Kathleen's Lj.

Basse! Comment le bas peut vous disparaître
Quartier des condamnés à mort quel frère sait
Est de nouveau de retour l'incroyable
l'animal de thym
l'ennemi public incroyable numéro un de D
"Cinq O" dit "Gel!" et moi sommes devenus engourdi
Peux je leur dire que je n'ai vraiment jamais eu un pistolet?
Mais c'est la cire que le terminateur X a tournée
Maintenant ils m'ont obtenu dans une cellule parce que mes disques qu'ils se vendent
Parce qu'un frère comme moi dit "Bien..Frarrakhan est un prophète et je pense que vous devez écouter Ce qu'il peut dire à vous, ce que vous devez à faire"
Suivez pour maintenant, puissance des personnes
"Faites un miracle, D, pompez le lyrical"
Le noir est de retour, tous dedans, nous vont gagner
Vérifiez-le dehors, ouais oui tous, ici nous vont encore

Tournez-le vers le haut! Apportez le bruit!

Jamais plus mauvais que le mauvais parce que le frère est plus fou que fou
Au fait qui est corrompu en tant que sénateur
L'âme sur le pain, mais vous le traitent aiment le savon sur une corde
Puisque les battements dans les lignes sont ainsi dopant
Détectez à l'oreille les leçons que je dis que musique intérieure que les critiques me soufflent pour eux ne s'occupera jamais des frères et des soeurs
Maintenant à travers le pays nous a vers le haut pour la guerre

Nous avons obtenu de démontrer, avancé maintenant, ils allons devoir attendre
Jusqu'à ce que nous l'obtenions droit
Les stations de radio j'interroge leur noirceur
Ils s'appellent noirs, mais nous verrons s'ils joueront ceci

Tournez-le vers le haut ! Apportez le bruit !

Obtenez de devant moi, la foule court à moi
Mon disc-jockey est chaud, il est X, je l'appellent Norm, vous savez
Il peut couper un disque de l'un côté à l'autre
Ainsi ce qui, le tour, le glissement devrait être beaucoup plus sûr qu'une commande d'âme de suicide, le battement est le père de votre rock
Musique pour ce qui vous pour ce que vous, vous appelez une bande, homme
En faisant une musique, maltraitez-la, mais vous ne pouvez pas la faire,
Vous savez que vous les appelez démo, mais nous montons des limousines, aussi
Ce qui sont vous allant faire le coup sec et dur n'a pas peur de vous
Le battement est pour Sonny Bono, battement est pour Yoko Ono
La course DMC a indiqué la première fois qu'un disc-jockey pourrait être une bande
Tenez là-dessus les pieds, obtenez-vous dehors votre siège
Le battement est pour Eric B. et LL, aussi bien, enfer
La cire est pour l'anthrax, immobile il peut basculer des cloches
Toujours pour toujours, universel, elle se vendra
Heure pour que je sorte, terminateur X-il

Tournez-le vers le haut ! Apportez le bruit !

De la côte à la côte, ainsi de vous cessez d'être comme un stand comateux,
"Mon homme ? Le battement est le même avec une roche de pain grillé
Poussée avec du pizzazz, il dure. Pourquoi demandez-vous ?
Roulez avec les vedettes du rock, n'obtenez jamais toujours admis comme
Nous avons obtenu de parler en faveur le cinquième, nous peut étudier
N'ayez pas besoin d'attendre, obtiennent le disque droit
Hé, la bande est en vigueur, obtenu le terminateur X de saveur pour signer des chèques, jeu pour devenir payée
Nous avons obtenu de le vérifier avalons dehors sur l'avenue
Un magasin ou deux m'insulte et vous insultant
Ouais, je vous dis...

