. founded march 12, 1995 _| : _____ t r a x w e e k l y # 46 ______________ |___| _ _______/ /\___________________________ / ____________/ /\__\ _ _______/____/_____________________________ / / _________ \/__/ ______\ \_____________________________ / / / `_ . .~ \____\/ _ __ ___ / / / _____ . _ \ __ ___ _/__/\ / / / / /\ _ The Music Scene Newsletter __ __\__\/ _/__/ / ____/ /__\_________________________________ _____ ___ _ / /\/ /___ __________ _ ______ _ ___ \/ /\ / / /____/ \ \ / /\ / __/\ / /\ \ \ / \ /____/ / / \ / \/ /_ \___/___/ \ \_/___/ / \_/ / / \ ___\ / /_/ /______/\/ \ /______/\/ \ /_____/ // \ \ / / / \ / / \ \ \ \_\ \ \ \_\ \ //____/\____\/ / / / / / \______\/ \______\/ \_____\/ \ \ \ \ / / / / \____\/\____\ / / / / _____ _____ _____ _____ _____ _____ / / / /__/ w /\___/ /\___/ e /\___/ /\__ / l /\___/ /\____/ / / __/____/____/____/____/____/____/____/____/____/____/____/________/ / __\ \____\ e \____\ \____\ k \ ___\ \____\ y \__________/ \____\/ \____\/ \____\/ \____\/ \____\/ \____\/WW ---------------------------------------------------------------------------- - | TraxWeekly Issue #46 | Release date: 02-08-96 | Subscribers: 491 | - ---------------------------------------------------------------------------- /-[Introduction]------------------------------------------------------------ ---------------------------------------------------------------------------/ _ _________________ /_\ \__ / ____ ______ \____ ____/____________ ______ _/ \ _/ \ \ww_/ \ _/ ________/_/ _ \ __/ \/ \ \/ \/ \ / | \__ ___ ___ _______ _/ \\ \ \\ \\ | \\/ | \_ ___ __ __ ____ /___________\__\_______\________\____|______\____________\ \__\ Welcome to TraxWeekly #46. Atlantic, DeusEx, and Kal Zakath are back with more in-depth music reviews! If you want your song critiqued by our staff, please read the 'New Music Reviews' article and send in your submissions to any of the above three persons. Kal Zakath and Kleitus have compiled a list of what they believe to be the top 25 tracker musicians of all time. Please note that this list is their own opinion, and not a census of the entire scene opinion. Bear this in mind before you do anything rash. =) Shawnm presents us with an interesting article on 12-tone theory. Those of you interested in more technical aspects of music and composing should enjoy his contribution this week. Thank you for being with us! -psib [traxweekly] gwie@owl.csusm.edu /-[Contents]---------------------------------------------------------------- ---------------------------------------------------------------------------/ ________ _________________________________________________________________ / ____/_/ __/ \ __/ / _____/ \ __/ __/ ___/_ < \____\ \ \\ \ \\____ __/ __/_\ \ \\____ \_____ \__ \ \ \ \\ \ \ww\ \\ \\ \ \ \ \ \_ _\________\________\\___\____\ \_____\\_______\\___\____\ \_____\_______\ General Articles 1. New Music Reviews........................The Review Crew 2. Serial Composition.......................shawn 3. The Top 25...............................Kal Zakath and Kleitus 4. Ratings Poem.............................Subliminal 5. The Point of it All......................Mental Floss 6. Random Thoughts..........................NF Group Columns Epinicion Productions Closing Distribution Subscription/Contribution Information TraxWeekly Staff Sheet /-[General Articles]-------------------------------------------------------- ---------------------------------------------------------------------------/ --[1. New Music Reviews]---------------------------------[The Review Crew]-- { Introduction } We're in week #10! Once more my time slipped through my fingers and I didn't get any of my own done. I apologize for this (I always have to apologize for somethin). I'm now stage managing one play, and directing another completely original one. But anyway, enough of my whining. =) I'll be reviewing a song by Mick Rippon, two by Absalom/Carcass, one by Pfister, and one from Mage/Grip. Hold in there guys. =) Kal Zakath (jtown) is just starting this week. Much thanks to him for picking up my slack. Deus Ex is still taking a break. Remember, if you know of a musician who could use some feedback, pick a song by that musician. The policies of the tw reviewers have changed since when the column began, and would only like songs written by active composers. Most commonly, people send their own music, and that's perfectly fine. Attach the song to one of the reviewers in email: (as566@torfree.net), (jtownsen@sescva.esc.edu), or (deusex@io.org) in MIME format (not UUencode: that stuff is clumsy), or send it to me (Atl) on #trax where I can usually be found around 4-7 PM EST. It is important to include the following info: - Artist's Alias and Affiliations - Date of Release (If not known, approximate) - Where it can be found (ftp site & directory, website, person on #trax) - Artist's E-mail Address (Very important!) NOTE: From now on, the characters "SC?" might appear after the originality mark. This means that the tracker has failed to comment in the infopage about the originality of the samples. This will be an automatic -5% on the originality mark. Yes, I know that's silly, but people deserve credit for their recordings. - Atlantic { Reviews for Week of January 25th - January 1st } Artist......... Vegas / Mystique Song Title..... "Search for the Missing Link" DOR............ ? Email: sarda@primenet.com Found: DCC offered by the composer on #trax Composition: 70% Sound Quality: 65% Originality: 80% Reviewed by: Kal Zakath My first impression of this tune was a quite good one. The percussion and the piano chords were well done, and they lead into the song well. The melody of the trumpet lead is fairly good as well, but the sample seems a bit inappropriate to this type of song. I believe the sample is from Necros' "December", and it doesn't come off sounding as well in this tune, which is in a rock style. Don't get discouraged though, like I said, it's only a sample thing, the melody itself is nice. The piano transitions (orders 08-09, 0D-0E, 14-15) were IMHO the best patterns of the song. I did not care as much for the orders 0A-0B and 16-18. The "electric piano" seems a bit strange, and the way you use it does not fit the chord progression, creating a bit of dissonance. That's probably the weakest part of the song; the basic piano chord progession and bassline is good, but some parts of the song (most notably the electric piano patterns) seem to be "fighting" it at times... Maybe I'm a bit biased, as I like this sort of music (it almost reminds me of something I would compose), but I certainly believe that with a bit of work on the aspects of your composing that I mentioned, your music has excellent potential. I'll be awaiting your future releases, I hope they prove to continue the quality you've demonstrated here. the good- very nice piano chord progression and percussion, good lead the bad- some poor sample choices, occasional dissonance Artist......... Matt Song Title..... "Get on up, Get on down" [getonup.xm] DOR............ released at OZ '96 Email: not listed Found: ftp.cdrom.com:/pub/demos/incoming/OZ96/mmul/getonup.zip Composition: 80% Sound Quality: 80% Originality: 65% Reviewed by: Kal Zakath This tune took first place at the Australian party, OZ '96. It's a fairly standard dance/techno tune (hence the low mark for originality), but it is well done, and therefore quite enjoyable to listen to. The samples are for the most part very good, and the tune is quite catchy. The voice samples are high-quality and used well, especially the "get on up - hey - get on down" vocals. The percussion is nice too. The only "problem" this song really has is repetition. Actually, this tune had more variety than most songs of this style, but still, this sort of dance music is usually inherently repetitive. It was not so much so that the tune got boring though, and overall I enjoyed this catchy and well-tracked dance tune. the good- nice dance beat, catchy riff, and nice use of vocal samples the bad- repetition { Traxweekly Review Crew } . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alias Real Name Email Position .-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-. Atlantic Barry Freeman as566@torfree.net Editor / Reviewing Kal Zakath John Townsend jtownsen@sescva.esc.edu Reviewing Deus Ex John Taite deusex@io.org Reviewing ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú_ú ---------------------------------------------------------------------------- --[2. Serial Composition]-----------------------------------------[shawnm]-- Anton Webern and the Development of Serial Composition Technique Serial composition is a technique of composition that evolved in the 20th century as the final stage of tonality. In it, a composer cannot repeat a note, until he has passed through all the other notes of his 'row'. A row can be any sequence of note, usually composed of all the notes of the chromatic scale. This method was later evolved to include rhythmic patterns, dynamics, and other musical elements. A row doesn't simply have to be played 1 through 12 (if it contains 12 notes, which is does traditionally). It can be retrograded (played backwards, like a mirror image), it can be inverted (played "upside down", where all the intervals that went up go down instead, by the same amount), or retrograde-inverted (which is a combination of the two). As well, these reflections can occur