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EchoStation – Your dance invasion

To bring in The New Year with a bang #WEATNU has been preparing it’s latest 24/7 Internet stream, EchoStation. The next radio of our 5 portals will play dance-related Electronica. Covering a wide variety of club themes, such as dance, electro, techno, deephouse, dub, DnB, IDM, House, Electro House and more. Mixtapes are accepted including long sets. Already there has been an influx in more underground enthusiasts coming to #WEATNU due to this move. The music will be fantastic, taking in more of the unknown world of electronic music. Building up a new set of artists for 2016, some of which we hope will come to WEATNU Records. EchoStation will launch on New Years Eve and provide DJ’s and producers a means to be heard through the WEATNU movement. Below are the first to join with us, and just a taste of what’s to come! Some regulars such as WSM and ChibarRecords to name a few, and newcomers to WEATNU M-O-I, Paul2Paul and Luke Corbin.

#WEATNU Digital Magazine 

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The five portals of WEATNU [OUR]

#WEATNU began with one Internet radio, in 2014, WEATNU [OUR] but lately thought it best to expand to other stations, called portals. These portals each have music playing 24/7. Below they will be explained.

Portal #1 WEATNU [OUR]: or WEATNU (main) playing Electronic, Avant-Garde and Beyond.

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Portal #2 The Listening Booth: This station is devoted to Weatnu Records artists 24/7, providing Buy and Stream embed links.

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Portal #3 Abstract Alpha: This station plays abstract, electronic, IDM, experimental, Ambient, field recordings 24/7. The station comes from the show on WEATNU [OUR] (main)

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Portal #4 Transmission Nova: playing shoegaze, post-punk, punk, Ethereal, indie pop, indie rock, Dream pop, and other psychedelics 24/7

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Portal #5 Synthesis Noir: our latest station playing: Darkwave, Coldwave, EBM, Industrial and other dark elements of the electronic array 24/7

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To check all playlists from twitter in unison look to WEATNU OUR on weatnu.com.

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Review: FTNM – Kin

It was a gloomy, post-Canada week Saturday night, when I was drifting in and out of easy chair consciousness, figuring out where to begin with the next slur of album reviews… I should probably mention to those whom do not reside up here in the north, that Canada Day was Wednesday, July first, and (being a Canadian) I was socially obligated to be a poetic mess for close to a week or so, and to ferment in the presence of recording devices… All this being said, I did not intend to write this review right now (honestly), but as a result of Twitter, I found myself listening to “For the Naked Mind!”, now glued to my desk while the outside obligations of my civilian consciousness are faded into a rhythmic nonsense, unaware of the passage of my Saturday evening into the ether and back for a subtle change in what was once my bio-rhythmic pattern of menial daily activities and once conceived notions of what was downtempo / ambient / progressive electronica.

The implication of glitching, set to a concise and cerebral choice of melodies and chromatics, using well-crafted and immaculately timed synthesizer anomalies has successfully convinced me to return from the fluid and transcendent experience that is “For The Naked Mind”, spreading word of what may very well be an electronic opus, brought into the Internet market place through an invigorating cellar discourse with abstraction that has in fact changed my patterns of thought enough to the point of attempting an explanation of a harmony of both an invigorating and calming aural imagery…

Here being the point in my article, where I do so humbly invite the Internet audience to visit #WEATNU and give a listen, such that I could quite easily say something remotely clever, or somewhat philosophical, but I cannot use words for that which cannot be described as other than being an open door to a train of thought that is without words and has been concocted by “For The Naked Mind”.

Buy Kin on WEATNU RECORDS.

Follow For The Naked Mind on Twitter.

JC Luff#WEATNU Digital Magazine

 

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Catnip and Claws: Halcyon Days EP

Norwich, Experimental artist Catnip and Claws brings to #WEATNU her latest single/EP Halcyon Days. Her music has been heard on BBC and featured in local magazines around the UK. She draws from artists such as Aphex Twin, creating a meld of IDM/DnB, in the tone of experimental electronic. This one is a free download for all.

Follow Catnip and Claws on Twitter.