Vous devez maintenant environ être témoin de la force de la connaissance de rue

Directement hors de Compton, le baiseur de mère fou a appelé le glaçon
De la troupe appelée Niggaz avec des attitudes
Quand je m'appelle au loin, j'ai obtenu scié au loin
Serrez le déclenchement, et des corps sont transportés au loin
Vous aussi,garçon, si vous baisez avec moi
La police va doit venir et m'obtenir outre de votre âne, celui est comment je sors
Pour les baiseurs de mère punks qui montre dehors le début de Niggaz au marmonnement, ils veulent gronder
Mélangez-les et faites- cuireles dans un pot comme le gombo allant au loin sur un baiseur de mère comme cela avec un gat qui est aigu à votre âne
Donnez-ainsi le vers le haut de lisse
Nul ne peut dire quand je suis vers le bas pour un mouvement de cric
Ici est un coup sec et dur de meurtre pour vous garder danser
Avec un disque de crime comme Charles Manson
AK-47 est l'outil
Ne m'incitez pas à agir la mère foutue me dupent
Et vous pouvez aller orteil à botter avec la pointe du pied,
Aucun peut-être j'assomme le niggaz la boîte,
Quotidiennement hebdomadaire, mensuellement et annuellement
Jusqu'à ce qu'ils les baiseurs de mère sourds-muets voient clairement
Que je suis vers le bas avec le C-P-T capital
Garçon que vous ne pouvez pas baiser avec moi
Ainsi quand je suis dans votre voisinage, vous améliorez le canard
Le glaçon de cause est fou en tant que baise
Comme je pars, croyez que je frappe du pied mais quand je reviens, garçon,
je sors directement Compton

[Ville de Compton, ville de Compton]

[Eazy E] Yo Ren
[MC Ren] Whassup ?
[Eazy E] dites la fin de support d'où vous !

Directement hors de Compton, un autre nigga fou d'âne
Plus de punks I fument, yo, mon représentant devient plus grand
Je suis un mauvais baiseur de mère et vous savez ceci
Mais le niggaz d'âne de chat ne montrent pas ceci
Mais je ne donne pas une baise, je suis fais mes ruptures
Sinon à partir des disques, de mettre sur cric
Les récoltes juste comme le cambriolage, la définition met sur cric
Et une fois illégalement armé lui s'appelle l'emballage
Tirez un baiseur de mère dans une minute
Je trouve un bon morceau de chat, j'entre vers le haut dans lui
Ainsi si vous êtes à une exposition dans la première ligne
Je suis un appel vous une chienne ou ho sale d'âne
Vous deviendrez probablement fou comme une chienne est supposé à mais ce me montre, slut, vous se composent à
Un baiseur de mère fou de la rue
Cause de pièce de théâtre d'attitude je déchire vers le haut des commandes de MC Ren de merde l'automatique
Pour n'importe quel baiseur de mère sourd-muet qui commence la charge statique
Pas la cause droite je suis la main elle-même
Chaque fois que je tire un AK disponible immédiatement
La sécurité est maximum et c'est une loi
R-E-N orthographie Ren mais je suis cru
Voyez, parce que je suis le bandit foutu de mère
La définition est claire, vous sont le témoin d'un massacre qui a lieu sans indice
Et une fois que vous êtes sur la portée, votre âne est à travers
Regardez, vous pourrait le prendre comme voyage mais un nigga comme Ren est sur un bout de gangsta
Directement hors de Compton

[Ville de Compton, ville de Compton]

[Dr. Dre] Eazy est son nom et le garçon vient....

Directement hors de Compton
Est un frère qui étouffera votre mère
Et incite votre soeur à penser je aiment
Son enfer dangereux d'augmenter de baiseur de mère
Et si j'obtiens jamais m'a attrapé font le presseur
Voyez, je ne donnent pas une baise, qui est le problème
Que je vois une cannette de fil motherfucking je ne l'esquive pas
Mais je suis futé, configuration basse, rampe un moment
Et quand je vois un passage punk, je souris
À moi il est un peu drôle, l'attitude montrant un nigga conduisant
Mais ne sait pas où la baise il va, juste roulant recherchant celui qu'ils appellent Eazy Mais voici un flash, ils ne me saisissent jamais
Impitoyable ! Non jamais vu comme une ombre dans l'obscurité
Excepté quand je décharge, voyez que j'obtiendrai au-dessus de l'hésitation
Et entendrai le cri perçant de la personne qui a obtenu la dernière pénétration
Donnez une petite rafale de vent et je voyage en jet
Mais laissez une mémoire que personne n'oublieront
Ainsi que diriez-vous de la chienne qui a obtenu le projectile ? Baisez-la !
Vous pensez que je donne un rien au sujet d'une chienne ? Je ne suis pas un surgeon !
C'est l'autobiographie de l'E, et si vous baisez jamais avec moi
Vous obtiendrez pris par un frère stupide de dopant qui étouffera
Le mot au baiseur de mère, droit hors de Compton