over any of the 12 notes. So, if you think that the theory the Necros and Basehead use is too complicated, or unecessary, then take a listen to some music by Webern, Boulez, Stockhausen, or any other serial composer, and then I think that you'll quickly embrace tonal theory :) I'm not saying that serial music is necessarily bad - I'm saying that it takes some getting used to. I have never seen any tracked music that uses serial technique. Maybe someone will want to try it... Serial technique doesn't have to be applied to melodic elements.. You can create a percussion track with alternating sounds, where one particular sound never repeats until all the other sounds have sounded in order. Anyways, it's just another compositional technique to take into account. I personally have never used it, and actually, I'm not a very big fan of serial music. I don't like the idea of being forced to use ANY sort of rules in music composition. Sometimes, I do use combinations of ideas from different systems, but they are just influences, and not strict rules that I use. This was originally written as an essay for my Music History class in 1994. In the essay, I mention 'the supplied text'. It was an essay by Webern that was provided by the teacher. Just ignore that remark :) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Anton Webern was a student of Arnold Schoenberg. Webern took Schoenberg's ideas for serial composition and brought them to a new, more advanced stage. Besides composing, Webern wrote articles about his theories which went on to influence many other composers - some used his serial techniques in their composition, and some used serial concepts to take music into new realms. The supplied text, which was written by Webern, is an attempt by him to clarify some of his thoughts on music. He begins by defining a musical note, which is a complex structure of a fundamental, and overtones. From the beginnings of Western music, the harmonic series was used as the basis for the development of what is known as a scale. 'Consonances' and 'dissonances' are all found within the harmonic series, which even includes quarter tones. With this, he justifies the use of extreme dissonances in music, since 'dissonances' are just as 'natural' as consonances. And to those who believe that modern music is 'unnatural' due to the abundance of extreme dissonances, he says that their point is simply invalid. He then goes on to explain how Major-Minor tonality was formed and eventually dissolved. He mentions the forms of the baroque, classical, and romantic eras, and how form is quite important in a work of any nature. Even with its lack of tonality, contemporary music has a very strict form. He seems to have a fondness for the eight bar phrase and the period. In his various compositions, he has used forms from the different historical periods, including the Renaissance, Baroque, Classical, and Romantic. He mentions that Bach was very important in the development of music, as he sees it, especially due to his perfection of the fugue. It is in the fugue that a single theme is used throughout, but in a state of constant transformation and manipulation - an entire piece based on one musical idea. The importance of this is Webern's striving for unity within a piece. Another form that Webern needs for his ideas is that of the 'theme and variations' in which one takes a theme and develops it throughout the length of the piece. He is impressed with the concept of getting the maximum use out of one idea. He then goes on to talk about romantic composers, who helped to develop music to the point where there was great ambiguity of tonality, which he liked very much. Once the twentieth century came around, the major-minor tonality system was no longer in use. Webern's concepts of unity within a piece are very important when applied to serial composition, because as there is no tonal centre, the row is the thing that is constant throughout. To him, a good serial piece would use this single row, and through manipulations, develop it over the length of the piece. In the end, it is just like a fugue, or a theme and variations, where the whole piece is based on a single idea. A good serial composer would have developed great skill in the art of transforming a single row into a piece of music without much element of direct repetition. After the dissolution of tonality, people began experimenting in atonal music - music with no tonal centre. Schoenberg took this a step farther and started the idea of serial music - composing with 12 notes related only to each other - and Webern developed it even more. This system uses a scale of 12 notes arranged in a specific order. To provide the