Almark#WEATNU Digital Magazine

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WEATNU Records: For The Naked Mind! – FTNM! EP

#WEATNU has a great deal of appreciation for IDM artists, such as Belial Pelegrim. This month For The Naked Mind! comes to WEATNU RECORDS. Another fine example of the ‘hidden’ but talented artist. This debut album gives us a gift of old school IDM quality and organic type + abstract electronic. Track 2 is where the album really gets going. Wonky beats and atmospheric sounds create the backdrop into what FTNM! is allowing our ears to behold. Be sure to add this EP to your fine collection of #WEATNU artists. Only on WEATNU RECORDS.

Follow For The Naked Mind! on Twitter. 

Almark#WEATNU Digital Magazine

 

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ArchivesInterviews

Interview with Belial Pelegrim

‘When you combine the art of Picasso with Rembrandt and Salvador Dali then add some tertiary watercolors splashed onto a cloth canvas, you get art. In this regard Belial Pelegim’s music is colorful and full of life. He hails from the likes of IDM artists who are just breaking into the scene of the Electronic music world, and showing us something completely new. With a full array of styles in one painting, you get a in-depth and experimental music prodigy. We were pleased to hear what he had to say.’

Corbin: I would like to start by saying thank you so much for the opportunity to interview you. You have a very unique style of electronic music. How long have you been primarily focused on this style and what would you classify it as?

 

Belial: Thanks, very much, man. I’m always willing to talk about music. I appreciate that people have picked up on the fact that I make a concerted effort to maintain a specific sound to my music. I’ve been making music for a long time, both as band member in the past, and for the past 15 years, doing my own instrumental music. I’m a guitarist first and foremost, but I seem to use more keyboards and software, as well as doing my own sound designs. I use the guitar for triggering sounds as well as adding melodic elements at times. Over the last three years I have devoted a lot of time to making new music and reaching listeners who like their electronic music with a slightly unsettling quality to it. I’ve always just placed my work under the generic “electronic” category, but I do love a good back beat. I really don’t see my pieces as dance music…there are too many dark and experimental aspects for that I think…but I do find that percussion is something that work long and hard at. When done correctly, percussion, which can be in so many different forms, carries the listener through any given track.

 

Corbin: I can understand fully… A lot of my own music has been influenced by the logic of 80’s music that usually just has that monotonous yet unforgettable beat and carries the song from start to finish.You seem to come up with new material all the time. How do you create songs? What DAW do you use? Have you just primarily used this one DAW?

Belial: I make music, or at least work on music-related tasks on a daily basis, so I’m always pushing myself to create new works. Sometimes I put together just some bits and then save that for future songs. Other times, I decide I have the time and energy to create an entire piece. You know how it is, some days are more inspiring than others. Before starting something new, I sit there for a minute and kind of think back to my most recent songs and mentally scan through the BPMs and tonal qualities. This kind of gives me a point of reference so I can deliver something that isn’t too close in sound to anything else I’ve done recently. But also, I strive for having a “sound” that I never stray too far from. When you make instrumental music, it’s a difficult task to have a recognizable sound. However, I think groups like Ratatat and Boards of Canada do just that.

Over the years, I’ve used lots of different DAWs…Cubase, Pro Tools, Reason, Reaper…but these days I’m using Ableton exclusively. For the way I like to work, this software really does a good job. It really is a product that was made for electronic musicians and producers. I do all my sound designing in Reaktor. Some days I will only work on coming up with new sounds and patches. I like to compartmentalize all the stages of producing music…it helps me in working quickly.

<iframe style=”border: 0; width: 100%; height: 120px;” src=”https://bandcamp.com/EmbeddedPlayer/album=2636884569/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/” width=”300″ height=”150″ seamless=””>Transfixed by Belial Pelegrim</iframe>

Corbin: This seems very efficient logic, especially in churning out so much high quality electronic music that a lot of different people enjoy. I have been a big advocate of Reason for a number of years. How is the music scene in your home town? Are there any electronic artists that play live shows that are not EDM?

Belial: I have to laugh when you ask about the music scene where I live…there’s isn’t one. I’m actually from Los Angeles, but moved up to a very small agricultural town in Northern California with a population of about 5,000. I wanted to have some land and live in a more natural and quiet setting. All I can see from my windows are plum orchards. I lived in one of the world’s largest cities most of my life. I find living like this is much better for my personal creativity. That works for me, but not everybody. I know a lot of artists who thrive in the city. And if you are gigging a lot, my situation would present problems. In the early 2000s, I was in a band called One Good Meteor, which was the house band at Rugrats creator Gábor Csupó avant-garde club, Lumpy Gravy. It was an amazing time and I met a lot of talented people during that period. That experience would never have happened had I not lived where I did at the time.