Les coupes ivres sont des coupes
Que vous obtenez sur vos mains quand vous tous êtes enivré
Elles passent inapperçues
Jusqu'au lendemain matin
Quand est l'intoxication est diminuée

Vous pourriez s'être déclenché vers le haut quelques escaliers
Ou pris une flaque
Ou essayé d'ouvrir des bouteilles vous pensée étiez twist-off
Ou cassé un certain verre
Ou mordu un hangnail
Ou perforé une porte parce que vous avez été pissé au loin

Coupes ivres

Les coupes ivres sont des coupes
Vous obtenez également sur vos jambes
Si vous êtes tombé vers le bas et ferraillé vers le haut d'un genou
Ou vous pourriez obtenir les coupes ivres

Si vous tombez le capot
De la voiture sur laquelle vous preniez un pipi
Ou votre chair pourrait obtenir desséchée
Avec les messages démoniaques
Cela se produit parfois quand vous êtes possédé et vous pourriez s'entailler
Tandis que vous poignardez un robinet taquinent
Environ 37 fois dans le coffre
Coupes ivres

Si vous recherchez quelque part pour aller
Fille, je vous porterai à une exposition de film
Nous pouvons nous asseoir dans le dos et je vous mettrai sur cric au loin

Je ne peux pas te donner tout que vous voulez
Mais je peux vous porter à un restaurant
Et si vous n'avez pas faim, je vous mettrai sur cric au loin

Si votre homme n'est aucun bon
Avancé plus d'à mon voisinage
Nous pouvons sauter dans le sac et je vous mettrai sur cric au loin

Si vous êtes fatigué de la petite fille de masturbator
nous pouvons aller une date, uh
si vous aimez je vous mettrai sur cric au loin

Je vous mettrai sur cric au loin, vous mets sur cric au loin
Je vous mettrai sur cric au loin, vous mets sur cric au loin
Je vous mettrai sur cric au loin

Je le fais seulement pour une digne cause Virginité ou ménopause
Vous aurez une crise cardiaque instantanée si je vous mets sur cric au loin

Si vous voulez vraiment vraiment être une étoile
Nous avons obtenu de la faire dans votre voiture de maman
Nu dans un Cadillac, je vous mettrai sur cric au loin

Si nous ne pouvons trouver aucun endroit pour aller
Fille, je vous porterai à une exposition de film
Nous pouvons nous asseoir dans le dos et je vous mettrai sur cric au loin

Ouais !
Ouais, ouais, je vous mettrai sur cric au loin
Bien, dites-le En obtenez, voulez une certaine tête
Je vous mettrai sur cric au loin
Si vous n'êtes pas un poulet, bébé, venu ici si vous êtes bon, je vous laisse même orienter en fait, vous peux me mettre sur cric au loin
Ouais
Je vous mettrai sur cric au loin, hé Ouais ! (Parfois)
Je vous mettrai sur cric au loin

sometimes i sit in malls and just watch, watch and wait.
ive surcomed to this sort of thing so many times, in fact it would even explain my current finicial state
i cant help but look at all this stuff and have a fleeting moment of oh that would be nice
or that would be fun. its nice to have nice things. even the placement and the lighting of a lot of these stores.
sometimes this much comsurism digusts me, but we all guilty of it at one point.
little gagets that's killed or made every day intereactions with other different and even absurd compared to how things used to be
i sometimes try to drain out and play irgorant to the ways with get our products and in a very selfish way well it makes me happy it ends there right?
La senza, despite the vast collection of stuff i have from them, none of it is made here and its not even made in the states.
made in places like banglesh. which brings up images even though i am not 100 perfect postive on their work labour ethics
having 16 year old girls and grown women working on these very pretty commerical underwear for self indugent people in a first world country.
even the jewelry store creeps me out. even though i dated a jeweler, just the whole idea of how these gems were found, harvested in made into luxury consumer items
things like blood diamonds. the mines, the hard labor.
makes me and my mommy and daddy issues so god damn first world. so damned tiny

or maybe. i'm just hungry. even there, the food induntry is a scary place. its a massive money making machine, even the food being so readily 4
all you need is the money. money money money, everything and all the complex idea and thoughts and systems that run through even the smallest most simple food court
is something to me.

or maybe im just hungry.

I believe a filter in need for this journal. Comment if you don't mind being unfiltered.

