So this is it, Voidform is out in stores today! I hope you’ll give it a listen, possibly even buy it if you like it. Here’s where you can get it:
|Download, listen or buy CD|
|Download or listen|
|Download or listen|
I was approached by Limbic Void to do a remix for their new EP “Lapdogs”, and after listening to the fantastic EP, I picked the song “Castaway” to remix (I could pick whichever track I wanted, which was super inspiring). If you compare it to the original you’ll hear that I kept a lot of the original pop song structure, but reworked the song entirely to give it more drive (and bass, naturally). I hope you like it!
Google Music: https://play.google.com/store/music/album/Subsquare_Hit_the_Grave_Running?id=B55jmupjny3awzbhhs7xsrkvgn4
Amazon MP3: http://www.amazon.com/Hit-Grave-Running-Subsquare/dp/B00I1EXQ12/
It’s a dark yet melodic, hard yet soft, strangely driving dubstep affair. Grab it from my BandCamp page:
My second single, entitled “Broken”, featuring Jane Dawn on vocals, is finally out. It’s a three-track single with remixes by Irvin and lug00ber which I really dig. Please give it a listen, and share it with others if you like it – you can find links to buy or listen to it here:
If you want to support me by buying it, please consider getting it from Bandcamp or iTunes, since plays on Spotify or Rdio really pays nothing at all to small indie artists such as myself, but I do need to be on those platforms for exposure.
Thanks for the support since “Catzilla” came out late last year – it’s been amazing – I hope you like this track too. I’m really proud of it.
As promised, I’ve collected some stats from the first month of traffic on the Catzilla EP on Bandcamp.
It’s been very interesting to track where people are coming from, and not least: how many plays I’ve been getting and how many people decided to pay for the EP.
Since I put it out as pay-what-you-want, there was always an option not to pay anything at all, which I’m totally fine with as this was always going to be a promo effort, and not a money-making venture.
So, without further ado, here are some hard facts from 30 days of Bandcamp “pay-what-you-want” data:
This means that..
0,99 USD per track is identical to the price iTunes charges customers, which indicates that people have established a certain standard value for downloadable music.This also means that even with all those unpaid downloads, each EP download on average still generated ~0,41 USD in revenue, because the paid downloads make up for the unpaid ones.
Considering that after the fees on iTunes, each 2,97 USD sale (the full EP price) generates ~2,08 USD in revenue, I’m happy with these figures. Of course, I do wish for more traffic on the site, as increased traffic = increased revenue. Nobody is getting rich off of these numbers, but it’s encouraging to see that things are indeed not as bleak in the digital music download-world as some want to paint it.
When you can give away your music for free and still make an average income of roughly half of what being on iTunes would generate, the pay-what-you-want model has a right to live and prosper.I am still waiting (and will be waiting for some time) for the iTunes, Spotify, Amazon and Rdio numbers, but when I have them I will also share these with you guys.
In addition to numbers above, I also wanted to mention that the highest price someone paid for the EP was 10 USD, and the lowest was 0.5 USD. Clearly, some have more money/appreciation, and some have less. Even with the large gap in what people choose to pay, I am very happy for every single paid download, as it serves as validation for what I do and how people perceive it.I hope this has been an interesting bit of trivia for you guys, have a nice weekend!
For the last months I have been silently (though, not quite that silently, if you ask my wife) working on the music and sound effects for a project called Catzilla. It’s a PC benchmark suite (like 3D Mark, Aquamark etc — a piece of software that tests your computers graphical and computational power and allow you to compare that to the tests done by others).
Catzilla features a very, very nice non-interactive sequence that’s rendered in real-time, and this part is set to music and sound effects, which was my responsibility on the project. I can honestly say that I’m blown away by how it all has come together, and while the final thing isn’t released yet (the beta is going out to early signups so add your e-mail to the list if you want early access!) the teaser trailer is out — check it out:
Update (16.01.2012): the vocal-version of the remix (my favourite) has been uploaded, check below to listen or buy at Beatport.I remixed a track by Miu for his EP release “We are the bass” a few months ago, and it’s now released. You can get it from the usual places: Beatport, iTunes and Juno Download.
In terms of the remix itself, I think it works quite well. My original draft used the vocal tracks of the original, but very late in the process I was told they couldn’t be used and removed them.
It turns out this wasn’t necessary so it bugs me a bit that it wasn’t released with them, as that’s how the remix was constructed, but whatever — the breakbeat groove works well on it’s own I hope.
Last year I was involved with a project to make a tech demo for NVIDIA. Yesterday a video capture of it was finally released to the public, enabling me to talk about it.
The demo was made to showcase the best of NVIDIAs technologies and was targeted towards the then new “Fermi”-architecture (now known as the GeForce 400-series of graphics cards). The tech demo was developed by Virtex, a Norwegian company formed by friends of mine whom are also well-known in the demoscene for making demoscene demos that are of the very highest quality. The demo was first shown used during the opening keynote at the 2010 GPU Technology Conference in San Jose, California.
My role in the project was first and foremost to make the music for it, a process that was very fluid and tightly tied to the status of the visuals (which changed over time). If I wasn’t still bound by the NDA I would share a bit more about the process of making the demo, but you’re not really missing out – it was very demanding and made some of the smartest people I know to go “Huh, how do we do THAT?” more than once, which was fun – watching very clever people be stumped is always a good thing, because then you know you’re really pushing it.
For the tech-heads: the demo was developed in C++ using DirectX10 for rendering, and features physics simulations of rigid bodies and a 3D-version of the famous Koch Snowflake fractal. It uses CUDA, PhysX and is 3D-VISION enabled (you can use 3D glasses for a really immersive experience).