greatest amount of tonal ambiguity, one note should not be repeated more than any other so as to not draw attention to it. To avoid this, a note should not be repeated until all of the other notes of the row have been sounded as well. This places maximum distance between the repetition of notes. But, this would be too limiting to be of much use, so a row could also be presented in retrograde, inversion, or retrograde-inversion, and around any note of the 12 note row. This provides 48 different possibilities. Webern found this to be quite sufficient at the time that he wrote the paper. But, even with 48 possibilities of manipulation, one is still forced to pay attention to the order of the notes in the row, so as not to break the pattern. Composers would not be completely free to create music until all limitations had been removed, and while the serial technique seemed to offer many more possibilities than the old tonality system, it still was a system, and therefore has its limitations. Serial music did not end with the simple serialisation of pitches. Serialisation was eventually applied to dynamics, rhythm, and harmony. This was quite a more complex type of music to compose. Some composers used serialisation in parts of their music, while some used it for entire compositions. Some composers began using rows of more or less than 12 notes, which led to other possibilities. The most important and novel use of serial techniques was at the beginnings of electronic music. Working in, and sharing the same studio, Stockhausen, Karel, Geoyarts, Henri Pousseur, Gottfried Michael Koenig, and Bengt Hambraeus all used Webern's serial techniques to affect various parameters in their electronic compositions. Most of the time, they used sine waves tuned to pitch systems that were not possible on conventional instruments. At the time, this was a completely new branch of music, and is still being explored even today. Electroacoustic music is quite popular among new composers, as it allows a great amount of freedom to experiment with sound. Electronic music also led to the creation of new instruments, like the Theremin, and ondes Martenot, and more recently the sampler, digital effects, and synthesizer. One might even go so far as to say that because of Webern's statements concerning the 'naturalness' of all notes deriving from the harmonic series, people became more accepting of the ideas of quarter tones and microtones in modern compositions, because they no longer seemed so abstract or strange. Many composers have been influenced in some way by Webern's ideas. Besides those mentioned previously, some other important composers are Edgard Varese, Milton Babitt, Pierre Boulez, Igor Stravinsky, John Cage, and Frank Zappa. Not all of these composers used serialisation in their music, but the ideas of Webern were an influence in their thought process. In fact, Varese and Zappa detested serial technique, saying that it is too restricting (and I would have to agree). But, since serial music somehow led to electronic music, one cannot ignore it as an important stepping stone in the evolution of music. Varese and Zappa were both quite involved and important in that branch. Webern's ideas were quite revolutionary, and while his idea of a new system was somewhat restrictive, it did open up whole new possibilities for music. And, while this was not his intention, it led to electronic music, which is still continuing to develop today. His writings have influenced many composers, and his ideas have changed the course of the development of music of the modern age. shawnm / New Objectives In Sound Exploration shawnm@citenet.net http://www.citenet.net/noise ---------------------------------------------------------------------------- --[3. The Top 25]-----------------------------------[Kal Zakath & Kleitus]-- The Top 25 Demoscene Musicians of All Time compiled by Kal Zakath & Kleitus Okay, we know we're looking for trouble here... :> But this is something we felt we had to do. To get our opinions out in the open, and have a bit of a discussion... What you're about to read is the consensus of two people -- a top 25 ranking of all-time amiga & pc musicians. I'm not going to spend too much time justifying why you should take our opinions seriously. Of course somebody's going to read this list and think... "What? XXXXXXX didn't make the top 25? He @$&!ing rules! Who the hell are the $%@#ing lamers who made this @#&@ing list anyway?" Let it suffice to say that we've both been listening to mods for quite a long time... Probably longer than most people who think that they're scene "veterans". I (Kal Zakath) have only started tracking recently, but Kleitus and I have been