ATEK
an interview with Bradley Brunet

ATEK

What started you into making music? Why have you chosen the name ATEK?

I guess it all really goes back to when I first discovered drum'n'bass... it was still in its early developmental phases, but something about it really struck a chord with my friends and I.

Growing up in a place like New Orleans at the time, it was not something one could easily come across, so we really had to immerse ourselves in it. It was to the point where we would download BBC recordings, and bootleg live sets over our 28.8kbps connections, just to stay up to date with what was happening within the genre.

Over time, we all started to DJ... and that eventually led into wanting to write our own material. It was really a natural progression, with all of the different ideas and influences we've had.

As for the name ATEK... it's a lot simpler. As I started to get DJ gigs, and play out more regularly, it was becoming painfully apparent that most of the names I'd entertained having were already taken. A friend was booking me to play a show, and said he needed a proper name to put on the flyer... and decided to call me ATEK, since I was a keyboard tech at the time.

Seeing as New Orleans is your hometown, would you say growing up there had any influence in shaping your sound?

Absolutely! There's a lot of culture in New Orleans, and especially with respect to music and art in general. You can't grow up in there without some influence or respect for jazz, rock, funk, etc. The people in the New Orleans drum'n'bass and industrial scenes, though few in numbers, are very passionate about what they do. Interacting and performing with them really allowed for cultivating my skills and sound.

Speaking of influences, I've noticed you have a varied collection, from Joy division to Wu-Tang Clan and Einsturzende Neubauten. What brought these elements together in your music?

There's a certain amount of raw emotional content, tempered with intelligence, and progressive thinking that can be found in each of these acts. For me, it's always been a matter of trying to capture a bit of life experience in my works, and simultaneously challenge myself in similar ways. When I think of Joy Division, for example: no two songs of theirs really sound the same, for the most part, but still manage to maintain the same 'feel'. My initial goal was to fuse influences from early 80's electro-industrial with more aggressive drum'n'bass styles, but as I began to grow as an individual, I found that I had more (and equally significant) influences from varying sources... that I felt should be properly represented as well. To ignore the relevance of something because it doesn't fit a mold, I feel, just implies that I was thinking too narrowly to begin with. When I stop and consider such influences as Kraftwerk or Einsturzende Neubauten, it helps remind me of that.

According to your various sites, you have a debut album in the works. Can you tell us something about this and your plans for its release?

With the number of projects I've encountered over the last three years, it's made it a bit of a process, as remixes and co-production really occupied the majority of my writing time, but on the flip-side of this, working with such amazingly talented artists has really allowed for certain techniques to be established in my own works. While most of the material may prove hard to classify (with respect to a genre), listeners will find sounds ranging everywhere from industrial/IDM/dubstep/drum'n'bass/trip hop... Given the range of the material, and the amount of it, I've been discussing the release of such with a few labels, but I'm not at liberty to say just which ones yet. You'll have to stay tuned for that.

ATEK Your previous work has been featured in releases by well-established record labels such as Ad Noiseam and Hymen. What have you gained from these experiences?

I'm really a huge fan of works featured by both labels, and it still amazes me that I'm able to say I've worked on material featured by both... having the privilege of meeting and working with Enduser has really cultivated my skill set, and taught me to diligently work on material, as well as to factor in variables such as deadlines.

I've also been fortunate enough to work on some material with Marching Dynamics, who writes exclusively on hardware and manages to pull from an impressively diverse sound set. He's really been a pivotal influence in the way I approach my more recent works.

You've worked with various artists like Enduser and Cenotype and just came back from the 2010 Kinetik Festival after doing an amazing set with Synnack and Torrent Vaccine. Can you tell us a bit more about these collaborations and your participation in the festival?

In 2005, I moved from New Orleans to NYC... I ran into Lenny (Cenotype) through some mutual friends, and we were both still working on the earliest of our respective material. Sharing a lot of similar ideas and preferences in sound - despite different formats of genre - we decided that a collaboration would be a great idea. His release of "Origins" really presented that opportunity, with a remix album. Both being very satisfied with the results, we've also begun talking about working on more in the very immediate future.

Lynn (Enduser) was more of a chance meeting. We happened to cross paths at an event where he was performing in NYC. We eventually started hanging out a couple months later, and he'd expressed an interest in having me come along to play some shows in Los Angeles, San Francisco and London. After we both had relocated to California for a short time, he asked if I'd be interested in working on "Left"... which of course I was! And we've occasionally worked on stuff together since.

