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Regards,

crude696 <crude696@...>

1. PAYPAL functionality being incrementally added to online catalogue -

2. The Aesthetics are going for funding for 2008 -

3. CRUDE RELEASING STYLE - A NEW STYLE: No more album length releases...
With the completion of the 'Slurry Series' I've been contemplating new
ways of 'containing' my recordings. Considering the typically vulgar
and volumous output, I ask, how does one release fewer titles, with
the same or similar amount of content. And so, in 2008, Crude will be
releasing an 'archive' - the full out-put of 2008 as DATA (320 KBPS
MP3S) on a DVD..And so, the title of the release for 2008 is : CRUDE -
L'archivio dei lavori ultimati da Matthew Middleton per l'ANNUNCIO
2008 di anno'.

4. the crude site has not been updated for a few months, now i have
the capability back and am tweaking compulsively.

My god . that information was utterly critical. Utterly. Utterly. UTTERLY.

File        : CRUDE CATALOGUE.doc
Description : CURRENT CATALOGUE OF CRUDE CD-RS

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a file has been uploaded to the Files area of the CRUDECAT
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Regards,

crude696 <crude696@...>

I read your profile today, I thought I would drop you a line and hope to become
your friend! Check my personal page here:
http://girlcgblog.googlepages.com/girlrider.htm

HEY!!!
GO TO THIS LINK!!!:::
http://www.r1.co.nz/bdolisten.php

CLICK ON THE AESTHETICS!!!

THIS IS A COMPETITION TO GET A BAND TO THE BIG DAY OUT!!

NEW ACTIVITY
UPCOMING GIG!!!!!!!!!!!!!

CROWN HOTEL, DUNEDIN !!!
CRUDE!
KHOMET!
PSYCHIC SIDEKICK (EX-MURDERBIKE)
HOUSE (alex from Khomet solo)


weeehooo!
and REMEMBER : MOST CRUDE UPDATE OCCUR ON THE CRUDE MYSPACE PAGE:
http://www.myspace.com/crudecat

CHEERS !!!!

You have received a NEW friend request! Check this request here:
http://networkabfriends.googlepages.com/myfriend.htm

FORET CRUDECAT - THE COOLEST AND MOST VIBRANT PLACE TO GET CRUDE UPDATES IS EITHER ONE OF THE FOLLOWING :

THE CRUDE MYSPACE PAGE 

and also:

THE NEWS PAGE AT CRUDE.CO.NZ  

MY HOMEPAGE  has been re-worked a little

BUT DON'T DELETE OR QUIT THIS GROUP, I'M KEEPING IT UP FOR EVER.

found an interesting e-book  on using the net successfully to push music in the 21st century:.

la la la la laaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

lal al la la de daaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

playing auckland on saturday

yahoo

THE MANHATTAN TRANSFER

FULL PROJECT REPORT by MATTHEW MIDDLETON
JANUARY 2007

_____________________________________________________________________



1. THE PRESENTATION:

The Manhattan Transfer project was, essentially, a presentation and
promotion of 3 things:

1. the live performance art of Crude.
2. the current suite of recordings available by Crude.
3. New Zealands' internationally active avant garde music scene.

Each performance not only highlighted my work but that of several
other very talented groups and individuals from this country. Any New
Zealand artist who 'makes it' to New York is, in the mind of
NewYorkers, instantly compared, contrasted and referenced against
other New Zealand artists they can recall. In my case people would
mention The Clean, Birchville Cat Motel, The All Blacks, Antony
Milton, The Dead C and Bailter Space.

2. GROUND ZERO.

Through unforseen circumstances the itinerary provided to Creative NZ
had to be slightly adjusted. On arriving in the USA some events were
added and some cancelled. A full explanation of this is provided later
on. In all I performed 4 intense, highly concentrated concerts at 4
different venues. On the 4th of November I performed in Washington DC
as part of a group show at 911 Florida. This particular venue has been
and will be frequented by other New Zealand experimental acts such as
Birchville Cat Motel and Eso Steel. Please find enclosed a poster from
this event, and also an edited Cd-r recording of parts of my
performance. On the 6th of November the second performance ensued,
this time in Manhattan at Cakeshop, one of New Yorks' few specialist
experimental venues. As is typical for this Lower East Side
stalwart-of-the-scene-venue the turn out was great. I will talk more
about the audience micro-demographic and what went well below. The
Third presentational event, on the 9th of November, was a group show
at a curious 'makeshift' venue in the industrial area of Brooklyn
(just over the road from it's sewerage treatment plant no less). My
set was strewn amongst those of 4 other local and national artists. A
very large crowd attended this show, and again, I managed to sell a
handfull of cds and t-shirts. The last performance took place on
Saturday the 11th of November at Tonic, another of New York's
specialist experimental/improv venues. In fact, this one is mildly
famous. I performed alongside two touring acts. I had an excellent
reception, a good time was had by all.



3. SOCIO-PSYCHOLOGY OF AUDIENCE PARTICIPANTS.

In New York City I had a job to do, and an audience to nurture. And so
it was done. The socio-economic status and lifestlyes of the attendees
were quite similar to those I had anticipated. In Washington, the show
was attended in the main by 20-somethings, 30-40 somethings in the
minority. The attendees I conversed with
all worked or attended colleges in Washington DC. They were also avid
collectors of underground music, highly IT literate and in the main
Caucasian. There was one Colombian woman who came along. She left soon
after I started. In New York, at the show at Cakeshop the audience was
made up of local Lower-East Side residents, professionals (designers i
think observing their aesthetic..) Most who came to see Crude were
alternative music enthusiasts always on the look out for new and
interesting stuff. Also, other NY musicians and their friends/partners
turned up. Of those I talked to, they sincerely enjoyed my
performance. When a later act (Pete Nolan) played he thanked me from
the stage and the entire audience looked over to where I was sitting
and smiled and clapped...like i had just graduated. Brooklyns' show
was a more calculated affair owing to its organisation and marketing -
Todd P is a very proficient Brooklyn based promoter and he has a large
mailing list. So, the band 'O Death' had a big contingent of fans
there. O'Death played a kind of folk/americana/mississippi/country
set, and to my horror the audience proceeded to
have a 'ho down'. I came to New York to escape that, not see it
reworked and post-modernised. Folk, at present, is the de rigeur. My
set juxtaposed the others nicely. A representative from Kim Gordon's
(Sonic Youth) 'Kill rock Stars' label attended the show and 'liked my
set the best'. Again, the audience was predominantly white and 20
something. The final show at Tonic attracted Tonics locals, again a
Lower East Side establishment. The audience was comprised of 'doom
metallers' from brooklyn, another bunch of what looked like designers,
jazz buffs and several other musicians. I kept an eye out for talent
scouts and A+R men from big labels. Must have missed `em.


