Showing posts with label news. Show all posts
Showing posts with label news. Show all posts

Sunday, July 27, 2008

SD appears on GtrOblq compilation

UnravelcdsmGtrOblq represents a confluence of forces within the world of avant guitar and experimental string music. From the wreckage of the Kronosonic movement, GtrOblq aims to focus the popular imagination upon the obscure universe of creative sound production, recording, and performance. The artists profiled at GtrOblq are among the finest composers, improvisers, loopers, microtonalists, noisicians, soundscapers, sound designers, fretless guitarists, and synthetic guitar wranglers.

"The Unraveling Begins" is a seminal compilation produced by fourteen of these varied, talented artists.

Number of Tracks: 14
Disc Duration: 43:27:02
UPC/EAN Code: 7202178000180

Shane's track, Bimbo Spam, is a collaboration with Aliensporebomb, who contributed all the bass tracks and a few guitars bits too. Preview it on myspace.

Available now at CDBaby.com!

Sunday, December 30, 2007

Updates and Happy New Year

I've completely updated my web presence at a variety of places, including this blog. Also check out:

http://www.sonicdeviant.com
http://shaniacimac.blogspot.com

...and be sure to sniff around to see what you'll find!

Sunday, December 16, 2007

Shane records Silent Night

I've just finished recording, mixing, and mastering my version of Silent Night, and I'm in the process of posting it all around the Internet for your holiday listening pleasure!

You can check it out at the official myspace site:

http://www.myspace.com/sonicdeviant


Happy Christma-hanukk-wanza!

Thursday, November 22, 2007

Pendahl featured on Downtempo podcast

Mic Larger2Shane's tune Pendahl was featured on Downtempo #18 recently. Thanks to DJ Cary for the play! You can also download this podcast via iTunes or get the mp3 version here.

Sunday, October 14, 2007

"Glass Shard Teeth" appears on Pirates' Week

Pirate
The jazzy tune Glass Shard Teeth recently appeared on the Pirates' Week podcast in the episode for Pirates Week 10/14/07.

Thanks to Ragnar Daneskjold located in the Fook'n Ionosphere!

Wednesday, October 10, 2007

"The Dream" appears on iSPINIT Premium Podcast

Ispinit
SD's rock tune The Dream from the album Transduction Euphony recently appeared on the incredible iSPINIT Rock Podcast in episode 005.

Host Daniela Baldean stated:

I'm going to leave you with Sonic Deviant, which is actually Shane Hendricks. I was very intrigued when I heard Shane for the first time; he is fresh and very current. He plays all sorts of music, including jazz, rock--very experimental. So enjoy.
Thank you Daniela and iSPINIT for the play!

Monday, October 01, 2007

SD appears on Help Andy Buy A Mac

Glass Shard Teeth from the album Transduction Euphony appeard on Relax Podcast #22 from HelpAndyBuyAMac, which also features the podcast X-Pat Radio. SD appeard on X-Pat previously.

Thanks for the play, Andy!

Friday, June 15, 2007

Now...coming to you from San Antonio!

Sonic Deviant's Quarter Note Laboratory has relocated to San Antonio, TX (ahem...home of the 2007 NBA champs). I'll post up some new pics of the studio soon, which doesn't look a whole bunch different than the previous incarnation. I'll also be throwing some miscellaneous pics of San Antonio up as well...what a great city.

Thursday, March 15, 2007

Project Studio Network mention!

PsnThanks to Big Al Wagner and Mike Bolan over at the Project Studio Network (PSN) podcast, which is part of the awesome Home Recording Network.

They mentioned the release of Transduction Euphony on Show#62, and they graciously posted some SD links on their web site.

Stay tuned to PSN for your chance to win a free Transduction Euphony CD!

Monday, March 05, 2007

Transduction Euphony RELEASED!

SD's new album,Transduction Euphony, is finally out after 4 years of toil and tribulation. You can get your copy on CD by visiting CDBaby.com. It will be available in the coming weeks on several online outlets for paid download, including iTunes.

Transeuphcvr

Transduction Euphony is a record featuring 24 mostly instrumental tracks at a total run time of approximately 1 hour that will appeal to the rock, jazz, and avant-garde music enthusiast. If you enjoy guitar playing, music, and art from the likes of Frank Zappa, Steve Vai, John Scofield, BMR3000, Neil Haverstick, Dan Stearns, Marco Oppedisano, Ken Rubenstein, Infinite Ego, and other experimentally minded artists, you'll probably enjoy this record.
Featuring special guests artists DAVID SLACK (aka BMR3000 on bass) and SCOTT SIMMERMAN (on keys) on the jazz number, Glass Shard Teeth.

