sets the standard, and whoever’s fading out must keep the sync. With more than two musicians, this becomes more complex.

7. If you’re playing with microphones, make sure you turn the mic track off when you’re done with it. Feedback can creep up on you very slowly, and it usually happens when you get up to go to the bathroom.

8. Teach people how to use your PA and mixer. This should really be #1.

9. Ambience is great for state of mind. Find cool lights and make your stage look interesting. You don’t need a laser light show, just a chill mood. Radio Shack may be your answer.

10. Don’t be afraid to add a little “dirt”. Electronic instruments tend to sound sterile and overprocessed unless you make the explicit effort of adding imperfections (This meme courtesy of Tom Dearing, AKA Reverberation Sound System).

11. Don’t rely on drum loops.

12. Don’t ignore drum loops, either.

13. Don’t be afraid to ask one of your buds for a BPM. Why waste time trying to find their BPM by ear when a little verbal communication will do the trick?

14. Experiment. Always. Don’t worry too much about mistakes. This is live music. Live electronic borders on jazz to me. It’s improv. Let the ideas flow.

15. Always look busy. Even if it takes a bit of theatrics, you need to show people that you are creating the music, not just “hitting play”. As an extreme example, think about Crystal Method, playing most of their set off of a DAT recording. Does the crowd care? No, because they’re jumping around and twisting knobs and playing their keyboards upside down in midair. As a less extreme example, watch DJ Spooky spin sometime. Does he ever, ever stop moving?

That’s all for now. Happy mixing!

Your friend,
the RamenBoy.

Thru The Wires is Back @ The Loft in Tempe, 5/28/2008


$5 @ the door / 21+ (sorry kids)

420 South Mill Avenue / Tempe AZ 85281 (map)

PARKING: In the lot on Ash & 5th (west of the venue, same side of the street)
LOAD IN: Artists between 8:30-9:00pm
TENTATIVE LINEUP (listed in order of appearance)