4. THE PLAYAS.

Several individuals lent a hand with the project. The primary US
collaborator was Ian Thomas, who was mentioned in the application. Ian
had put some of his money into the venture and provided me with
accomadations throughout the tour. It was quite a hike every-day
getting in from New Jersey, but his house proved to be a comfortable
environment. Much was discussed regarding the shows, American politics
(the US mid-term elections were held on november the 7th) and
marketing techniques. Secondly was one Scott Verrastro, a Washington
based musician and booking agent. He organised the jaunt south to
Washington, provided accomodations for me there, shouted me a lovely
brunch the day after the gig and showed me around Washingtons central
govermental sites. Washington is indeed a very old city. Ex-pat New
Zealander Fiona Campbell assisted me with securing a show in Brooklyn
on the 9th. This show was also in conjunction with Brooklyn
underground enthusiast and promoter Todd P. Scott Verrastro also got
me the gig at Tonic with his psych/rock/improv band 'Kohoutek'. Ian
Thomas actually failed in the end to secure shows for me, owing to
personal strains and distance issues. Luckily other folks came to the
party.

5. THAT WHICH WORKED WELL, THAT WHICH DID NOT:

The long and the short of it: the Manhattan Tranfer project was a
success! I believe i did my best, performed to the best of my ability,
networked to the best of my ability and promoted both myself and my
countrys' underground music scene as best i could. The 2 weeks were a
crash course in NYC and when it was time to leave I was just starting
to get a feel for the place: its subway system, the climate, the food
it's beautiful cultural flavour(s). Next time, i would plan a longer,
more out-stretched tour.
2 weeks in the USA is not enough time to ensure a collected,
empathetic and targeted performance. It is also not enough time to
secure good recording time, and so my `documentation regime' suffered.
I had bitten off more than I could chew, but I put this down to
unfamiliararity with the city.
One mistake I made was not purchasing the correct current converter
and plugs. I now tell all who plan to play there – `BUY YOUR POWER
CONVERTERS HERE! `
I could have done a better job selling/distributing my merchandise.
Setting up a stall at gigs works alright, but much more needs to be
done to make an impression. Maybe I should have connected with a radio
station while there. Having several people booking shows was good but
i feel if I had one ubiquitous tour-manager the event could have run
super-smooth.

6. THE PROMOTION

The Manhattan Tranfer project was marketed in a variety of ways:
1. Via the internet - myspace, email and online direct marketing.
This was an obvious success because several of those who attended my
show learnt about it through the net - my myspace bulletins, my
web-page, emails to new groups. I swear by it.
2. Magazine References
A preview of the shows was printed in 2 or 3 weekly NYC publications.

3. flyers, posters
Please find enclosed the poster designs i used - you can't post up
posters per se in New York because of its sheer size but you can drop
flyers into suitable cafes, diners, record stores and net-cafes. I
spent a good day doing just this.
4. Cd demos sent to venues.
The venues I played at were all sent a CD of my music.
5. Cds to stores.
Cakeshop, both a venue and a record store bought 20! cds off me. These
cds will act as subtle promotion for Crude and New Zealand for many
months to come.

7. RESULTANT OPPURTUNITIES.

I have identified the following oppurtunities:
1. The project helped to amass a solid adress book of US booking
agents and performers who ARE happy to work with any acts from New
Zealand from the sound art/ electronic/ psychedelic/alt-rock
tradition. This has to be positive for audience development.
2. Several audience members have joined my mailing list, and so they
are always kept abreast of developments and happening in the New
Zealand Music scene.
3. I have a long distance recording project now on the boil as a
result of performing in the United States.
4. I have been invited back to perform with Washington DC band
Kohoutek at any point.
5. I can and will market other local acts to those US citizens who
joined my mailing list through my new Label.


8. VARIANCE:WHY.

A certain amount of flexibility is always necessary when booking shows
internationally. Doubley, tripley so with the organisation of
experimental musics. The Manhattan Tranfer project was no exception.
The main variance to the application was the DATES and VENUES .
I only had the oppurtunity to apporach one record store in New York.
This store was not listed in the original 4 found in the application.
The amount of in-house recording - both audio and visual was limited
because of technical difficulties. Earnings were not as predicted, in
fact I earned less. This is the harsh reality of the experimental
music scene...not only here - but THERE TOO. Had to go there to find
out huh…?



9. SUPPORT MATERIALS :

Provided for your perusal are copies of the promotional flyers/posters
I designed, and a recording of the first performance in Washington DC
on Cd-r. At each performance an oral reference to Creative New Zealand
was made. Please enjoy. ( I do not require these items back).


TO CONCLUDE:

I sincerely thank the board at Creative New Zealand for furnishing me
with this wonderful grant. I now know one of the world's most
important cultural centres that little bit better, and I fully
aknowledge and appreciate the department for giving me the oppurtunity
to do so. I feel that November 2006 was an excellent point in my
career to perform internationally. Good, solid contacts have been made
and plenty of New York ears now tune into my work. That being said if
it turned out the tour only managed to attract one soul to the
subtleties of New Zealand experimental musics, my job was done.

Ghost town--a town of ghosts?
I'm probably not the only passive consumer here so thought it time
to make a post...
Thanks for sharing this interview with us Matt,very eloquent.
Who set it up?