Additionally, the Sonic Deviant Official Web Site has been updated heavily. New scores have been added, as well as a new Press and Praise page, featuring encomia from many of Shane's influences.

Sunday, February 04, 2007

Named to "Critically Overlooked" on iCompositions

jdwyer05's "Criminally Overlooked" Music Recommendations on iCompositions, featuring special guest contributor becwil, named Sonic Deviant to the list of "Critically Overlooked." This list was sent out via the iCompositions Newsletter dated February 3, 2007, and it appeared in the forums of the website. becwil begins by saying:

I love to listen to music. I love to share my enthusiasm with other people. So, when Julian approached me to write my take on The Criminally Overlooked, I immediately thought about the artists here whom I have found and love that perhaps are a bit under the radar. Because I especially like the more edgy side of musical exploration, I will, today, list some of those artists I personally keep my ears on. This is not an all inclusive list, for I want to keep this brief, nor is it in any order other than as I read down my iTunes iComp playlist. I leave it up to you as to how far you explore each of these artist's catalogs.
Later, he talks specifically about the music of Sonic Deviant:
There's some Zappa influence, admittedly so, and sonicdeviant plays to the beat of his own drummer, all puns intended. In-your-face. Crappy Products knocks your teeth out. While I Frade Errpains is a bit more friendly. A bit.
Thanks jdwyer05 and becwil for the mentions. If you visit my page there, you can browse my list of favorite artists on iCompositions. There are many talented folks over there!

Saturday, January 06, 2007

Saturday, December 30, 2006

SD "opens" for BMR3000

BMR3000's show at the Pizza Kitchen in Knoxville:

BMR3000
November, 25 2006
at
The Pizza Kitchen
9411 S Northshore Dr
Knoxville, Tennessee 37922

The music of SONIC DEVIANT will be played before the show.
Thanks to Dave Slack for featuring my tunes as his opening act. Dave told me he played four tunes, including Feline Demise off the upcoming album, Transduction Euphony.

I wish I could have been there to see the show! For those who haven't checked out BMR3000, do it NOW!

Recent podcast appearances

Some of the tunes have been featured on several podcasts over the last few months.

We weren't aware, but East Wind Blows West was featured on the BareFT podcast episode 58.

Our friend, Chef Mark Tafoya, has made great use of Coffee Bean on several of his podcasts. The tune appeared on two November episodes: 66 (The Wines of Rioja, Part 2) and 64 (Cranberry Time!) of the ReMARKable Palate podcast. Mark also featured the same tune back in October.

He also featured Coffee Bean on his personal blog, Remarkably Mark, in episode 33: Tapas Crawl in Spain of November 5, 2006. Thanks for all the support Mark!

Don't Want To Go appeared on Mad Money Machine's MMM-045: Should I Risk Exposure of October 31, 2006.

Friday, December 15, 2006

"Under the Stairs" appears on The Word Nerds

Shane's tune Under the Stairs from Celestial Icons' 1993 album Timid Blue Planet (featuring drummer Alberto Vargas) appeared on The Word Nerds podcast episode 81 (Prepositions).

Thanks to Dave Shepherd et al. for using the tune on their show!

Tuesday, December 12, 2006

Download Mozart's scores--FREE!

Mozart's entire musical score now free on Internet:

"Mozart's year-long 250th birthday party is ending on a high note with the musical scores of his complete works available from Monday for the first time free on the Internet.

The International Mozart Foundation in Salzburg, Austria has put a scholarly edition of the bound volumes of Mozart's more than 600 works on a Web site."

Here's the link:

http://www.mozarteum.at/

Wednesday, May 31, 2006

Lot's going on...(Rubenstein review)

I've revamped the web site quite a bit. I'm trying to decentralize as much as possible to allow easier maintenance of the site; for example, I've started moving my links to del.icio.us to allow me to share and update them easier, and I've started hosting my images at .Mac (also allows easier updating). News will now be mostly through this blog and on myspace: Neil Haverstick and other guitarists from around myspace and kronosonic posted some nice comments over at my myspace site.

I met a bunch of great guitarists, musicians, composers, and artists over at Kronosonic at the invitation of friend and experimentalist Dan Stearns.

