Sequal is a compilation of house and Hip hop dance beats set against a canvas of adventurous sound and form exploring many places from electro groove to strange orchestral crossovers, also represented by midi transcriptions or, keyboard versions of wave mixes. A song selection based on download totals of original wave mixes; free Mp3 rough mixes with hundreds of music and film dialogue cuts thrown into each mix hosted at various locations and share programmes. Production influences include Brian Eno, Tangerine Dream and radios picking up two stations at once cross-fading different music from distant countries with natural modulating filtering reception, rich with off-station sounds and tasty shortwave communication bleeps; when Techno came alone I knew where it was from. Wave loop arrangements are from many tapes and discs recorded over the years mixed with present projects and sounds. The form can be changeable and compressed. Some music hosts have limited space so compositions are shortened to fit, though some arrangements have over a hundred parts which would normally take much longer to expose. There doesn't seem to be a common element to specify the most popular time style or media;using waves synths or guitars so, this 1st album has a variety of styles and song durations from light instrumentals to heavy multi-part head arrangements set against soft hard fast slow beats and bass lines. Wave mixes include; Poppy, Sexe Funk, Alice's Dream, Ali, Amazoid and Circles. These are longer with more sound exploration. The short snappy songs are midi mixes, still with many parts but clearer. Many downloaders' prefer the original early arrangements to the modified versions. Sequal is a collectable example of musical approaches to compressed arranging and sound exploration, a mixture of wave mixes and midi arrangements with live synth dubs, searching for sound combinations and structures less known achieved remembered or realised by myself or hopefully, less used in general. Like New Age 12 note serial explorers avoiding predictable rhythmic, melodic and harmonic elements, simply by removing anything familiar. Keeping a constant element from which other sounds can be measured; if all the music parts are predictable then nothing is a surprise or, without a straight line a curved line cannot be fully appreciated. Exploring music & art since accidentally learning the distance between two notes whilst attempting to sing harmony. A simple bunch of numbers, like, being inspired to write a new song which often turns out to be someone else's tune but remembered slightly different like the way dreams mix up thoughts. A gift of exposure to inspiring jazz and film music as well as live music from family. The influence of a tiny radio, hidden under the bedclothes, set to off station sound effects or between two cross fading stations became my favourite childhood bedtime techno lullaby. Mix all that with a family obsession with excellent voices of fine British and American actors and the picture becomes more complete. We all revert to childhood when creating or judging; those personal parameters never change. Like anything in the universe, a bunch of numbers; the time, the place, the tone the dimension. To discover new worlds we must learn these numbers and destroy the image. With less known numbers in my music I know less than any, painting with unknown colours. Cross - fading colours has a similar effect to feeling tone vibrations from live sound: it puts tones in your bones. Some numbers will make you dance and some won't unless the frequency matches the resonant dimension of your bones. It would be sad to loose any numbers, colours, tones, words or Liberties. Like Clapton in Cream, searching for my own, Bonzo Dog band/Mothers of Invention/Mahavishnu Orchestra. Writing many songs with various musicians and bands then composing songs and sounds used by student film artists in London, supplying soundtracks, venturing into sound art, sharing insane sounds capes with experimental Euro Radio DJs. Some early music played at art exhibitions in Stockholm museum. Couldn't let go of the hard edge of sound, always liked a bit of dirt or something unexplained in the mix or live. Perhaps the song is in the minds ear. Perhaps to understand the sounds and the origin of the tones would make the illusion of melody disappear. Studied production,commercial music and synthesis then trained as a teacher. Meant to move into lesson publishing but ended up writing more music; mixing 100s of sample waves until a melody of harmonic distortion emerged from mixing over 400 channels of sound. Cutting 100s of loops from tapes of grooves and songs then measuring them in the mix creating another unintentional arrangement with insane key combinations, only just within my understanding, a great challenge to break down with sound combinations impossible to recreate but it was possible to work on simple melodies thrown off by the massive mix, using midi instruments to recreate the melodies but still prefer the original 'over my head, wave mixes, also the most downloaded versions. Making several loops from film dialogue and scores finding that many film scores revolve around the key and position of the dialogue i.e. 'The French Connection' has entire scenes where every sound is in an exact tempo and position. Spent so long studying music in dialogue that I couldn't concentrate on the words of speech. Missing words listening instead to the notes in voices. Developed taste for radio voices in languages I don't understand. Convinced that diversity and preserved identity in spoken tones leads to a greater variation in music. I only hear television if I'm not looking at it. A dangerous amount of 'useless information' can reach our brains when we think we're not listening. In real life we are aware of many simultaneous sounds, even when we believe we are focused on one sound source. Our ambient consciousness knows when a sound is present but our conscious hearing doesn't notice it was there until it stops. I have greedy ears, want it all, at the same time, but don't want to know that it was there until it's gone. The more music can be explained, the less original it is. Hopefully I've got it all wrong and there is still so much more to explore. Fascinated by the way jazz musicians share or pass on their skills everywhere they go, keeping the message alive like the book people preserving stories in their head and passing them on to the next generation in Fahrenheit 451. Kids understand orchestral scores. They cry, laugh and hide behind the sofa when the right music sneaks into the soundtrack of their favourite movies. They think they are not listening and that is when information really reaches into the mind. A great deal of my music is unintentional; the less explained the more to enjoy. Trying not to ask why something works; playing around with the track levels usually sends the mix tumbling like a deck of cards. Midi arrangements are the opposite, clear cut crisp and understandable and, completely editable. My 'NEW AGE MUSIC' links stem from Schoenberg, minimalism, 60's jazz new age minimalism i.e. Miles Davis Modal jazz, Acid jazz hip hop/house and jungle. Just before new age became new, composers were exploring this new music but holding onto old structures, creating a bridge from old to new. Compositions containing these bridges are both beautiful and stimulating/educational. Hearing 12th note music for the first time felt like watching my first colour TV or that first transistor radio. The full tonal range was not publicly accepted until club DJs started mixing keys. New age composers broke the rules and now they need to break them again. Later, less notes meant that much younger music fans would accept less musical effort but with more production content: politically correct music for a bigger demographic target audience. The domestic availability of Atari music software & samplers opened up a whole new independent world of underground experimentation and created a bridge between hip-hop, house & jungle, held together by film-cuts and samples of anything that goes or doesn't, who knows. Many a tone deaf DJ took us through a rainbow of new age possibilities: like Charles Ives on decks or sex drugs and jazz parties in the twenties, '...anything goes.' Now people are searching for music from all eras and areas and deciding for themselves where to go and how fast. As a result, many of those original 20's 30's songs have been re-released by on line music sellers...still, the perfect & glossy supermarket fruit looks healthy. There isn't doubt that there are millions of excellent localised composer/songwriters getting nowhere because they insist on using different numbers or simply won't give anything away or search the world on line. Music is a bed of nails: take some nails away and it gets painful. 'Music is nothing without exploration' Claude Debussy. IF MUSIC BE THE FOOD OF LIFE, IT TASTES MUCH BETTER WITHOUT THE PACKAGING.PQR1.