--- In CRUDECAT@yahoogroups.com, "matt" <crude696@...> wrote:
>
> hi all. Is anyone actually on this group????? you're all prety
> dormant...i must admit i've been neglecting thios page a bit but
> man,,,,this one feels like a ghost-town..
>
> this interview is going to be printed in Real Groove Magazine in May
> 2007 . This is a sneek peek.
>
>
> starts_
>
> carter - how many records have crude put out ? you done a lot of
songs
> buster...
>
> crude - I think a good round-about figure would be 70. That's the
> entire self-released lot. As far as actual 'proper' label releases,
> well you got your Inner City Guitar Perspectives on the Flying Nun
> backwash/backlog, Refute a Myth Society on Ecstatic Yod, a string of
> 7" singles both acetate and vinyl..but my deal now is self releasing
> Cd-rs through my web-site (www.crude.co.nz) and it looks like thats
> how it's a-gonna stay. Full artistic control - only your own control
> issues to deal with, no-one elses.
>
> carter - what have been your avenues of distribution ?
>
> crude - It's varied. Earlier vinyl releases made their way into
> obscure indie collections the world over - especially in the US of
A.
> Inner City traversed the western world via Flying Nun. These days I
> use the mighty internet for pretty much all of it - well, setting up
> buyers, approaching stores, radio etc. I've used viral direct
> marketing to bandy the name and sound about and I've deliberately
> penetrated the borders of whatever strange little country I can
(eg :
> China). And now I've embraced the future too soon and have made
Crude
> 100% downloadable as high quality album sized mp3s, direct from my
> server. And that stuff really does get in. Everywhere, anywhere,
anytime.
>
> carter - what side projects are you involved in ?
>
> crude - Lil' bits on the side eh? Well.....I'll mention The
Aesthetics
> - who are now over (sorry boys) , but that was kind of an equal
first
> priority project at the time so....I always had the Rock thing and
the
> stranger Crude thing going. I've got a free jazz Trio, 'The Anomie
> Ensemble' that performs biannually (busy) - core playas there are me
> on Tenor Sax and Duane Zarakov , now proud new owner of Records
> Records, on Drums. Wha' else. Space Dust. When I lived (well,
existed)
> in Auckland I had a synth duo called 'Southkill' going with my
friend
> Duncan Bruce.
> Rumor has it Duncan is now a practising Muslim - i wish him well -
> he's walking the straight path. I always enjoy freelancing my
talents.
> I try to 'write' too.
>
> carter - what is your recording set up ?
>
> crude - Initially it was all cassette 4-track into stereo system -
> cassette mix-down and thats it. I feel confident enough now at 32 to
> say that I got a good, ballzy, rich and punchy sound outta that
thing.
> Over the last 4 years or so I've upgraded to software multi-tracking
> systems and editing suites..still keep it really basic though. Don't
> usually go over 4-7 tracks. Just how it is. Computing allowed me to
> release Cd-rs and now the reviled/adored mp3. My hard-drive is the
> inner-inner- core of the Crude recording legacy.
>
> carter - how much time do you spend on music ?
>
> crude - As much as it takes, man. There were periods in me 20's
where
> I'd commit huge chunks of time to a project y'know. I tend to record
> an album in a compulsive, furious, single-minded spasm - the album
> completed, the latest self-nurtured neurosis dealt with . If I have
a
> project, or a commisioned piece to do, or have a sound/motif I need
to
> realize, I'll simply spend as much time as necessary to get it
done. I
> guess its a kind of unconscious work-ethic or something. And the
work
> ethic - i haven't been able to apply it to anything else quite the
> same as with my music. So yeah...of course, I've been 'unemployed'
for
> ,,hell,,14 years now...plenty of time to 'do' my 'work'. Pity it
just
> dosen't cut the mustard in the so called real world or at WINZ or
> whatever. I feel I'd have more status if I bloody well dug holes - i
> mean..thats a REAL job.
>
>
> carter - do you get disillusioned and feel like sometimes you're
> squalling in the wind/ yelling into a big empty canyon etc? i only
ask
> cos i think a lot of people feel this
> way...
>
> crude - Every now and every then. I actually have a couple of tracks
> that smack of those images...These days doubts pass pretty quick
> though. It's like this:experimental ( in the broadest possible
sense)
> music simply dosen't have an abundant fan-base. I mean, relatively
> speaking. It is a specialist music - as is Jazz apparantly. It's
taken
> me 13 years to truely realize this. How deluded i have been,
thinking
> i can 'make a living' eh what? Playing the USA did it for me. I was
> briefed on the state of the avant garde nation by a local indie
> booking agent and yeah - its the freakin same there too. I mean I
> don't want to destroy any dreams or pubescent hearts but that's just
> how it is. I'm just going to keep recording and realizing my own
> vision regardless. I think thats the only way to be.
>
> carter - 'songs' or 'noise' ?
>
> crude - Songs and noise. I tend to churn out short, simple but
spooky
> songs. Little ditties, retarded rock stuff, little synth numbers.
They
> come and go. I'll always craft songs.
> My 'noise' stuff, the formless , gurgling, purring, dark ambient or
> whatever the hell it is - that serves a purpose. I love sound. I
guess
> my songs are the abstract, noise and experimental electroinc Crude
is
> the full publication as a pdf.
>
>
> carter - are you a 'difficult' character ?
>
> crude - It depends on who you are, what we are doing and where we're
> doing it. Sure, I can be difficult, opaque, seemingly acting
according
> to some putrid set of internal rules...but most of the time I'm
> compassionate, easy-going, friendly and generous. Eh. Yeah. I used
to
> be way worse than I am now. Unfortunately its those frequent
episodes
> in my early 20s that people seem to tag to my name. Pity I didn't
> realize that's like rule number one of small town social psychology.
>
> carter - do you find it easy working with other people or would you
> rather do it yourself ?
>
> crude - If you are easy to get along with then I am easy to get
along
> with. I think the mark of a mature musician is their ability to work
> alone, to craft ones own songs/sounds to a high standard, and to be
> able to work in a group. And to be able to adapt for a duo, trio,
> quartet, quintet, sextet, septet etc etc. Doing it yourself allows
you
> to tap in to an internal dialogue and problem solving process that
you
> can bring to the table when you're in a group. Ultimately it
enhances
> the aesthetic evolution of a group.
>
> carter - i had a weird experience recently. i was asked to go back
to
> my old high school and talk to some kids there which is odd as i
> tended to polarise opinion back in the old days. anyway...the
teacher
> who'd invited me there asked me if i thought the rigid conservatism
of
> the place had given me something to kick against in my 'formative'
> years and whether it had some influence in the way i turned out and
> what i did.. you know what ? it did. with this in mind what kind of
> influence did growing up in invercargill have on you ? it's the
bottom
> of the earth.....
>
> crude - Long pause and sigh. Invercargill seems to produce some odd,
> genuinely unique talents. Why? I have no idea. Those of us from
> Invercargill with something 'special' to offer the world are usually
> strangely 'driven' people. For me Invercargill was somewhere I just
> had to leave. Thats about it. Even a 'zero fee scheme' can't tempt
me
> to live there.
>
> carter - is revenge a good musical motivation ?
>
> crude - Hell yeah. But to a point. I mean you can't stab someone 23
> times with a song.
> I guess I often spike my lyrics with a vengefull spirit. I hate alot
> of shit. Corporate greed. Supression of dissent. Right wingers, in
all
> degrees of intensity. Revenge is always a very personal affair. I
> don't think music is the ideal forum for revenge.
>
>
> carter - did going to the states open your eyes in any way ?
>
> crude - Absolutely, it made me realize that in essence, we're all in
> the same predicament wherever the hell you are on Earth. Streets are
> streets whether its Gore or Paris. The USA opened my eyes to the
fact
> that we are extremely priviledged to live here though - to be able
to
> draw a welfare benefit if needs be, to be able to get free medical
> support occasionally, the beautiful lush native bush...when i
arrived
> back I could taste the beauty. I guess thats a first timers cliche
or
> something.
>
> carter - musically what do you NOT want to be ?
>
> crude - Bono.
>
> carter - what experience do you hope to give the listener ?
>
> crude - A rich, subjective, mind-expanding, subversive dose of raw
> fuckin energy. Even the punk stuff. Even the stupid stuff. I want
the
> Crude listener to be empowered. I use strange, alien timing to
instill
> a sense of superhuman possibility in the listener. Crude cuts and
> drops, clicks and spatters, screams and whispers, is retro but not,
it
> creates a gentle tension - i'm certain it encourages new neurons to
> form. Oh no do I sound like a hippy here?
>
>
> carter - here's 2 questions i asked girls aloud when i interviewed
> them for pavement last year - what do you think about when you're
> singing ?
>
> crude - I think - oh my god did I say that in public?!
>
> carter - and ....does any kind of music make you sick ?
>
> crude - Shit , right.....sick. Goa trance.
>
>
> carter - what is skronk ?
>
> crude - Have I used that term? I initially caught the term through a
> King Loser song title (?) - i think it sorta means any kind of
> horrible noisey din...? The word was first coined by the rock
> journalists Robert Christgau and/or Lester Bangs..
> I always intuitively felt it to be a type of dirty, swampy, fuzzed
out
> synthesiser sound. I guess its dangerous to just throw half
understood
> terminology around.
> Or maybe thats how it should always be - intuitive guess work.
>
>
> carter - a lot of people don't seem to understand that instrumental
> music can be just as evocative as a book full of words. would you
agree ?
>
> crude - Well, this depends on the imagination of the individual.
> Instrumental music evokes feelings...moods. Moods lead to the use of
> adjectives. Your mind tends to wander when you listen to
instrumental
> stuff too.
>
> carter - and if so what do you think your instrumental stuff is
saying ?
>
> crude - It's saying - 'Feed. Feed on the internet, load up,
transcend,
> subvert, deconstruct,
> time does not exist'. It's saying - 'What have you done for me
> lately?' it's saying -
> 'wait a minute - maybe Marx did have a point..' oh yeah..and 'drink
> more' .
>
> carter - i can remember someone saying when they heard crude that it
> "was the sound of mental illness". comments please.
>
> crude - Fair enough. Indeed alot of it is. I know how to encapsulate
> fear with my music.
> The sound of mental illness is something S.P.K strove for. When i
> record I tend to create a real tension. Some stuff is paranoiac.
Some
> is paralysis. Some is
> obsessional. I'll tell you one thing though - the sound of mental
> well-being is
> pretty damn BORING!!!!
>
>
> carter - what would you do if you didn't have music ?
>
> crude - Well, if I lost the ability to play music now, yeah, I'd be
> destroyed. But I'd eventually get over it I guess and maybe I'd try
my
> hand at writing. Maybe some science subject. I'd develop web-sites.
> Poetry. I'd become a monk. I'd eat comfort food and become obese.
> Who's to say. Its a gift - and i DON'T take it for granted!
>
> carter - do YOU think you deserve more recognition ?
>
> crude - Depends what you mean by recognition. Yeah, quite often I
do.
> Especially if the recognition comes with a dollar sign attached.
Ha! I
> dunnow - I've contributed alot to New Zealand's underground and I'm
> basically supressed. Maybe the companies don't want someone like me
to
> be seen as doing well, because I'm doing it myself. Maybe I angered
> the person I should have been sucking up to. Maybe I've been
labelled
> a fascist, when in fact I'm the opposite. Is it because of my
> 'unreliability??'. Do I represent an un-marketable and undigestable
> paradigm?
> I just do what I do, I try my best, I do what I can with what i got,
> and at the end of the day I'm happy to have the support of those
> courageous sonic explorers who I call my friends. Thats all i can
ask.
> I don't have a huge following - but the one I have is very
enthusiastic.
>
> carter - have you been influenced by any of the following bands
> a/ joy division
> b/ the gang of four
> c/ the strokes
>
> crude - Nah not really. Maybe a bit of Joy Division. Haven't
actually
> heard much Gang of Four. And the Strokes...naah. sorry.
>
> end of questions.
>