When I want to see live music I usually go to San Francisco, which is about 3 hours south of me. If I was ever to play live, it would probably be there first. I don’t like crowds all that much, so when I do go see live shows, they are few and far between.

Corbin: So what would a live show from Belial entail and would we be expecting one in the foreseeable future?

Belial: I would only put the work into a live show if there was a true demand for one. I would basically pick a set of songs and have the original, un-flattened tracks at my disposal for creating new live versions. Things would be hooked up to trigger from the guitar as well as keyboards and laptops. And oh yes, it would be loud. I like the approach Lustmord takes to live performance, but of course on a smaller scale.

Corbin: I have started seeing that some of WEATNU’s artists are venturing out and adding vocals to their songs. Are you going to grace the mic in up and coming songs?

Belial: Interesting you should ask that question. My feeling is that vocals that fit the sound of the music and elevate a song, adding an incredible human condition to a piece. However, if not done properly, can kill a track. And I’m not talking necessarily about how trained the voice is, but how well the quality of tone fits that particular type of music. Case in point, Fujiya and Miyagi…that vocal style is amazingly perfect for their sound, but it’s not really what I would call singing per se. That said, I’m starting to collaborate with other artists who are very good singers. I’m slated to work on a remix with Adryelle. I also have been thinking of doing some songs where I add some vocals of my own.

Corbin: Excellent!! Also looking forward to the remix with Adryelle, if it wasn’t for her and Odd Common, I may have never ventured to see if something like WEATNU existed.
I too come from a guitar background and played in bands. What caused you to decide to become a solo electronic artist?

Belial: I love to collaborate with other artists. Sometimes I feel like I’m in a vacuum in just working by myself, so it’s really a lot of fun to create with others all around the globe. WEATNU is a great portal for high-quality underground music and I just see it opening up all sorts of new avenues for making great music available to those who seek it.

I’ve found that over the years I’ve become adapted to working alone for most of the time. It allows for total control over the end product, but can also lead to re-covering ground that you’ve already traversed if you aren’t careful. The thing is I’m really used to being the only person involved in my music. I think I compensate for that by having very strict quality control standards when it comes to what I publish for others to hear. I can remember working on pieces for a long periods of time and right before uploading, dumping them. Completely. I find being hard on yourself helps in the sense that there is no other set of ears listening to the material before release.

<iframe style=”border: 0; width: 100%; height: 120px;” src=”https://bandcamp.com/EmbeddedPlayer/album=3155006020/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/” width=”300″ height=”150″ seamless=””>Still Life With Black Clock by Belial Pelegrim</iframe>

Corbin: This is so true… I am my own best and worse critic and I listen to each song at least 50 times before even considering its first public appearance.
I like your reference to WEATNU as a portal. How do you see yourself in the next months, years, and beyond in reference to the “movement” of which we are part of. Would you consider becoming more involved with its inner workings as I have?

Belial: The music business has had a paradigm shift which has made it possible for independent and underground acts to reach audiences in new and exciting ways. The ideal is always to try to reach people who might dig your work, and through sites like WEATNU, the foundation has been set for doing just that. I would always consider becoming more involved with WEATNU because there’s nothing quite like it out there and I believe in bringing good work forth. There is a LOT of electronic music out there, especially now. The most difficult task reaching the right people at the right time with the right sound.

Corbin: Yes, the good old days of PR for money are coming to an end as every aspect of purchasing music is going digital. Do you think that it has leveled the playing field enough for WEATNU to compete and subsequently allow you fair exposure in the industry market?
I notice you retweet some of the events, posts, and updates that WEATNU sends, while others do not. Do you find our promotion to be effective in your endeavors?

Belial: It’s a very strange thing, indeed. It really depends on what you’re attempting to achieve as a musical artist these days. I don’t actively go on the road and promote my music, so my expectations are based on that assumption. For myself, I’m just into expressing myself through music and hoping for it to reach people who like their music unusual and dark. It’s good to dream, but you also have to be realistic about the odds. The reason I promote some of the WEATNU materials through social media is that I believe in the talent on the roster. There is some very unique and important music on this label and I do what I can to help push the revolution forward. I’m in the marketing industry by trade as a graphic designer. I understand that promotion and packaging play significant roles in establishing an artist. The bottom line always comes down to making good music.

