About Me: Sorry, but I haven't yet shared the information about myself that would typically display here. Check back later to see if that changes, or if I instead choose to remain an enigma.

I isolated the 4 best parts from my Jan 11 show into 4 videos. I'm wearing a Silent Hill 3 shirt in all of em! See them via my youtube channel:

http://uk.youtube.com/aeriae42

As soon as each one starts, click the 'watch in high quality' tab down the bottom right of the frame. They're way better that way.

I recommend watching them in this order:

1. Skirr (which is actually last video on the page)
2. Intro
3. AMay
4. Lenticular Cup

I think the first two are good to watch for anyone.

AMay is long, and Lentic cup is almost 10 minutes long, and also the least scrutable.

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I played a gig for friends on New Years Eve. I'm calling it 'The Ironing Board Sessions' for reasons obvious from this photo:

EDIT: Myspace BS prevents hotlinking, so to see it, you'll need to just go to my myspace, click 'pics', and look along a few photos:

Myspace

My 1st real gig is on Jan.11 at the Excelsior Hotel in Sydney.

http://aeriae.com/newsblog/files/gigoneone.html

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Heh, I'm still waiting for my Eamons to appear. But, away from computers, or back on them but in a different context, it is extremely likely I will play my first Aeriae gig in Sydney in January. And my interview in Cyclic Defrost magazine has come out in the print and online versions. Videogames, game music, Ocular Trauma and moviemaking all get some airtime:

http://www.cyclicdefrost.com/blog/?p=2605

Yes, more of my Apple II games are set to stagger onto the international stage!

This time it's three fantasy RPGs, Cliffs of Fire, Prism of Shadows and Dawn of the Warlock. They were written for the Eamon game system in the early nineties. Eamon was an open-ended text-based RPG and adventure game system, which in its heyday had clubs, newsletters, and ended up with a library of 250+ different adventure. To get these adventures you had to swap and copy through friends or mail order them from the Eamon club or public domain/shareware companies.

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Every weekday afternoon for years and years, nearly every Australian kid of my generation would turn over to Channel 2 and thrill to another episode – or another repeat – of Monkey, the extraordinary adventure series based upon the Chinese novel 'Journey To The West.' The actors were Japanese, the filming took place in China and Mongolia and the dubbing was in English. The boy priest in the series, Tripitaka, was played by an attractive woman for reasons we never understood, and Buddha frequently made cameos in the show to teach us moral lessons. Tripitaka was always crying out, 'Monkey! No violence!' – and would use her special prayer to bring Monkey under control, but that didn't stop every episode from being filled with awesome kung-fu battles that little kids would re-enact the next da

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I just listened to an interview with Brian Greenstone, who programmed some cool arcade games for the 16-bit Apple IIGS computer back in the day. Something interesting I learned was that as the IIGS folded and the SNES came out - unrelated events, but which happened around the same time - a bunch of ex-IIGS programmers suddenly got great jobs coding SNES games, since they were already well versed in programming for the 65816 processor used in both the computer and the console.

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Metallica's newly released Death Magnetic album has been mixed in such an extremely hypercompressed, distorted fashion, that even Metallica fans - who I imagine already sport above average hearing loss due to their ongoing exposure to hypercompressed metal records and hyperloud live metal gigs - are complaining that the sound quality is akin to crap.

Lars Ulrich defended the record slightly by saying, 'We wanted to roll with Rick Rubin's (the producer's) vision.'

I don't know if anybody's said this yet, but I imagine Lars' hearing is pretty appalling by now, considering the number of metal gigs he's played at without hearing protection. Maybe he honestly can't hear the distortion or detect the obnoxiousness of the recording.

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