Send instant messages to your online friends http://au.messenger.yahoo.com

Ghost town--a town of ghosts?
I'm probably not the only passive consumer here so thought it time
to make a post...
  Thanks for sharing this interview with us Matt,very eloquent.
Who set it up?




--- In CRUDECAT@yahoogroups.com, "matt" <crude696@...> wrote:
>
> hi all. Is anyone actually on this group????? you're all prety
> dormant...i must admit i've been neglecting thios page a bit but
> man,,,,this one feels like a ghost-town..
>
> this interview is going to be printed in Real Groove Magazine in May
> 2007 . This is a sneek peek.
>
>
> starts_
>
> carter - how many records have crude put out ? you done a lot of
songs
> buster...
>
> crude - I think a good round-about figure would be 70. That's the
> entire self-released lot. As far as actual 'proper' label releases,
> well you got your Inner City Guitar Perspectives on the Flying Nun
> backwash/backlog, Refute a Myth Society on Ecstatic Yod, a string of
> 7" singles both acetate and vinyl..but my deal now is self releasing
> Cd-rs through my web-site (www.crude.co.nz) and it looks like thats
> how it's a-gonna stay. Full artistic control - only your own control
> issues to deal with, no-one elses.
>
> carter - what have been your avenues of distribution ?
>
> crude - It's varied. Earlier vinyl releases made their way into
> obscure indie collections the world over - especially in the US of
A.
> Inner City traversed the western world via Flying Nun. These days I
> use the mighty internet for pretty much all of it - well, setting up
> buyers, approaching stores, radio etc. I've used viral direct
> marketing to bandy the name and sound about and I've deliberately
> penetrated the borders of whatever strange little country I can
(eg :
> China). And now I've embraced the future too soon and have made
Crude
> 100% downloadable as high quality album sized mp3s, direct from my
> server. And that stuff really does get in. Everywhere, anywhere,
anytime.
>
> carter - what side projects are you involved in ?
>
> crude - Lil' bits on the side eh? Well.....I'll mention The
Aesthetics
> - who are now over (sorry boys) , but that was kind of an equal
first
> priority project at the time so....I always had the Rock thing and
the
> stranger Crude thing going. I've got a free jazz Trio, 'The Anomie
> Ensemble' that performs biannually (busy) - core playas there are me
> on Tenor Sax and Duane Zarakov , now proud new owner of Records
> Records, on Drums. Wha' else. Space Dust. When I lived (well,
existed)
> in Auckland I had a synth duo called 'Southkill' going with my
friend
> Duncan Bruce.
> Rumor has it Duncan is now a practising Muslim - i wish him well -
> he's walking the straight path. I always enjoy freelancing my
talents.
> I try to 'write' too.
>
> carter - what is your recording set up ?
>
> crude - Initially it was all cassette 4-track into stereo system -
> cassette mix-down and thats it. I feel confident enough now at 32 to
> say that I got a good, ballzy, rich and punchy sound outta that
thing.
> Over the last 4 years or so I've upgraded to software multi-tracking
> systems and editing suites..still keep it really basic though. Don't
> usually go over 4-7 tracks. Just how it is. Computing allowed me to
> release Cd-rs and now the reviled/adored mp3. My hard-drive is the
> inner-inner- core of the Crude recording legacy.
>
> carter - how much time do you spend on music ?
>
> crude - As much as it takes, man. There were periods in me 20's
where
> I'd commit huge chunks of time to a project y'know. I tend to record
> an album in a compulsive, furious, single-minded spasm - the album
> completed, the latest self-nurtured neurosis dealt with . If I have
a
> project, or a commisioned piece to do, or have a sound/motif I need
to
> realize, I'll simply spend as much time as necessary to get it
done. I
> guess its a kind of unconscious work-ethic or something. And the
work
> ethic - i haven't been able to apply it to anything else quite the
> same as with my music. So yeah...of course, I've been 'unemployed'
for
> ,,hell,,14 years now...plenty of time to 'do' my 'work'. Pity it
just
> dosen't cut the mustard in the so called real world or at WINZ or
> whatever. I feel I'd have more status if I bloody well dug holes - i
> mean..thats a REAL job.
>
>
> carter - do you get disillusioned and feel like sometimes you're
> squalling in the wind/ yelling into a big empty canyon etc? i only
ask
> cos i think a lot of people feel this
> way...
>
> crude - Every now and every then. I actually have a couple of tracks
> that smack of those images...These days doubts pass pretty quick
> though. It's like this:experimental ( in the broadest possible
sense)
> music simply dosen't have an abundant fan-base. I mean, relatively
> speaking. It is a specialist music - as is Jazz apparantly. It's
taken
> me 13 years to truely realize this. How deluded i have been,
thinking
> i can 'make a living' eh what? Playing the USA did it for me. I was
> briefed on the state of the avant garde nation by a local indie
> booking agent and yeah - its the freakin same there too. I mean I
> don't want to destroy any dreams or pubescent hearts but that's just
> how it is. I'm just going to keep recording and realizing my own
> vision regardless. I think thats the only way to be.
>
> carter - 'songs' or 'noise' ?
>
> crude - Songs and noise. I tend to churn out short, simple but
spooky
> songs. Little ditties, retarded rock stuff, little synth numbers.
They
> come and go. I'll always craft songs.
> My 'noise' stuff, the formless , gurgling, purring, dark ambient or
> whatever the hell it is - that serves a purpose. I love sound. I
guess
> my songs are the abstract, noise and experimental electroinc Crude
is
> the full publication as a pdf.
>
>
> carter - are you a 'difficult' character ?
>
> crude - It depends on who you are, what we are doing and where we're
> doing it. Sure, I can be difficult, opaque, seemingly acting
according
> to some putrid set of internal rules...but most of the time I'm
> compassionate, easy-going, friendly and generous. Eh. Yeah. I used
to
> be way worse than I am now. Unfortunately its those frequent
episodes
> in my early 20s that people seem to tag to my name. Pity I didn't
> realize that's like rule number one of small town social psychology.
>
> carter - do you find it easy working with other people or would you
> rather do it yourself ?
>
> crude - If you are easy to get along with then I am easy to get
along
> with. I think the mark of a mature musician is their ability to work
> alone, to craft ones own songs/sounds to a high standard, and to be