I also finally met Ken Rubenstein, a terrific experimental guitarist who has been around for years. I bought his CD, Invert and Transcend, and decided to write a review of it for CDBaby:

Ken is a pioneer in the genre that many of us have only recently come to know--that of experimentalism, especially as it relates to the beloved, popular stringed instrument we all adore--the guitar. Experimental music is not wholly constituted of just random noise (though that sort of aleatoric music has its rightful, valid position in the realm of experimentalism); Ken (and a few others like him in this relatively young anti-genre) has shown that such music takes talent, skill, and courage. They are treading sonic ground where no one else has dared walk for fear of being misunderstood or outcast. Unlike the "others" in the music industry that popular culture tries to cram down our throats as currency in art, Ken and his ilk are the REAL pioneers--the REAL artists. They should be on the cover of Rolling Stone--not the latest Brittany Spears reject (or whatever corporate invention happens to be popular at the time)."Invert and Transcend" offers a rich treasure from the first to the last cut. Unlike some experimental music that can be tremendously dissonant and sonically overbearing, this CD is acoustically painted and very approachable for the casual listener, as well as for the trained musician. At times sounding similar to Michael Hedges and at others undefinable, this work is a watershed auditory experiment. Ken has chops that any guitar nut will appreciate, but the music is the star here--his technique is tastefully employed only as a tool to relate the story.

Ken breaks the listener in easily with a short acoustic intro tune called "Yudawee Sang With Love and Joy." The song features some very nice guitar synth embellishments and short bursts of fat, distorted guitar.

"Smallest Words" opens with a nice, chirping koto motif, interwoven between the left and right channels. Then there is an abrupt segue into the acoustic guitar introduction, followed by powerful, conjoining bass and drums. A real treat awaits the listener, as soprano Wendy Parker beautifully sings the unique melody line. Ken likes odd meters, and you'll hear plenty of that here and throughout the album. This number reminds me a bit of Steve Morse from "High Tension Wires." The song is full of changes and turns, so there's no chance of boredom setting in.

The next cut is "Xin Gap Lan." Soft, droning, flute-like synths lead into a very beautiful, arpeggiated acoustic flurry. The material is very rich, flowing, and extremely non-repetitive. Ken sucks you in and takes you on a journey of texture and variation. Interspersed throughout the beautiful tune is an unintelligible spoken word track, and a tastefully delayed horn solo (possibly created via guitar synth).

One of my favorites is "A Man Called Whores / You're All Whores / Lost In All That I'm Not." Here, the listener is taken through more adventurous territory. The opening lines, spoken in Arabic by Ameer, set the tone for the tune, which has a very Eastern ethnic feel, with incredible string lines, odd rhythms, and snapping drum corps snare lines. The spoken Arabic at the front of the tune has an extremely rhythmic, almost argumentative cadence that defines the bedlam to follow. Then there is a chaotic, bizarre interlude of atonal bliss, which rounds back into less dissonant territory toward the end, revisiting the sweet singing of Wendy Parker.

"A Song for Paul" opens with spoken exclamations of terminal drug-induced delirium (I'm assuming of "Paul") and cascading acoustic guitar work. The tune is thick with ambience and underlying busy fretwork, and the rhythm section is spectacular, as it is throughout the recording. There is a very cool upward glissando appearing throughout the tune that translates the emotional richness of this work.

"Broms" is an excellent atonal acoustic piece with some gorgeous Metheny-esque guitar synth lines. At the top of the tune, doubled guitar and synth phrases busily duck and dodge (in pulses of 8) around a quickly paced bass line. A short middle section here encapsulates remarkable guitar synth solo work.

"Lament for St. Thomas of Cantebury" is a nice horn and string arrangement, full of interesting counterpoint. "Invert and Transcend" is another of my favorites on the CD. Here, as in other places on the CD, there is little in the way of static, reappearing ideas; Ken is constantly moving, cascading, driving, and flowing from place to place--rhythmically and melodically, asking us to come with him. Miss Parker's singing talents reappear again on this piece, with an unusual melodic line, and provide a transition into a rapid, tasteful ethnic guitar passage.

"Woe Be Unto Thy Tangible Soul Who Cares Not What's At The End of the Pole As Long As He Fills Your Tight Black Hole" may be one of the longest (and most tongue-in-cheek) titles ever dreamed into existence by an artist, but the musical ideas contained within betray the covert Freudian humor of the song's moniker. More pleasing, pulsing, masterfully composed and performed acoustic guitar, synth, bass, and drums are found within the left and right bookends of the piece. By this point, the listener wonders if Ken will run out of ideas. The music is experienced with a belief that he certainly is conjuring it all at will. Midway through the approximately six-minute work is a staggering, traipsing guitar breakdown, replete with wailful string lines.