Corbin: That is a great point!! You also have great music and the graphic design background I can see helps to draw people in I might add. Your pictures used in songs and albums is something that I believe really makes you stand out.
I often wonder what each artists job is by day and what their goals are for their music. If you had one song or album in particular that sums up Belial Pelegrim, your life and your music career, what would it be and why?

Belial: Thanks Roofy! I feel that music and a visual representation of the music…like in the old days, when a great album cover was all part of the package…is very important. I’ve always try to paint a surreal sonic landscape with my work, in the vein of what Magritte or Dali were attempting to accomplish with paint and canvas.

It’s rather difficult to pick one one song that sums up what I’m about musically, but I’m going to throw out Premonition. It’s a good balance of attention to shadowy detail and electronic music. Controlled chaos with a groove.

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Corbin: I really like that, Chaos with a groove! Sounds like an album title. Is there anything you would like to say to your fans?

Belial: Haha…very good. All I can say is that it’s an honor to be able to reach people with the universal language of music.

Follow Belial Pelegrim on Twitter.

#WEATNU Digital Magazine – Interview by Corbin Roof

Intro by Almark

 
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Album of the Week: Belial Pelegrim – Still Life With Black Clock

Belial Pelegrim ‘Still Life With Black Clock’ is a masterpiece of experimental IDM. Forming both intelligent and complex all in one. Jazz-fusion, Avant-garde, with Autechre-like structuring, EBM beat-related elements and more. All this week at just 3 dollars. Get this work or art at this price while you can, to go back to original price Sun 12am.

<iframe style=”border: 0; width: 350px; height: 470px;” src=”https://bandcamp.com/EmbeddedPlayer/album=3155006020/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/” width=”300″ height=”150″ seamless=””>Still Life With Black Clock by Belial Pelegrim</iframe>

Buy on https://weatnu.bandcamp.com/album/still-life-with-black-clock

Follow Belial Pelegrim on Twitter.

Artist Collective #3

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Interview with Awentekr

‘IDM has become a by-word to the experimental scene in the last 20 years. Native to ‘Aphex Twin’ country, Cornwall, UK. Being armed with Renoise and youth, Awentekr could teach a lot of us about what it means to be intelligent and musically gifted. #WEATNU DM was pleased to have a interview with him.’

How are you this evening?

Awentekr: I’m good thank you, busy but good… Yourself?

I’m well, thank you. We’ve been hearing your music for some time on #WEATNU OUR. Could you tell us a little about it?

Awentekr: First of all, thank you for playing my music on WEATNU, all support is appreciated and I firmly stand behind what WEATNU is about. I’d say my music is predominately what people would call IDM but I like to add a bit of ambience and space to it. I also try to mix complex drum patterns with more ambient synth sounds. Of course, I make other music as well but I’d say that’s probably the backbone of most of the material that is released so far and is being released in the near future.

You’re very welcome, glad to have you with us. Since you write IDM/Ambient influenced music, who are your influences? I’m sure I can name one, but I’d rather hear you say it.

Awentekr: I’m influenced by a lot of musicians and producers. I got into electronic music through Kraftwerk and still consider them one of my biggest influences, Nigel Godrich is a big one, John Frusciante is another favourite of mine, both his electronic music and his previous solo work. Artists like Aphex Twin, Autechre & Venetian Snares too. I’m sure there is more I could name but I’d be here all day.

I was going to say, Aphex Twin, but that’s assuming isn’t it? If anything I hear more a touch of Autechre and even some BoC, either way, the quality is superior in design, the way you create these patterns.

Awentekr: Haha, AFX is most likely on 90% of electronic musician’s lists. I have to list him though, got to represent my fellow Cornishman.

He has become the name on most IDM artists lips these days hasn’t he? Mr. James. But let’s get back to you. Are you the analogue or digital type, or both?

Awentekr: At the moment I’m digital. I use Renoise pretty much exclusively. I’ve used Reason 5 in the past but it wasn’t flexible enough for what I wanted to do, I also used Logic Pro for some live band recording projects. However in the future I hope to add analog gear to my setup. I’d much prefer to be using real synths and machines but unfortunately money is an object right now.