> able to work in a group. And to be able to adapt for a duo, trio,
> quartet, quintet, sextet, septet etc etc. Doing it yourself allows
you
> to tap in to an internal dialogue and problem solving process that
you
> can bring to the table when you're in a group. Ultimately it
enhances
> the aesthetic evolution of a group.
>
> carter - i had a weird experience recently. i was asked to go back
to
> my old high school and talk to some kids there which is odd as i
> tended to polarise opinion back in the old days. anyway...the
teacher
> who'd invited me there asked me if i thought the rigid conservatism
of
> the place had given me something to kick against in my 'formative'
> years and whether it had some influence in the way i turned out and
> what i did.. you know what ? it did. with this in mind what kind of
> influence did growing up in invercargill have on you ? it's the
bottom
> of the earth.....
>
> crude - Long pause and sigh. Invercargill seems to produce some odd,
> genuinely unique talents. Why? I have no idea. Those of us from
> Invercargill with something 'special' to offer the world are usually
> strangely 'driven' people. For me Invercargill was somewhere I just
> had to leave. Thats about it. Even a 'zero fee scheme' can't tempt
me
> to live there.
>
> carter - is revenge a good musical motivation ?
>
> crude - Hell yeah. But to a point. I mean you can't stab someone 23
> times with a song.
> I guess I often spike my lyrics with a vengefull spirit. I hate alot
> of shit. Corporate greed. Supression of dissent. Right wingers, in
all
> degrees of intensity. Revenge is always a very personal affair. I
> don't think music is the ideal forum for revenge.
>
>
> carter - did going to the states open your eyes in any way ?
>
> crude - Absolutely, it made me realize that in essence, we're all in
> the same predicament wherever the hell you are on Earth. Streets are
> streets whether its Gore or Paris. The USA opened my eyes to the
fact
> that we are extremely priviledged to live here though - to be able
to
> draw a welfare benefit if needs be, to be able to get free medical
> support occasionally, the beautiful lush native bush...when i
arrived
> back I could taste the beauty. I guess thats a first timers cliche
or
> something.
>
> carter - musically what do you NOT want to be ?
>
> crude - Bono.
>
> carter - what experience do you hope to give the listener ?
>
> crude - A rich, subjective, mind-expanding, subversive dose of raw
> fuckin energy. Even the punk stuff. Even the stupid stuff. I want
the
> Crude listener to be empowered. I use strange, alien timing to
instill
> a sense of superhuman possibility in the listener. Crude cuts and
> drops, clicks and spatters, screams and whispers, is retro but not,
it
> creates a gentle tension - i'm certain it encourages new neurons to
> form. Oh no do I sound like a hippy here?
>
>
> carter - here's 2 questions i asked girls aloud when i interviewed
> them for pavement last year - what do you think about when you're
> singing ?
>
> crude - I think - oh my god did I say that in public?!
>
> carter - and ....does any kind of music make you sick ?
>
> crude - Shit , right.....sick. Goa trance.
>
>
> carter - what is skronk ?
>
> crude - Have I used that term? I initially caught the term through a
> King Loser song title (?) - i think it sorta means any kind of
> horrible noisey din...? The word was first coined by the rock
> journalists Robert Christgau and/or Lester Bangs..
> I always intuitively felt it to be a type of dirty, swampy, fuzzed
out
> synthesiser sound. I guess its dangerous to just throw half
understood
> terminology around.
> Or maybe thats how it should always be - intuitive guess work.
>
>
> carter - a lot of people don't seem to understand that instrumental
> music can be just as evocative as a book full of words. would you
agree ?
>
> crude - Well, this depends on the imagination of the individual.
> Instrumental music evokes feelings...moods. Moods lead to the use of
> adjectives. Your mind tends to wander when you listen to
instrumental
> stuff too.
>
> carter - and if so what do you think your instrumental stuff is
saying ?
>
> crude - It's saying - 'Feed. Feed on the internet, load up,
transcend,
> subvert, deconstruct,
> time does not exist'. It's saying - 'What have you done for me
> lately?' it's saying -
> 'wait a minute - maybe Marx did have a point..' oh yeah..and 'drink
> more' .
>
> carter - i can remember someone saying when they heard crude that it
> "was the sound of mental illness". comments please.
>
> crude - Fair enough. Indeed alot of it is. I know how to encapsulate
> fear with my music.
> The sound of mental illness is something S.P.K strove for. When i
> record I tend to create a real tension. Some stuff is paranoiac.
Some
> is paralysis. Some is
> obsessional. I'll tell you one thing though - the sound of mental
> well-being is
> pretty damn BORING!!!!
>
>
> carter - what would you do if you didn't have music ?
>
> crude - Well, if I lost the ability to play music now, yeah, I'd be
> destroyed. But I'd eventually get over it I guess and maybe I'd try
my
> hand at writing. Maybe some science subject. I'd develop web-sites.
> Poetry. I'd become a monk. I'd eat comfort food and become obese.
> Who's to say. Its a gift - and i DON'T take it for granted!
>
> carter - do YOU think you deserve more recognition ?
>
> crude - Depends what you mean by recognition. Yeah, quite often I
do.
> Especially if the recognition comes with a dollar sign attached.
Ha! I
> dunnow - I've contributed alot to New Zealand's underground and I'm
> basically supressed. Maybe the companies don't want someone like me
to
> be seen as doing well, because I'm doing it myself. Maybe I angered
> the person I should have been sucking up to. Maybe I've been
labelled
> a fascist, when in fact I'm the opposite. Is it because of my
> 'unreliability??'. Do I represent an un-marketable and undigestable
> paradigm?
> I just do what I do, I try my best, I do what I can with what i got,
> and at the end of the day I'm happy to have the support of those
> courageous sonic explorers who I call my friends. Thats all i can
ask.
> I don't have a huge following - but the one I have is very
enthusiastic.
>
> carter - have you been influenced by any of the following bands
> a/ joy division
> b/ the gang of four
> c/ the strokes
>
> crude - Nah not really. Maybe a bit of Joy Division. Haven't
actually
> heard much Gang of Four. And the Strokes...naah. sorry.
>
> end of questions.
>

hi all. Is anyone actually on this group????? you're all prety
dormant...i must admit i've been neglecting thios page a bit but
man,,,,this one feels like a ghost-town..

