The music of Malaclypse the Younger

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Sound Checks: Aquilasax C-mel | Orpheo Alto | Mercury Tenor

Images | Mal's Odd Stuffs: Short-scale electric bass | Keyless PVC flutes

All Mal-2 Music


  1. #dxm Theme Song (MIDI)
  2. A Winnar Is You (MIDI)
  3. L.A. Improv Lab, 2009-10-01
  4. #dxm Theme by InfinitySquared   the tardcore remix 1.8 MB, 1:52

Orquesta Guayao demos

  1. Fuego a la Jicotea
  2. Traicion
  3. Abusadora (live 2010-06-26)
  4. Guantanamera (live 2010-06-26)
  5. Ran Kan Kan/Fuego a la Jicotea [medley] (live 2010-06-26)

The stories behind the music
of Malaclypse the Younger

  1. Doņa Lele:

  2. A salsa song I wrote for Orquesta Guayao, this is just a MIDI-generated demonstration track for my composition. It has not yet been recorded but will be posted once it has.

  3. Specimen:

  4. This is the first track of its kind I ever attempted in Acid (or any other loop-oriented software). The idea of using a muted trumpet may have come from late Miles Davis work, or it may have come from Adam F - Music In My Mind... or both or neither. The name means that it is a example, or specimen, of what I could do with my new toys. With any luck, I'll rework this tune with a real trumpet before I consider it finished.

  5. Tannika:

  6. The voice sound bites are from Detroit Grand Pubahs - Sandwiches which is a cute tune, though rather repetitive. The whole song evolved out of finding a use for those sound bites. The title was not supposed to be permanent, as I offered the chance at choosing a title to someone else (who ended up declining that offer). The working title was chosen because I was drinking a lot of coffee and tea at the time, containing tannic acid.

  7. Look at that Cloud:

  8. All the sampled segments are from Kevin Godley & Lol Creme - Consequences, particularly a segment near the end, called Mobilisation. The acoustic guitar is real.

  9. Under the Glass:

  10. The title refers to living in a state of constant surveillance, as does the whisper at the end. The voice is mine, though heavily processed and pitch-shifted.

  11. Shadows:

  12. What if Alan Parsons did an instrumental track in 5/4 time? I started with that idea and built on it to include things not typical of Parsons. I'm not sure what the title means.

  13. LGM:

  14. When the first pulsar was discovered by radio telescope in the 1960s, researchers weren't sure just what the hell they were, and dubbed them LGMs, which stood for "Little Green Men".
    The LGM story at The Planetary Society
    It shortly became evident that they were natural phenomena, but the question of how one would recognize an artificial extraterrestrial signal continues to be debated. This track is my conception of what it might be like to listen to a radio telescope, instead of charting it. Most of the signals would be of terrestrial origin reflected off the atmosphere, or originate from satellites. Lesser sources would include spacecraft transmissions and natural radio sources such as pulsars.

  15. Gonzo Lullaby:

  16. Some people think Dramamine is the poor man's LSD. The voiceovers on this track are taken from actual writings of people under the influence of each -- acid on the left channel and Dram on the right. The title of course refers to Hunter Thompson and gonzo journalism.

  17. Trancin' Dental:

  18. This is another odd-meter techno track, only this time in 7/8, with a fair mix of trance. The title is just a bad pun.

  19. 420 channels of shit:

  20. This one was mostly created spontaneously by the computer during a hard drive crash. I snipped, and added about 10 seconds of sound bites, and it was done.

  21. #dxm theme song:

  22. This is intended to be another Gabber Robots or All Your Base sort of song. DO YOU HAVE STAIRS IN YOUR HOUSE?

    Most of the voices were synthesized via the Bell Labs text-to-speech converter and edited, lightly to heavily. Two of the clips are my voice again, heavily processed.

       #dxm theme song - lyrics
       Look what I just put up my butt
       Look what I just put up my butt
       Look what I just put up my butt
       LOL 1 2 POOP
       LOL 1 2 POOP
       Look what I just put up my butt
       What kind of sick weirdo are you?
       Look what I just put up my butt
       ASS VODKA!
       u 1 2 drink some antifreeze?
       i am hard now
       ur such a tard
       i r such a tard
       ur such a tard
       ur such a tard
       ur such a tard
       i ett DXM for 60 consecutive days
       now i... now i... now i can levitate cds!
       beware of positive ions
       they're out to steal your soul
       beware of positive ions
       Look what I just put up my butt
       ur such a tard
       now i can levitate cds!
       Look what I just put up my butt
       ur such a tard
       now i can levitate cds!
       What kind of sick weirdo are you?
       Look what I just put up my butt
       ASS VODKA (LOL 1 2 POOP)
       Look what I just put up my butt
       1 2 frux?