Do you create the sequences with computer keyboard or midi controller through Renoise? Because I personally use it also.

Awentekr: It depends, sometimes I like to just program the numbers, chords and notes but being a musician who plays a few instruments I like to play some of the parts in by keyboard. It all depends on how the track feels to me, it goes on a song by song basis and if I can’t get it right by programming I’ll play it in and vice versa.

I have the headphones on now and listening to your new album, when is this one going to be released?

Awentekr: There’s no set date yet but it shouldn’t be too far into the future, I hope. There’s just a few things left to finalize…

You’ve mentioned that you play other instruments?

Awentekr: Yes, I’ve played drums for around 8 years so that’s where my love of programming drum patterns comes from. I also play guitar, bass and piano

Classically trained or have you had music theory?

Awentekr: I’ve had music theory through school and then a year of theory in college but it’s never something I’ve paid much attention to. I rarely ever showed up to my music theory class I learn most songs by ear whether its drums, guitar, piano or even programming. I think listening is an important skill for musicians and is often overlooked, training your ear by playing along to records and figuring out tones, melodies and chord changes by ear is very important and healthy for musicians. I hope more musicians decide to learn by listening in the future. This is not to say theory isn’t important, they are both equally important but I feel there should be a balance and for this reason, music theory is something I will work on in the future.

How do you usually begin a new song?

Awentekr: All it takes is just an idea in my head or something I’ve heard to set me off. I always start with a blank template and there’s not really a set process I go through. No instrument that I choose first, nothing, it’s completely different every single time.

Do you create the music with sampled instruments or mostly VST?

Awentekr: I like to use VST’s a lot and really get into them, again I rarely ever save these sounds or have a template as I try to make it slightly different every time. I’ve really been loving the SH 101 VST I have recently. I do use samples in my music but that’s mainly for percussion. I have used kalimba and bell samples in some of my music recently though so I’m gradually venturing into it. I’m thinking of working with vocal samples a lot more in the future, it’s something I’m going to look into.

Very cool, so you’ve been playing with Lush101? My favourite as well.

Awentekr: Hmm, it’s not that one. I can’t remember the specific VST or who it’s made by but it’s great. Hopefully someday I’ll be using a proper 101 and not a VST.

I’ve heard some remixes as well on your soundcloud.

Awentekr: Ahh yes, I enjoy giving my own interpretation of other peoples work. The first one I did was a remix of a song called ‘Bus Rides Make Me Sleepy’ by a musician called Lwpss. The second was a track I did using an acapella from UK Grime artist Jme’s track ‘If You Don’t Know’. I plan on doing a lot more remixes in my free time in between my own releases.

Great stuff, and I hear some Radiohead on the Bus Rides Make Me Sleepy RMX.

Awentekr: Yeah I used a vocal sample from Radiohead’s ‘Reckoner’ on the Lwpss remix, they made them available for people to download and remix some time ago.

I really dig the open delay on this one with Thom Yorke’s voice.

Awentekr: Thanks! I really like using a lot of effects in my music. It comes from my guitar playing. A lot of the guitarists I’m influenced by use a lot of effects. I really admire guitarists such as John Frusciante, Josh Klinghoffer, Michael Rother, Jonny Greenwood and Robert Smith. I’ve always rejected the notion that using a lot of effects makes someone a bad musician or a bad guitarist, there’s a lot of skill in using them especially knowing how to get good and interesting sounds out of them. It always has to be musical for me.

There are many timbres in using effects, allowing the rawness to come forth, I support them fully.

Awentekr: Exactly, I’ve never understood why musicians who use them are so heavily disregarded as being skilled musicians by a lot of people. It’s ridiculous!

If that were the case then Radiohead wouldn’t be massively popular after 20+ years.

Awentekr: Exactly, there are people out there like you who understand it but unfortunately not everyone does. Each to their own!

What got you started in Electronic music and for how long have you been creating?