this interview is going to be printed in Real Groove Magazine in May
2007 . This is a sneek peek.


starts_

carter - how many records have crude put out ? you done a lot of songs
buster...

crude - I think a good round-about figure would be 70. That's the
entire self-released lot. As far as actual 'proper' label releases,
well you got your Inner City Guitar Perspectives on the Flying Nun
backwash/backlog, Refute a Myth Society on Ecstatic Yod, a string of
7" singles both acetate and vinyl..but my deal now is self releasing
Cd-rs through my web-site (www.crude.co.nz) and it looks like thats
how it's a-gonna stay. Full artistic control - only your own control
issues to deal with, no-one elses.

carter - what have been your avenues of distribution ?

crude - It's varied. Earlier vinyl releases made their way into
obscure indie collections the world over - especially in the US of A.
Inner City traversed the western world via Flying Nun. These days I
use the mighty internet for pretty much all of it - well, setting up
buyers, approaching stores, radio etc. I've used viral direct
marketing to bandy the name and sound about and I've deliberately
penetrated the borders of whatever strange little country I can (eg :
China). And now I've embraced the future too soon and have made Crude
100% downloadable as high quality album sized mp3s, direct from my
server. And that stuff really does get in. Everywhere, anywhere, anytime.

carter - what side projects are you involved in ?

crude - Lil' bits on the side eh? Well.....I'll mention The Aesthetics
- who are now over (sorry boys) , but that was kind of an equal first
priority project at the time so....I always had the Rock thing and the
stranger Crude thing going. I've got a free jazz Trio, 'The Anomie
Ensemble' that performs biannually (busy) - core playas there are me
on Tenor Sax and Duane Zarakov , now proud new owner of Records
Records, on Drums. Wha' else. Space Dust. When I lived (well, existed)
in Auckland I had a synth duo called 'Southkill' going with my friend
Duncan Bruce.
Rumor has it Duncan is now a practising Muslim - i wish him well -
he's walking the straight path. I always enjoy freelancing my talents.
I try to 'write' too.

carter - what is your recording set up ?

crude - Initially it was all cassette 4-track into stereo system -
cassette mix-down and thats it. I feel confident enough now at 32 to
say that I got a good, ballzy, rich and punchy sound outta that thing.
Over the last 4 years or so I've upgraded to software multi-tracking
systems and editing suites..still keep it really basic though. Don't
usually go over 4-7 tracks. Just how it is. Computing allowed me to
release Cd-rs and now the reviled/adored mp3. My hard-drive is the
inner-inner- core of the Crude recording legacy.

carter - how much time do you spend on music ?

crude - As much as it takes, man. There were periods in me 20's where
I'd commit huge chunks of time to a project y'know. I tend to record
an album in a compulsive, furious, single-minded spasm - the album
completed, the latest self-nurtured neurosis dealt with . If I have a
project, or a commisioned piece to do, or have a sound/motif I need to
realize, I'll simply spend as much time as necessary to get it done. I
guess its a kind of unconscious work-ethic or something. And the work
ethic - i haven't been able to apply it to anything else quite the
same as with my music. So yeah...of course, I've been 'unemployed' for
,,hell,,14 years now...plenty of time to 'do' my 'work'. Pity it just
dosen't cut the mustard in the so called real world or at WINZ or
whatever. I feel I'd have more status if I bloody well dug holes - i
mean..thats a REAL job.


carter - do you get disillusioned and feel like sometimes you're
squalling in the wind/ yelling into a big empty canyon etc? i only ask
cos i think a lot of people feel this
way...

crude - Every now and every then. I actually have a couple of tracks
that smack of those images...These days doubts pass pretty quick
though. It's like this:experimental ( in the broadest possible sense)
music simply dosen't have an abundant fan-base. I mean, relatively
speaking. It is a specialist music - as is Jazz apparantly. It's taken
me 13 years to truely realize this. How deluded i have been, thinking
i can 'make a living' eh what? Playing the USA did it for me. I was
briefed on the state of the avant garde nation by a local indie
booking agent and yeah - its the freakin same there too. I mean I
don't want to destroy any dreams or pubescent hearts but that's just
how it is. I'm just going to keep recording and realizing my own
vision regardless. I think thats the only way to be.

carter - 'songs' or 'noise' ?

crude - Songs and noise. I tend to churn out short, simple but spooky
songs. Little ditties, retarded rock stuff, little synth numbers. They
come and go. I'll always craft songs.
My 'noise' stuff, the formless , gurgling, purring, dark ambient or
whatever the hell it is - that serves a purpose. I love sound. I guess
my songs are the abstract, noise and experimental electroinc Crude is
the full publication as a pdf.


carter - are you a 'difficult' character ?

crude - It depends on who you are, what we are doing and where we're
doing it. Sure, I can be difficult, opaque, seemingly acting according
to some putrid set of internal rules...but most of the time I'm
compassionate, easy-going, friendly and generous. Eh. Yeah. I used to
be way worse than I am now. Unfortunately its those frequent episodes
in my early 20s that people seem to tag to my name. Pity I didn't
realize that's like rule number one of small town social psychology.

carter - do you find it easy working with other people or would you
rather do it yourself ?

crude - If you are easy to get along with then I am easy to get along
with. I think the mark of a mature musician is their ability to work
alone, to craft ones own songs/sounds to a high standard, and to be
able to work in a group. And to be able to adapt for a duo, trio,
quartet, quintet, sextet, septet etc etc. Doing it yourself allows you
to tap in to an internal dialogue and problem solving process that you
can bring to the table when you're in a group. Ultimately it enhances
the aesthetic evolution of a group.

carter - i had a weird experience recently. i was asked to go back to
my old high school and talk to some kids there which is odd as i
tended to polarise opinion back in the old days. anyway...the teacher
who'd invited me there asked me if i thought the rigid conservatism of
the place had given me something to kick against in my 'formative'
years and whether it had some influence in the way i turned out and
what i did.. you know what ? it did. with this in mind what kind of
influence did growing up in invercargill have on you ? it's the bottom
of the earth.....

crude - Long pause and sigh. Invercargill seems to produce some odd,
genuinely unique talents. Why? I have no idea. Those of us from
Invercargill with something 'special' to offer the world are usually
strangely 'driven' people. For me Invercargill was somewhere I just
had to leave. Thats about it. Even a 'zero fee scheme' can't tempt me
to live there.

carter - is revenge a good musical motivation ?

crude - Hell yeah. But to a point. I mean you can't stab someone 23
times with a song.
I guess I often spike my lyrics with a vengefull spirit. I hate alot
of shit. Corporate greed. Supression of dissent. Right wingers, in all
degrees of intensity. Revenge is always a very personal affair. I
don't think music is the ideal forum for revenge.


carter - did going to the states open your eyes in any way ?