  23. angsty stuff (infinite ohm remix):

  24. This is a remix of "really angsty stuff that teenagers will like", by Number. The original is the repeating loop that sounds like a lawn sprinkler. All the rest, including alterations of the loop, is mine.

  25. wobble:

  26. My first track done in Buzz, this started as an attempt to follow the tutorial in the help files. Once I realized I liked the way it was going, I ditched the tutorial and started hacking away on my own.

  27. foxxxy:

  28. DIPT, a research tryptamine, and its near-relative, 5MeO-DIPT (a.k.a. "foxy"), are well-documented as causing a strange and non-harmonic lowering of perceived pitch. Voices and music alike sound creepy, dark, and distorted. This is a foxy song for those of us NOT on it.

  29. Patriot Axe:

  30. Yeah I'm pissed off about the Patriot Act and other, less blatant attempts to steal liberty in the name of security. This is a two-bass power trio, no guitar... the crappy vocal is mine, as is the sax solo (which isn't crappy).

  31. foxxxy (domo-kun remix):

  32. Every time you masturbate, God kills a domo-kun.

  33. a winnar is you:

  34. Based on text and music from the Nintendo game PRO WRESTLING.

  35. brett-likes-hookers:

  36. Based on this comic, this song details the loving style of a man with money.

       (Spoken over guitar)
       Lemme tell you a little story 'bout a guy named Brett
       who likes his lovin' a special way.
       Now Brett, he ain't a fool,
       and he knows he gots to pay.
       Ain't got no time for chit-chat,
       but he always gots time to play.
       That Brett, he like the hookers
       that Brett, he is the man
       That Brett, he like the hookers
       he like the girls from Japan
       When he wants the crazy women, 
       he calls up Dr. Tookypan
       (Stop time)
       I found for you the sex, today for the win
       por course, por course, por course
       Humanity are fighting against flesh juice
       Charley support you, Charley support you
       This is Big Dorf
       Operation intrude your behind (oww!)
       (guitar solo) [spoken] Crunky!
       (Stop time)
       BZA must to get back for hankeyfag ruler
       of generations of gay Charley
       More power to your anus, I'll show you the way, it's like a
       dream being with you like this
       Must to put power to make hot connection
       Lucky for baseball, heeeeee
       That Brett, he like the hookers
       that Brett, he is the man
       That Brett, he like the hookers
       'specially the ones from Japan
       When he wants the crazy women,
       he calls up Dr. Tookypan
       When he wants the crazy women,
       he calls up Dr. Tookypan
       When he wants the me-so-horny,
       he calls up Dr. Tookypan
       (spoken over ending)
       Congratulations, you are a terrific guy!

  37. Onde O Coraįão Vai (Where the Heart Goes):

  38. A song given as a Valentine's Day gift.

  39. Corporate Propaganda

  40. A track composed entirely of "found sound", as were both versions of foxxxy. The speech is Noam Chomsky, the guitar is from Lou Reed - Metal Machine Music (at 2/3 speed), and the drums are two of the sessions on Richard Feynman - Safecracker Suite, at various time-stretches. The idea itself came from Orbital - Time Becomes.

  41. My One and Only Love

  42. Me, a nearly 90 year old horn, and Band In A Box.

    The mouthpiece is an Otto Link "Super" Tone Master 8* (tenor), with a Fibracell #2 reed.

  43. Una Maņana:

  44. My recording of an arrangement I did for Guayao. Originally a vocal, done here as an alto saxophone feature.
    Soprano sax stands in for trumpet (sorry I can't play it better), and C-melody stands in for trombone.

  45. Yesterday:

  46. No additional comments.

  47. Solar Voyage Suite:

  48. Something improvised in one take with just me, soprano and C-melody saxophones, and lots of effects. Non-instrumental sounds include vocals and banging/scratching/thumping on the microphone. NO SYNTHS.

    Effects: Digitech Vocalist Live 2, Behringer Ultra Shifter/Harmonist, and Yamaha REX50.