When I relocated to L.A. is also when I first encountered Shane (Marching Dynamics), and we've tinkered on side-project ideas and collaborations on a semi-regular basis ever since. Which is how we ended up performing together at last year's Kinetik...

As for this year's Kinetik, Clint (Synnack) and Brad (Torrent Vaccine) are old friends, from my days in New Orleans. I've always really respected their work, and have even opened for Torrent Vaccine on occasion. My inclusion in this year's festivities was just for fun, and to hang out with old friends. They both write amazing stuff, and I feel really fortunate to have been included in any fashion.

Which artists have you enjoyed working with the most? Are there any artists you are hoping to work with in the coming future? Or collaborations already in the works?

I've really enjoyed working with all of them! I've enjoyed the writing process, and final products with Marching Dynamics, Enduser and Cenotype immensely! As for other collaborations currently underway, Intoner is a name to watch out for! He's got some sick ideas, and sound design. Even with what few ways we've worked together, it's been fairly impressive. As for artists I'd like to prospectively work with: Cevin Key, Alec Empire/ ATR, Goldie, Limewax, Hidden, RZA, Noisia, Glitch Mob, Hecq, Dryft, Trent Reznor and Photek to name a few. I like so many artists it's hard to name just a few.

How do you feel about hardware vs. software synths? What's your studio set up?

Well, software has its place. For the sake of practicality it's hard to beat... easy to integrate, close to zero maintenance, and can be easily altered. Unfortunately, nothing really beats the sound of the real thing!

There is a certain character to dedicated/outboard gear... whether analog synths, samplers, FX racks, or virtual outboard variations. I tend to find a mix of software and hardware is best for my sound. My Juno-106, for example, has essentially become the backbone for a lot of my sound... whether by itself, or carefully layered with other patches to just give it a little extra flavor.

I find that a solid audio interface is key as well, as you're "only as strong as your weakest link." So choose your soft synths/FX carefully.

Since you have started out DJing, what are your thoughts on 'laptop performers' and how, in a way, they blur the frontier between musician and DJ?

There are so many ways to approach 'laptop performances'. Some of which I agree with, and others I do not. It really comes down to this: 1. Are you actually doing anything? 2. Is it in some way relevant for the listeners as an interactive experience?

Some people settle for letting the computer do all the work, or simple playback of a set, and maybe just tweaking effects. In that case, you/they might as well have stayed home. It probably sounds better on the CD/vinyl anyway. But that's just my opinion, which is one of countless.

Finally, what are the final thoughts you want to leave the readers with?

"Truth has no path. Truth is living and, therefore, changing. Awareness is without choice, without demand, without anxiety; in that state of mind, there is perception. To know oneself is to study oneself in action with another person. Awareness has no frontier; it is giving of your whole being, without exclusion." - Bruce Lee

Relevant links
ATEK @ MySpace

-- interview by Kathleen Chausse (June 2010)
http://www.connexionbizarre.net/interviews/m_atek.htm

Edgey
an interview with Stephen James Knight

Can you give some background for the name Edgey?

Coffee. Lots of coffee. I'd say it would closer fit to being 'on edge' than say 'cutting edge'. Kind of that tense, nervous feeling you get when you get amped up a little too much. The name has nothing to do with being on the 'cutting edge' as some have thought in the past... I still use hardware/software from 20 years ago, I don't keep up on the latest underground DSP packs, and I'm not out to intentionally break new ground simply to break new ground.

Can you name some past and current influences be it music, books, games...?

Even though I work in the vein of drum n bass and breakcore, my roots are more in the post-industrial scene. I think that comes through in the music. Godflesh and Scorn are big influences. Along with the typical host of industrial pioneers.

Speaking of backgrounds, do you feel that living in New York has provided you with opportunities?

It used to. New York is not what it used to be. There used to be somewhere to go and something to do almost constantly, "the scene" has all but died in New York. NYC is a Disney tourist trap now. Years ago it was different, and there were many more opportunities, more clubs, more promotors, and more fans of the music. I rarely even perform in NY unless it's for a close friend.

How did the internet help you achieve notoriety? Do you as a musician and netlabel manager have any promotion advice to give?