listening to mods for at least 4 years now, and we each have quite a respectable music collection (I personally have about 220 megs of what I consider the best pc and amiga modules). I also used to edit the weekly Faces in the Crowd column for TraxWeekly, and now I do reviews, for whatever that's worth to you guys. :> It's all hardly the point though. We're not big scene names, but we _are_ objective reviewers with an extensive background in music and both the pc and amiga music scenes. So hopefully you'll read our list it, give it a moment or two of thought, then respond intelligently. :> ============================================================================ THE LIST ---------------------------------------------------------------------------- [three of our favorite mods by each composer follow his rank; you are more than welcome to disagree. =>] [1] NECROS - "Introspection", "Grey Note", "Ascent of the Cloud Eagle" [2] PURPLE MOTION - "Second Reality Soundtrack", "Skyrider", "Starshine" [3] LIZARDKING - "Desert Dawn", "Longstabben", "Claustrophobia II" [4] ZODIAK - "Respirator", "Cloudscape", "Reflecter" [5] JESTER - "Stardust Memories", "Cyberride", "Wizardry" [6] GROO - "Biomechanoid", "Electrification", "Towards Immortality" [7] C.C.CATCH - "Chaotic Dance", "Terraforma", "Modern Society" [8] MOBY - "Elekfunk", "Knulla Kuk", "Cortouchka" [9] NUKE - "Acid Jazz (pt2)", "Seeing is Believing (main theme)", "Velomatrix" [10] DIZZY - "Banana Split", "Allnite Groove", "Citronative" [11] CLAWZ - "Motion Theme", "Supreme in Black v2", "Out of Control" [12] CHORUS & SID - "Hideaway Blues", "Coffee Blues", "Living Proof" [13] MISTY & DAERON - "Iridium", "Reverie of Truth 2", "Nemesis" [14] NHP & BKH - "Epsonic", "Ethnomagic", "Hadrian's Wall" [15] BASEHEAD - "Open Your Mind", "Can't Fake The Funk", "Freedom at Midnight" [16] SKAVEN - "Second Reality Soundtrack", "Ice Frontier", "Omniphilia" [17] TIP, MANTRONIX, & FIREFOX - "Enigma", "Joyride", "Overload" [18] TRAVOLTA - "Condom Corruption", "Upstream 6", "Testlast" [19] HEATBEAT - "Love Anarchy", "Full Moon Rock", "Space Love" [20] PROBE - "Netherworld", "Excellate", "The Myth" [21] MR. MAN - "Late Nights", "Sequestral", "Sequential (main theme)" [22] JOGEIR LILJEDAHL - "Guitar Slinger", "Variations", "Mystified" [23] VOGUE - "Ambient Power", "Zone Disruptor", "The Decalogue" [24] BIG JIM - "(Dreaming of) Foreign Skys", "Voyage to Eternity", "Second Thoughts" [25] ROMEO KNIGHT - "The Cosmic Dog II", "A Common Threat", "Boesendorfer P.S.S." ============================================================================ Well, there you have it... Two devoted music scene fans' opinions of that ever-present question: Who ARE the best musicians of all time? To everyone who has something to say about this list, just a few notes/warnings. 1) Okay, most important thing to remember... In addition to the composers who made our top 25, we considered about _sixty_ to _seventy_ others. Then we looked at the list (about 80-90 musicians overall) and began eliminating. Some composers we eliminated in a minute or two, others we listened to for awhile, comparing their songs, trying to decide who should make the final cut. So if you're tempted to flame us, remember you don't know how close any one composer came to being in the top 25. We've given a lot of thought to the composers we chose. We did not _ignore_ anyone of merit. We just came up with these as a final 25. 2) We will not respond to any outright flames... (i.e. "YOU @%*!ING MORON!!?!!?!?!? YOU PUT xxxxxxx ON THE TOP 25 AND NOT xxxxxxxxxx!??!? xxxxxxx SUXX &%$@!!!!!!!!!!!!!!!!!!!) Anyone who would send a message like that is obviously neither intelligent nor objective, so we refuse to take this sort of "opinion" seriously. 3) If you're a musician who made this list, we'd like to hear whether you think you are higher or lower on this list than you would have placed yourself. If you are a musician who didn't make this list, well... you're free to explain to us why you think you should have made it. :> 4) Please remember, this is just our opinion. WE believe that our opinions are quite accurate, but we realize that OTHERS will not necessarily share our views. Do not e-mail us with some kind of "Who the hell do you think you are, what right do you have to make these decisions?" attitude. We think we are two music scene fans with certain opinions. This list doesn't presume to reflect anyone's opinions but our own, and everyone has the right to state their opinions. Now that you know what we think, we'd like to know what you think... send all e-mail responses to our top 25 list to "jtownsen@sescva.esc.edu". That's me (Kal Zakath). Do not e-mail us through