Awentekr: I started making electronic music probably in 2012 just little bits in Reason 5 and Logic Pro but never anything serious. I got started after my dad showed me The Man-Machine album by Kraftwerk and I just thought it was one of the greatest things I’d ever heard. Around the same time John Frusciante put out his first solo electronic record PBX Funicular Intaglio Zone and I thought that it was brilliant. Instantly after hearing those I wanted to make electronic music. As I got more and more into electronic music I started to take it more seriously so in around October 2013 I started to record ambient music in Reason, a track from those sessions came out as ‘Kobv’ on my first ep ‘Rane EP‘. I gradually got into weirder electronic music like Venetian Snares, Autechere and AFX. I also really loved the Speed Dealer Moms EP because of how insane it sounded to me with its complex rhythms and sounds I’d never heard before. Around this time I started to put together the songs for Rane EP.

So, you were influenced by the greats later in life?

Awentekr: Yeah! I mean obviously Kraftwerk are THE greats but I didn’t get into AFX, Autechre and such until the past couple years.

Are you working on other projects at this time?

Awentekr: At the moment in time I currently have two EP’s on the shelf, the one mentioned earlier that should be coming out in the near future and a collection of ambient tracks from 2012 until now. I’ve also taken a slight interest into grime and hip hop music. Artists like Jme , Skepta and Black Knights are really interesting to me, particularly the producers behind their music such as Jme himself, Deeco and Trickfingers. I hope to make some grime and hip hop based music in the future however I’m not sure if that’ll ever happen or whether it will come out under ‘Awentekr’. I’m interested in getting into DJ’ing at some point, in various styles of music such as IDM , house, acid, ambient and techno. I’m also in the early stages of collaboration with a really talented singer and musician that I really like called Nadine Carina. I’d like to do more collaborations with singers in time, maybe a whole album or ep of my music with various artists or one artist singing. As for my own work and more electronic music, I’ve been doing some tracks recently but they don’t really fit with each other, so I’m not sure whether they’ll be together on anything. I have some older tracks on hard-drives that I need to go back through and sort, delete, release, work on accordingly. A lot of unfinished acid, ambient, house and techno experiments that I assume will see the light of day at some point.

Great to hear that! Are you going to work with some artists here at #WEATNU?

Awentekr: I would like to but as of right now I have absolutely no idea so I wouldn’t rule it out…

How is your music received in Cornwall?

Awentekr: To be honest with you, I’m not sure. I’d say 99% of people listening to my music are on the internet. Which isn’t a complaint of mine at all; in fact it’s interesting to know that. The Cornish music scene outside of folk and metal is pretty much dead. I’m surprised that there isn’t a bigger electronic scene considering Aphex Twin is from Cornwall. I hope to be part of a change in the future so that electronic music plays a bigger part of the music scene in Cornwall. I guess the true gauge of that will be once I actually release some music in Cornwall and perform it live. I’d also have to go about figuring out a live rig for myself, I don’t want to just stand behind my laptop and press play. Something interesting for me alongside performing my tracks live would be just improvising on synthesizers and instruments. Improvisation is important to me but I don’t know how it’ll be received, the same goes for my music that will be released. But in all honesty, as much as I want to change to music scene in Cornwall, it doesn’t bother me if my music isn’t well received here. If it makes just one person somewhere else in the world feel something, whether it be Manchester or Utrecht then that makes me happy and gives me a sense of satisfaction as an artist.

I was reading the same with Richard D. James, he too finds nothing in his own town… It would be most unusual if you two were to meet by complete chance. And finally how has #WEATNU helped you?

Awentekr: Well it’s a possibility! Someone I know saw him in a cafe down here the other day It has helped me gain the confidence to put my music out there, before finding out about WEATNU I didn’t really think there were many other people interested in this side of electronic music anymore. When in reality there are people who love it and want more people to get into it. It’s also brought me some extra plays and downloads which I appreciate a lot, as I said, if my music makes just one person feel something then I’m happy.

It’s always a plus to hear that! What your favourite thing to do?

Awentekr: Listen to music; nothing will ever beat that in my opinion. The feeling some records can give you is indescribable.

Thank you Awentekr for having an interview this evening with #WEATNU Digital Magazine.

Awentekr: Thank you for having me!

#WEATNU Digital Magazine – Interview by Almark

Follow Awentekr on Twitter. 

Like his page on Facebook.

Buy music on bandcamp

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FTNM – Well of Fungi

Music of ‘For The Naked Mind’, conceived by one solo artist.

This month we get a sneak-peak of a up and coming new EP from FTNM.

Coupled with bleeps and bloops, along with classic IDM, Experimental, bass driven tunes.

Coming soon.

Listen to Well of Fungi

Follow FTNM

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