Definitely, the internet is/was a great thing. I was able to reach out to people that I'd never have the opportunity to work for or work with. I met some great people and really took advantage of the promotional opportunities to be found there. With the good comes the bad, the ease of dissemination of the music to get it to the masses has the ugly side of piracy. I think it should be the artists discretion to distribute their music for free. The MP3 is a double edged sword. It was never easier to get your music out there, but it was also never easier for someone to take it...

With Edgey’s history spanning over ten years and a significant discography (two full-lengths as edgey, 1 as SJK, 2 splits and the 2 2-track 12" and quite a few compilation appearances), could you give some insight into your creative process? How, over all these years, do you manage to keep your ideas fresh? Would you say that there is something tying all your work together?

I write when I feel like writing, and if I'm not in the mood, I don't force it. I'd rather keep it honest than put out some convoluted piece of meaningless crap that people can see through. So I might work hard for several months and release a handful of things, and then quiet down a few months with seemingly no activity.

Besides Edgey, you are involved in various side-projects like the more chilled/idm Stephen James Knight and Deep Fried Clams to name a few. Can you tell us a bit more about your side projects and what do you feel makes them different and unique?

I started the SJK project during a strange time in my life, and wanted to express something quite different than the raw noise I was putting out with Edgey. I've always sort of thought, if I'm angry and I write angry music, it's a release of that anger, and once the music is out, I pass it on, and the anger is gone... as I realized that the music can compound on those feelings, amping them up rather than releasing them, it only seemed appropriate to take a different direction and work on something new. I had always incorporating bits of pleasantries in my music, and through it was time to separate the two - one harsh grindy aggressive project, and one light and airy pleasant project. The duality fits my personality well (sorry if that sounds cliché).

Would you like to talk about your studio gear & live show gear? Do you have any favourite pieces of gear?

My studio has gone from piles of electronics, keyboards and hardware towards the more minimal approach with software dominating the scene. Live shows used to consist of a truckload of gear and several people to me and my laptop. I don't dance around or act like a fool on stage. I perform my music, hope to not fuck it up, and try to create an appropriate atmosphere. Shows and events have become more about the social gathering than the music it seems, the music is the common point for the fans, and I think its up the artists to create that atmosphere. That's my job, to give people a reason to get together, and provide them an accommodating atmosphere that fits the theme. If someone wants to stand up front fist bump and bang there head, or dance like a lunatic completely spaz out - or just stand in the back and enjoy, it's all good. As for favorite pieces of gear, I recently picked up a small DM5 drum kit to bang out my frustrations on.

Having performed live as Edgey in high-profile underground festivals like Maschinenfest, Forms of Hands, C.O.M.A. and Kinetik Festival as well as numerous shows through the years can you share some thoughts about performing live? What can one expect from one of your live performances in comparison to recorded material?

Some artists go absolutely insane on stage, the dance, they yell, and they put on a great show. I suppose I'm a little different in that regard, I've gotten generally one of two comments regarding my stage presence, either boring or intense. Some ask me if I'm cleaning a virus off the laptop, while others comment on my 1000 yard stare and focus. I may nod my head if I'm really getting into it though, heh. Also, you usually can't see it, but I tap my foot at 16th notes.

Edgey Still on the subject of performing live, are there any stories you’d like to share? You know, the kind of crazy stuff that inevitably happens from time to time when playing concerts...

I'm not going there. Thankfully I quit drinking before youtube was around. But I'm sure if you ask around there's plenty of stories to be heard...

Would you like to recommend any artists or projects from DarkStep.org? Outside of DarkStep.org, has anything caught your attention lately?

All of them, there are some seriously amazing artists there. We're working on a new compilation which should be available sometime in September 2010. I don't actively go out in search of new music, if I stumble across it that's great, but my general concept is that the more outside influence I hear, the more it will incorporate into my own music, so I kind of limit myself to what I listen to.

Do you still think about kermit when you hear current value?

Unfortunately yes, you can all thank Fexomat for that one!

Finally, what is the final thoughts you want to leave the readers with?

Hmm.. Open soapbox eh? There not enough time or pages. I'll keep it simple, I have a new album due out shortly, working on the next Darkstep release, and a few other nice surprises coming by the end of this year.

Relevant links
Edgey
DarkStep.Org

-- interview by Kathleen Chausse (July 2010)
http://www.connexionbizarre.net/interviews/m_edgey.htm