The last piece, "Beatrice Foley (for Charles Rosenberg)," is a short, mournful, slow work that initially starts with lightly tinkling piano lines, which, at first, seem to be trying to convey a melancholy narrative. Joining in toward the end are interesting synth bloops and, possibly, a guitar lightly feeding back in the background. A nice, soft, cushiony ending to a terrific project.

Ken is one of the great talents and pioneers of experimental music and guitar--a new realm of musical exploration also championed by such great artists as Neil Haverstick and Dan Stearns. This album is a must-have if you're sick of the "popular garbage" or "wannabe popular garbage" that pervades most Western music. As a matter of fact, just check out kronosonic.com to meet the REAL undiscovered talents of creative guitar and experimental music and art. These are the guys I look up to musically; they're real, talented, approachable, and nice folks too. Ken and others like him are the patriarchs of this genre--this anti-genre.

Sunday, April 24, 2005

Acceptance and Vomit

Great things can transpire in the same week. A few weeks ago, I finally heard from my preferred grad school that my application was accepted. So now what do I do? I have to actually act like a graduate student--a scientist/researcher wanna-be. This could be interesting. My hope, of course, is that I will maintain the required 3 GPA to retain my funding and academic stature. I've been told by those who've trudged the path before me that grad school mostly amounts to perseverance, discipline, and organization; it has less to do with brain power. This gives me optimism, though I'm certain some amount of intelligence is required. That stupid GRE proved it. Man, I sucked at the GRE. Clearly I can't think my way out of a paper bag at hypersonic speeds; I need increased time and clambering to get to the same place others will easily reach in an ephemeral time. So is this acceptance a blessing or a hex?

Somewhere along the same timeline of the acceptance news (and speaking of hypersonic), I was given the opportunity to fly in the back seat of an F-15E Strike Eagle. This is a twin-engine jet fighter with more than adequate horsepower to elicit the loosening of various digestive sphincters, which keep stomach juices and contents in their proper places. I was given some initial training, to include instruction in the so-called G straining maneuver, which is the way you should tense up your lower body and breathe while under the affect of positive G forces. I had to go through a miniature flight physical and get fitted for my flight suit, G suit, and body harness. Other training topics included means for emergency egress, both in the air and on the ground; egress simply refers to exiting the aircraft in a hurry, so I was somewhat alarmed to learn how to eject my seat and collapse my body upon landing, after floating to the ground on the end of a parachute.


Sparky and Shane

So there I was--the guy who doesn't partake of roller-coasters, bungie-jumping, sky diving, rock climbing, or any of the other various X-game type behaviors--walking out to row Juliet among a multitude of fighters, where my F-15 and its maintenance crew awaited. They took time to tether me securely to the airframe: first, my seat kit; next my lap belt; followed by my shoulder harness straps; then my G suit connection; and finally my oxygen connector and radio connections for my helmet. My assigned pilot, Sparky, was a very nice chap and took it easy on me, but there's no real tranquil way to fly in an F-15. Even though the take-off, flight, and landing can be conducted in the same manner as a commercial airframe in terms of speed, altitude, and turning, the fact that one can easily view anything 360 degrees in any direction through a transparent canopy really forces one to come to grips with what's actually happening; our dispatch, though no more remarkable in speed or maneuver from a Delta Airlines flight, was quite exhilarating and simultaneously terrifying, as I was forced to actually notice our extreme acceleration when the landscape turned into a blur-scape and the jet pulled up and away. Our jet's mission call-sign for radio purposes was DIME 41.

Once airborne, things felt fairly normal (as normal as they can in a fighter jet), as we made our way to our assigned mission airspace, where we would be free to perform some "aerial acrobatics". Our sortie was part of a two-ship formation, so Sparky, being the lead pilot, demonstrated various ways he could communicate intentions to our sister F-15, DIME 42, (the pilot's handle was Sloppy) by merely jiggling his wings a certain way. This is quite a weird feeling too, as one never feels this sensation on a commercial flight unless something is very wrong. I thought to myself this is a portent. Sparky shook his wings side-to-side and Sloppy obediently maneuvered his F-15 from our right side, went under us, and came up on our left side. Another neat aspect of this trip was just observing the other jet get close enough to see and wave to the other two fellows inside it; I felt almost as if I could jump right into their jet, though one should obviously take that only for illustrative purposes.