crude - Absolutely, it made me realize that in essence, we're all in
the same predicament wherever the hell you are on Earth. Streets are
streets whether its Gore or Paris. The USA opened my eyes to the fact
that we are extremely priviledged to live here though - to be able to
draw a welfare benefit if needs be, to be able to get free medical
support occasionally, the beautiful lush native bush...when i arrived
back I could taste the beauty. I guess thats a first timers cliche or
something.

carter - musically what do you NOT want to be ?

crude - Bono.

carter - what experience do you hope to give the listener ?

crude - A rich, subjective, mind-expanding, subversive dose of raw
fuckin energy. Even the punk stuff. Even the stupid stuff. I want the
Crude listener to be empowered. I use strange, alien timing to instill
a sense of superhuman possibility in the listener. Crude cuts and
drops, clicks and spatters, screams and whispers, is retro but not, it
creates a gentle tension - i'm certain it encourages new neurons to
form. Oh no do I sound like a hippy here?


carter - here's 2 questions i asked girls aloud when i interviewed
them for pavement last year - what do you think about when you're
singing ?

crude - I think - oh my god did I say that in public?!

carter - and ....does any kind of music make you sick ?

crude - Shit , right.....sick. Goa trance.


carter - what is skronk ?

crude - Have I used that term? I initially caught the term through a
King Loser song title (?) - i think it sorta means any kind of
horrible noisey din...? The word was first coined by the rock
journalists Robert Christgau and/or Lester Bangs..
I always intuitively felt it to be a type of dirty, swampy, fuzzed out
synthesiser sound. I guess its dangerous to just throw half understood
terminology around.
Or maybe thats how it should always be - intuitive guess work.


carter - a lot of people don't seem to understand that instrumental
music can be just as evocative as a book full of words. would you agree ?

crude - Well, this depends on the imagination of the individual.
Instrumental music evokes feelings...moods. Moods lead to the use of
adjectives. Your mind tends to wander when you listen to instrumental
stuff too.

carter - and if so what do you think your instrumental stuff is saying ?

crude - It's saying - 'Feed. Feed on the internet, load up, transcend,
subvert, deconstruct,
time does not exist'. It's saying - 'What have you done for me
lately?' it's saying -
'wait a minute - maybe Marx did have a point..' oh yeah..and 'drink
more' .

carter - i can remember someone saying when they heard crude that it
"was the sound of mental illness". comments please.

crude - Fair enough. Indeed alot of it is. I know how to encapsulate
fear with my music.
The sound of mental illness is something S.P.K strove for. When i
record I tend to create a real tension. Some stuff is paranoiac. Some
is paralysis. Some is
obsessional. I'll tell you one thing though - the sound of mental
well-being is
pretty damn BORING!!!!


carter - what would you do if you didn't have music ?

crude - Well, if I lost the ability to play music now, yeah, I'd be
destroyed. But I'd eventually get over it I guess and maybe I'd try my
hand at writing. Maybe some science subject. I'd develop web-sites.
Poetry. I'd become a monk. I'd eat comfort food and become obese.
Who's to say. Its a gift - and i DON'T take it for granted!

carter - do YOU think you deserve more recognition ?

crude - Depends what you mean by recognition. Yeah, quite often I do.
Especially if the recognition comes with a dollar sign attached. Ha! I
dunnow - I've contributed alot to New Zealand's underground and I'm
basically supressed. Maybe the companies don't want someone like me to
be seen as doing well, because I'm doing it myself. Maybe I angered
the person I should have been sucking up to. Maybe I've been labelled
a fascist, when in fact I'm the opposite. Is it because of my
'unreliability??'. Do I represent an un-marketable and undigestable
paradigm?
I just do what I do, I try my best, I do what I can with what i got,
and at the end of the day I'm happy to have the support of those
courageous sonic explorers who I call my friends. Thats all i can ask.
I don't have a huge following - but the one I have is very enthusiastic.

carter - have you been influenced by any of the following bands
a/ joy division
b/ the gang of four
c/ the strokes

crude - Nah not really. Maybe a bit of Joy Division. Haven't actually
heard much Gang of Four. And the Strokes...naah. sorry.

end of questions.

There's a new mobile content company happening - it's based in Wellington and damn, it's deal is a good one. The site is user-friendly and nice to look at. And I'm on board - cause i'm selling sci-fi ringtones. so go on. over the next few months i'll be uploading futuristic, dark sci-fi ringtone like only Crude knows how. And ditties. Pop ditties.  Me ring-tones r 2 bucks a pop. full songs 2.50. The company is called Voeveo

HERES THE CRUDE RINGTONE HUB!

managed to craft a few shots while in nyc
nuttin too exciting but hey.....its ME  now innit.

check 'em here:

http://crude.co.nz/nyc%20photos.htm

also - new online material is up : check that out too me lovelies :
http://crude.co.nz/ULTRA%20LO%20BIT%20SERIES.htm

othjer cruddy news::::::::::

http://crude.co.nz/News%20Page.htm


why thank you boys

amen

New York City - CRUDE - final thoughts - Matthew Middleton November
2006 _____
--
_____________________________________________________________________
__


You take yerself everywhere you go. Funding will let you take
yerself somewhere else. A guy in the street put it beautifully ----'
yeah Matt's here but he's in his own world though' . But i got me
tickets and dragged my big ugly juno 60 synth with me from Times
Square to Harlem. I'd drag that stupid thing everywhere - adapting
to environs minute to minute, falling apart in the subway stations,
my girlfriend patching me together. We'd sweat acid.
We'd point out rats and cockroaches like a couple of children,we'd
brandish tourist status with every awkward posture. I'd whip out my
wallet
to fumble over countless dollar notes...'don't get yout money out
like that round here mister'.
But we fit in and we stood our ground. In fact, South Dunedin is a
more threatning place. i was here care of the department of the
creative new zealander and I had a job to do.
like a creamy grub smeared across the author
life came a knocking
bobby bee and family -
they did the thinking, the cocking
and soon brilliant stars edged o'er giger scape cities
and they were planes, not space-gas, planes.
and each plane herd and cow container - protein meal musics,
i'll make my walls my walls and not county walls.
cause it's in the authors interest now to retard the metabolism,
to dream a dream and to get up later.
to befoul the presbytarian walls and edges
righteous hedges, hens and the like
silver spikes all dug in and delivery
ma men on the corner all latino and up-right,
hANGIN mistress and lady on the upper floor
make it look like suicide you dig?
to cock the ak-47 skyward and shoot 'em out of the sky, see?
to run into families , pedestrains and soul-foods,
to woman, to woman, to wotan and mt saint hellens,
to st kitts, to pakistan,
rival, revel, glues and boilers.
to divide and rule and grow fringes long and stained charcoal,
to tighten thy jeans and chide thy parent,
to skate, to pierce, to go thou to work,
to americanize thy bowels and chip off the old block
to make piece with piece
to lord it and own that chrysler building - to flip the bird to some
AND love the other
to walk straight, tall, angular, this is the new york smell.
to eat firey leaves , to ask for advice - to learn to tip.
usually %15, see?
any services rendered - especially taxis
always taxis
subway, all scratch and screech, all rat and roach , eyes and
personal spaces and mind reading and wall street , men and men ,
american bowels tight and perfect, holding the bagel smoothb
buns tighter.