TraxWeekly. Kleitus and I will read all e-mails, and we'll try to get back to everyone who writes us... Many issues ago, an idea was brought up, that TraxWeekly should contain a column centering on the music of the Amiga scene. We were looking forward to seeing this feature, but it never came to happen. We still think that it's an excellent idea, and would like to encourage someone who is currently involved in the amiga scene to contribute this. However, if no one is able to fulfill this, we would be willing to write such a column for TraxWeekly. Although we are not currently involved in the actual Amiga demo scene, we have been following the Amiga music scene for quite some time (as we mentioned earlier). Until next time... - kal zakath / inferno & - kleitus [jtownsen@sescva.esc.edu] ---------------------------------------------------------------------------- --[4. Ratings Poem]-------------------------------------------[Subliminal]-- I've had enough rating arguments... I'm ready to rant out my share... My thoughts, my opinions, what you don't need to hear... But here it is anyway... I belive that RATINGS are dumb, pointless, and have no meaning! Atlantic and DeusEx may not have the same tastes as I do, Atlantic and DeusEx may not look at music the same way I do, So why should I trust someone else with rating the song? I belive that they should give a review on the song, Say what they think of the MUSIC! Not the samples, Not the tracking, LISTEN TO IT WITH CLOSED EYES, CLOSE THE WORLD OF SIGHT OFF, USE SOUND TO WRAP THE MUSIC THROUGH YOUR SOUL, HAVE IT FLY RIGHT BACK OUT, LET IT TWIST YOUR EMOTIONS THE WAY IT WILL, AND FEEL IT... Kill ratings, review the music on how it is, Say what style it is, and ignore the quality of the samples, I've very little access to grab stuff from web and ftp, I've very little access to good samples... I can only track with what I have, Thus I am penilized for tracking with poor samples, This I cannot change, This I cannot help... I now have access to the better samples, but I still cannot sample my own, Lack of money stops this, I have nothing to sample, And nothing to sample with... Thank you for letting me write... - Lucifer Sam (Subliminal) sub@realitybbs.com ---------------------------------------------------------------------------- --[5. The Point of it All]------------------------------------ental Floss]-- I find that quite a few people release music because the "can", and not because they "should". We've gotten to the point that there is so much music being put into the pool of the scene that it's impossible to sift through it all. If you want to grow as a musician, pass it off to your friends. Get them to review it. Chances are that you'll get a much better and more in-depth response from them than if you just let it become another nameless track in the large abyss of the scene. Grow inwards first, THEN work on growing outwards. --- Andrew McCallum Mental Floss [KFMF] http://kosmic.wit.com/~kosmic/andrewm/ ---------------------------------------------------------------------------- --[6. Random thoughts]------------------------------------------------[NF]-- Hello. Most of you don't know me. I've never released a song (due to Necros's wise advice to wait until your music wasn't junk :) which is some good advice to quite a few new musicians...) and I'm relatively new to the 'net. However, I have a few thoughts about some of the scene... 20 minutes music compo: After running 20mc 14.4, I'm under the opinion that this idea needs to be given a rest for a while. People have plain gotten bored with it. Now, people are VERY eager to get into the compotitions, but noone wants to vote. The competitors INCLUDED. When I only got *1* vote besides me, I thought about it... Yes, it was a great idea. But it needs to take a vacation. (P.S. Kal and I came to a general consensus that Luv Kohli won. Congrats! :) The others we disagreed on a little bit, and he didn't vote on his own so there's not much of a way to go beyond that... Ratings: The issue is valid, HOWEVER: there's a lot to be desired to the SONGS as well as the ratings. Look: download a song from an author, see beyond the actual song to the style, and decide to get more songs based on that. Noone can make any choice on what you're going to like except you. HOWEVER: Authors: PLEASE PLEASE PLEASE put in a decent description of your song when you upload it! Sometimes I browse and make my decision to get a tune based on that. Since I don't depend on demonews's ratings I look for the author's comments. Epicinion (I hope I spelled that right :) - So long. You've made the music scene what it is today. What I'm afraid of is that there will be an influx of