Finally the time came when we had arrived at our airspace and Sparky asked, "So Shane, are you ready to try some Gs?" My reply was a weak and tepid, "I guess so." He instantly banked abruptly right and accelerated, and I felt my first positive G-force--a weak 2 G turn (my body felt twice as heavy as normal), which for me might as well have been a 9 G turn. As we came out of it, Sparky asked, "How was that?" "Uh...okay I guess." I felt myself becoming squeamish. The turn, even with the G suit and G straining maneuver, made my lips and skin tingle. Then a hard bank left into a slightly stronger 3 G turn. My body was suddenly three times it's normal weight, and my lips and skin went numb for a second. I immediately opened up my airsick bag, unlatched my oxygen mask, and proceeded to dry heave a few times. "I'm not doing too well with those Gs," I told my pilot in a feeble voice. "Okay," he replied. "We'll just fly straight and level for a while." I'm such a wimp.

At around this time, Sparky gave me the stick saying, "You've got the airplane." I wiggled the stick as he had instructed me before the flight and replied, "I've got the plane." He had explained before our sortie that there was nothing I could do to hurt us or the plane by taking the stick, but I found myself just gently banking the plane, first right then left. The whole time the nose of the jet was rising, and Sparky told me, "Dude...we're climbing outside of our ceiling. Nose it down a bit." I pushed down on the stick minutely but sharply, and the jet dove quickly down a story or two and took my stomach with it. I couldn't believe how responsive it was. Sparky told me the jet would literally respond to exactly how I manipulated the stick. Jerk it sharply left and that's what will happen to the jet. Push forward and to the right and you perform a diving right turn. What a sickeningly good time.

After a time, Sparky made another suggestion. "At this altitude, you really don't get a good idea of how fast we're going. Let's drop down to cloud level and get a reference point for you to look at." That day we were flying at a ceiling of 18,000 feet. Below us was a nice, fluffy blanket of clouds extending from horizon to horizon, and above us was pure blue sky. After a few seconds we had gently descended down to the clouds, and I noticed them begin to zing by at a rather high rate of speed. He was right; a reference point definitely clarified things. "We're going about 215 mph right now," explained Sparky. "Let's punch it up a little bit." He hit whatever knob, button, or lever that controls the throttle, and two seconds later he said, "400," meaning 400 mph--in just two seconds! Then he said, "afterburners," and two additional seconds later our airspeed was up around 600 mph as the afterburners kicked in. So in a mere four seconds we had tripled our airspeed; the cloud cover transformed from a discernible cottony field into a sheet-like white blob. We hadn't even neared passing the first Mach level the plane is capable of hitting. I immediately exclaimed, "Dude, I'm going to throw up!" So he killed the throttle and we moderated back to a more acceptable airspeed. So far I had managed to avoid actually puking.

We met back up with Sloppy and his passenger and dumped some fuel to be light enough for the landing. Then we flew a straight vector back to our home base. As we approached the airfield, Sparky said, "Shane, we're going to have to do some turning to line up for the landing. One of the turns has a little more G action than you pulled before, but don't worry...it will be over quickly." We flew straight over the airstrip far too high to touch down; then we banked hard right, flew in a semi-circle vector parallel with the ground, and pulled 4 Gs. The G suit squeezed me tightly and I strained the way they taught me under the G-forces. My pilot never uttered a sound; obviously a puny 4 Gs was nothing to him. We seemed to travel the length of the runway again, and made an additional diving tight turn, this time without any Gs thank goodness. As our wheels touched down on the glorious Earth, I proceeded to vomit into my airsick bag a few times, and I caught Sparky smiling at me in his rearview mirror. I somehow had survived this brush with the Top Gun experience and definitely underscored the fact that I'm currently in the correct line of work. I wasn't meant to be a pilot or any other sort of flying person; I belong in a laboratory behind a microscope or in a studio behind a guitar.

Sparky told me that my incentive ride was pretty typical; I guess most non-flyer types can't handle the 7-plus Gs that the F-15 routinely pulls on a sortie (the F-15 can pull up to 9), but I also think Sparky felt sorry for me and was just attempting to boost my ego up a bit. He told me, "No matter what...you can say you've flown in an F-15 Strike Eagle. Not many people can say such a thing." And this was true. I had flown in it and flown it, even if for only a few minutes. Man, am I dumbass or what? I'll never do that stupid crap again! But I faced my fear and did it anyway. Like I said...dumbass.