http://www.tonicnyc.com/

Thursday November 9 @ UNCLE PAULIE'S

:: Thanksgiving
:::: Crude ---------> from New Zealand

[ UNCLE PAULIE'S ] ~~ air conditioned! ~~
NE corner of Monitor St & Greenpoint Ave | Greenpoint, Brooklyn
G train to Greenpoint Ave or L to Graham | 8pm | all ages | $6

[ UNCLE PAULIE'S ]
$2 beer! Uncle Paulie's is totally a temporary structure built out of
blue canvas and two by fours and plywood on a slab of concrete next to
the huge under-construction death star minaret upside-down
hot-air-balloon lookin' sewage treatment plant in Greenpoint. During
the daylight, men in hard hats eat fried food here. Totally patio, but
totally inside! Easy to get to but so far out nobody cares! Noise &
djs till the wee hours! $2 beer!
-- PRESS -->
http://nytimes.com/2006/01/22/nyregion/thecity/22paul.html?ex=1160712000&en=e8d8\
c368651a4a69&ei=5070

[ DIRECTIONS TO UNCLE PAULIE'S FROM GRAHAM AVE L TRAIN STOP ]
Exit the station onto the corner of Graham Ave and Metropolitan Ave.
Walk West on Graham (towards the BQE overpass) for about 6 blocks.
Turn right at Meeker St, walk about 4 blocks. Turn Left onto Monitor
St and walk four blocks. Uncle Paulie's is on the corner of Monitor St
and Greenpoint Ave, on your right. (This is walk kinda sketchy, for
the record...)

[ DIRECTIONS TO UNCLE PAULIE'S FROM GREENPOINT AVE G TRAIN STOP ]
Exit the station onto the corner of Greenpoint Ave and Manhattan Ave.
Walk North on Greenpoint (towards McGuiness Ave, away from the
waterfront) for 8 or so short blocks. Uncle Paulie's is on the corner
of Monitor St and Greenpoint Ave, on your right.

yeah i just keeep on goin! someone shut me up! someone give me some
money!

check out a new track from my up-coming album 'fumes'

THE MILKMADIEN AND THE LUNE  

other nuuuz :::::::::::::::::

http://crude.co.nz/News%20Page.htm

recent releases page :

http://crude.co.nz/recent%20releases.htm

logos for screen-prints! (crudecat members priveledge only)

http://crude.co.nz/logos.htm

crude's famous LINK PAGE:

http://www.crude.co.nz/links.htm




pretty pictures

The price of cRUDE cd-rs has been reduced becuase, oh well, i
dunnow, maybe i was overcharging.
here's the information:
http://www.crude.co.nz/buy%20%20CRUDE%20info.htm
of course, don't forget, I'm also selling my babies in downloadable
form and that's cheaper again.
http://www.crude.co.nz/data%20sales%202006-2015.htm
i put one of those 'cluster maps' on my site :
http://www.crude.co.nz/who%20is%20looking.htm

ooooh it's 2 months till playing in New York

i must admit i've been neglecting this yahoo group sing i joined
myspace. i may eventually relegate the job of new posts to the
myspace crude blog. nah, i'll keep both going.

http://www.myspace.com/crudecat/

BYE

hi all

hope everyones just dandy


o
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o
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o

YOU CAN NOW BUY ANY CRUDE TITLE AS A DOWNLOADABLE FILE. CHOOSE
INDIVIDUAL SONGS FROM A LIST, OR SELECT AN ALBUM !
details:

http://crude.co.nz/data%20sales%202006-2015.htm

UPCOMING CRUDE and CRUDE RELATED RECORDINGS/RELEASES
...SAX SERPENTINE THREE

tHE third installment in the Sax Serpentine working [precluded by Sax
Serpentine and Sax Serpentine Remix] . Experimental Tenor sax,
clarinet, keyboard, found sound, shawm,recorderand voice. As with
Dopamine 20 this one'll be put together microtone by microtone.
http://www.crude.co.nz/ss333.htm

..THE ULTRA LO-BIT ONLINE ALBUM

If it's gonna be online its gonna be fucked and low-bit from now on.
Should have some pieces up around september
http://www.crude.co.nz/ULTRA%20LO%20BIT%20SERIES.htm

..THE MANHATTAN TRANSFER

While in New York Crude will be recording an album. Live out-takes,
studio sessions, found sound, commentary. Ooooh juicy. Cameo spots a
possibility. And of course, it'll have that creative nz label on it.
yep, no record label wants to back me, I have to get THE MAN to do it.
http://www.crude.co.nz/images/logo.gif

also THE ANOMIE ENSEMBLE are to collate an album of material sometime
this winter for local label United Fairy Moons...stay tuned for
progress ...

NEW ONLINE MUSIC:
th' podcast ep:

http://www.crude.co.nz/podcast%20ep.htm

the dopamine 20 five buck download spread 2006 :

http://www.crude.co.nz/ep%20downloads%20for%20sale.htm

new look noise suite 06:

http://www.crude.co.nz/NOISE_SUITE.htm

coming soon:
CRUDE - THE ULTRA LO BIT ALBUM SERIES 2006-2007:

http://www.crude.co.nz/ULTRA%20LO%20BIT%20SERIES.htm

Rich and Dumb online release via God Rekidz

http://www.crude.co.nz/images/CRUDE%20FRONT%20COVERS/Rich%20and%20Dumb.jpg

http://www.godrekdiz.com/


new tracks :
http://www.crude.co.nz/sounds/ep%20samples/beat%20plastique%20nano.mp3
http://www.crude.co.nz/sounds/crudecasts/ntek%20remixxx.mp3
http://www.crude.co.nz/sounds/crudecasts/burroughs.mp3
http://www.crude.co.nz/sounds/crudecasts/alchemic%20command%20programme.mp3
http://www.crude.co.nz/sounds/bit%20splatter.mp3
http://www.crude.co.nz/sounds/close%20call%20july%2006.mp3
http://www.crude.co.nz/sounds/FOR%20THE%20INTERIOR/incantation%202004.mp3
http://www.crude.co.nz/images/mouse%20copy.gif



FUKITY FUKITY FUK FUK

dunedin warmth , dunedin hands
dunedin rock star, dunedin fans
walk the streets
eating trash
no-one knows you
or has the cash
just for that
go out again
it's cool to hate him
and hate his friends
don't really know
what he is
and so we curse him
who does he think he is
what a fool
not even a man
its just not cool
not in this land
with our work ethic strung
round our pasty neck we strum
till kindom kingdom's come
keep quiet for the young

CRUDE has DOWNLOADS OF NEW ELECTRONIC MATERIAL FOR SALE. WHAT WAS
'DOPAMINE 20' HAS BEEN SPLIT UP INTO 8 EPS, ALL OF WHICH ARE FOR SALE
AS DIRECT DOWNLOADS FROM THIS SITE. SO IF YOUR FEELING PHILANTHROPIC,
TAKE A PEEK HERE:

http://crude.co.nz/ep%20downloads%20for%20sale.htm

i will not be releasing 'dopamine 20' at all now. The material just
hasn't worked as an album. songs will probably be released as
individual tracks on various sites,compilations etc etc etc. Time to
focus on Sax Serpentine 3.
New York looms in the distance....

http://crude.co.nz/wretched%20data%20cover.htm