    As posted to a sax-related bulletin board:

    Today I was trying out my prospective gear setup -- sorting out signal paths and the like, and deciding if I could omit things entirely -- and it turned into a one-man jam session. I decided to fire up the netbook and record it, and the results (after much engineering) are here.

    If for some reason that doesn't work or only gives you the first part (about one minute long), just go to and scroll down to #25. You can then select each of the five parts separately. Of course if you don't like the first part, you're probably glad it was only a minute long (and you should skip the rest, it doesn't get any less weird).

    The setup I used here was:

    audio source > Sennheiser MD-421U microphone > Digitech Vocalist Live 2 harmonizer > Behringer Ultrashifter/Harmonist (used solely for octave shifts) > Yamaha REX50 digital effects processor > 10W Crate amplifier > Audio Technica ST90 MkII microphone > Acer Aspire One netbook

    Unfortunately the last cable was flaky, inducing lots of clicks and pops into the recorded audio that were not in the actual performance. Any click you hear that does not have a 500 ms delayed counterpart got in there because of this. Aside from that, I did this in one take and in real time. I did not edit for content other than cutting off the false starts. I cut it into the five pieces to make it more manageable, but they were recorded continuously.

    The audio sources (other than the clicks) were my soprano sax, C-melody sax, abusing the microphone by banging and scraping it, my voice (and "beatboxing"), and feedback. A few static bursts came from dirty pots being turned (I have to remember to break in the controls on mothballed equipment before using it), and there are some clinky noises where metal hit metal while I was moving stuff around, but none of that was by design.

    Saxes: The soprano sax is exactly that. The 'nino (or muted trumpet, it sorta sounds like both) and bass sax sounds are the C-mel shifted up and down an octave, respectively. Downshifted C-mel altissimo has a haunting quality to it, much as actual bass sax altissimo does.

    Feedback: I cupped my hands around the Sennheiser microphone in various ways to make it do that, and had the Crate amp turned up just to the ragged edge of feedback to start with.

    Voice: lots of humming, which the Vocalist Live transformed into angelic choirs. No synthesizers were used. Somewhere along the way the Vocalist Live decided it wanted to be in E major, then E minor. I had another ST90 MkII picking up room noise, which was fed into the Vocalist Live's "guitar" input. Somewhere along the way I must have made enough noise in E to convince it to go that way, or the feedback was in E though it seemed pretty atonal to me.

    The recording was monophonic because it came from a single microphone, but I post-processed it back into stereo because it's a lot more compelling that way.

    Nothing was really planned until it happened, but somewhere along the way I realized this fell naturally into "movements" as I changed horns or made major changes to effects. After that, I made some effort to provide segues between sections. While post-processing, I decided on the theme of a "solar voyage", or a one-way trip out of the solar system. That wasn't planned either.

    This musical selection may be best enjoyed in an altered state. 8-) Possibly surprising, I was not when I made it!

  49. Fire Dance:

  50. Same setup as yesterday minus the Ultra Shifter but with sequenced synth, a shorter delay on the REX50, and no abuse of the hardware.


Roland JV-30 and Yamaha DSR-2000 synths, hard and soft synths of the SoundBlaster Live! Value or Audigy, various acoustic instruments and voice, sounds generated in Sound Forge and Goldwave, compiled into tracks in Acid, and post-processed again in Sound Forge. Converted to MP3 by dBmusicAMP.

Later electronic tracks (wobble, foxxxy) were done in Jeskola Buzz and post-processed in Sound Forge. Buzz is an immensely powerful (and free!) piece of software that is well worth learning despite its steep learning curve.

Soprano: "Micraft" of unknown provenance, probably China, probably made in 2007. Selmer S80 C* mouthpiece and Fibracell Premium #3 reed.
Alto: Jupiter JAS-767 (Taiwan, 1990) and a nearly identical backup, with Drake Custom JAB 6 (.075") or Jody Jazz DV NY, Fibracell Premier 3.5 reed.
C-melody: Buescher True Tone (U.S.A., 1919) with Drake Contemporary 8 (tenor) mouthpiece, and Aquilasax (2009) with Otto Link "Super" Tone Master 8* (tenor) mouthpiece. Fibracell Premier #2.5 reed.
Tenor: Mercury Phosphor Bronze, Saxscape Downtown Studio Slim .112", Fibracell Premier 2.5 reed.
Baritone: Dolnet Bel Air (France, c. 1963), with Otto Link "Super" Tone Master 7* mouthpiece and Fibracell Premier #2.5 reed.