new groups. It could become as competitive as the ANSi scene. Everyone knows this is NOT what we want. (Right?) So just remember, when creating that new group, not to call yourself the m0st 31337. Remember that we're all in this together... In conclusion: Well, there really is no conclusion. I just wrote this because I had told everyone that 14.4 results would be in the next trax weekly, which they weren't :) And I HAD to put in a mini-eulogy for epicinion. And people would have felt out of place if there wasn't SOMETHING to do with ratings in here :) - NF (Dbiest@azstarnet.com) [note: Epinicion isn't gone yet! Don't make such a big deal out of it. The passage of time is permanent. -ed.] ---------------------------------------------------------------------------- /-[Group Columns]----------------------------------------------------------- ---------------------------------------------------------------------------/ --[7. Epinicion Productions]------------------------------------------------ ___ _______ _____________ ______ ______ _______ ______ _______ ___________ | // \\ \\_____) \\_____) \\_____) \\ \\ | : / o \ o \ \ \ \ \ \ o \ \: // _____// / \ : / \ _____/ \ / : \. \\_______/ _//______\\_|__//______\\_____//______\\_____//____| /: : \\____\\ ______________________________ oT /___//| |________________________// e p i n i c i o n \\________________| Epinicion's FINAL music disk arrives March 21st, 1996. As our last contribution to the music scene, we are asking musicians everywhere to make this release the best possible, because we don't have any other chances to improve. This is it. We are no longer accepting any new members, as the group formally departs this existence in less than two months... ----- ALL of Epinicion's 1995 and 1996 releases can be found through ftp at: kosmic.wit.com /kosmic/epinicion Epinicion's webpage can be found at the following address: http://www.csusm.edu/public/guests/gwie/epi.html. Psibelius (Gene Wie) Epinicion Founder gwie@owl.csusm.edu ---------------------------------------------------------------------------- /-[Closing]----------------------------------------------------------------- ---------------------------------------------------------------------------/ TraxWeekly is available via FTP from: ftp.cdrom.com /demos/incoming/news (new issues) ftp.cdrom.com /demos/info/traxw/ (back issues) TraxWeekly will be available via WWW from a new site within a few months. To subscribe, send mail to: listserver@unseen.aztec.co.za and put in the message body: subscribe trax-weekly [name] (NOT address) To unsubscribe, mail same and: unsubscribe trax-weekly (in message body) Contributions for TraxWeekly must be formatted for *76* columns, must have a space preceding each line, and must be readable and understandable. NO HIGH ASCII IS ALLOWED. Different country code pages cause major problems in international distribution, so we must stay with regular text. Profanities and other derogatory subjects should be avoided if possible. Contributions should be mailed as plain ascii text or filemailed (MIME/UUE only) to: gwie@owl.csusm.edu before 6:00pm EST (North America) every Wednesday. TraxWeekly does not discriminate based on age, gender, race, political preferences, religious preferences, or eliteness. For questions and comments, you can contact the TraxWeekly staff at: Editor: Psibelius (Gene Wie).................gwie@owl.csusm.edu Staff: Atlantic (Barry Freeman).............as566@torfree.net DennisC (Dennis Courtney)............dennisc@community.net Deus Ex (John Taite).................deusex@io.org Kal Zakath (John Townsend)...........jtownsen@sescva.esc.edu Master of Darkness (Todd Andlar).....as566@torfree.net Mhoram (John Niespodzianski).........niespodj@neonramp.com Trifixion (Tyler Vagle)..............trifix@northernnet.com Zinc (Justin Ray)....................rays@direct.ca Reporter: Island of Reil (Jesse Rothenberg)....jroth@owl.csusm.edu Graphics: White Wizard (...)...................aac348@agora.ulaval.ca WWW Page: Dragunov (Nicholas St-Pierre)........dragunov@info.polymtl.ca TraxWeekly is a HORNET affiliation. Copyright (c)1995,1996 - TraxWeekly Publishing, All Rights Reserved. /-[END]--------------------------------------------------------------------- ---------------------------------------------------------------------------/ . :: ::: : . ..... ..............................:::.................:.... ::: : :::: : .::::. .:::::.:::. ..:::: :::: : :: :: ::: .:: :: :: WW:::: : ::. :: ::: .:: :: .:: :::: : :::.::. ::: .:: .:: .:::::... :: :::.. ... ..: ... ..:::::::::::::::: .:: .::::::: :::::::: ::::::.. ::: ::: ::: : until next week! (= .. ... .. ....... ............... .................:..... .. . :