Chronology of wasted time [email:Hue]

1994 ::: I started making my musical/sound experience in 1995 using and old PC that could'nt store wav files longer than about 30'' (at a very low sampling rate), so I worked only with short loops and creating rythms putting some sticky tapes on vinyls... but this is another story, and it's about my early musical project, DER EINZIGE, made in collaboration with Camillo.

1995 ::: After the bought of a new powerful PC (for these times - 1995), I began experimenting with sound editors like Wave Studio, cutting and pasting in a 'visual way' to build rythms and overlaying sounds through mixing/paste special features. The process were very very slow, so I had to make tracks with a low low sampling rate and bitrate. Rarely I sampled from CDs some loop or instrument, but more often I create through microphone the things I was serching for.
The result of this slow and stressing work is the Nervous System Overload album, my first and maybe the most strange. Very obsessive and harsh, each song is an attempt to transform in sound a concept or a sensation that I had in my head at that time; that's why the song are titled 'The Wait Anxiety' or 'An Attempt of Kindness'. I was more intersted in expressing my desease through sounds than making fine rythms or melodies - in effect I was'nt able to play at all: I never studied music and I don't know almost anything about notes or tones. Fortunately now things are changed, but this is another story too.

1996 ::: So, during the University years (Design faculty of Politecnico di Milano), I knew Marco Volpi , at that time a progressive-rock/black metal listener, that was very intersted in making some hard electronic music, and so he started to use the DOS sequecer that suddenly (after a short training by him) became my first expressive way to make the music of Normality Edge, beside the sound editing softwares I used yet. At the begin I just put some vocal on his EBM songs for the Human Against Hope project, but I felt that the rythms I could make were similar to the industrial and gothic songs I used to listen at these times. The first song I made for Normality Edge was Monochrome (now in Dark Rythms), and I used only drum loops... it was very difficult for me understand the possibilities of that program... Yes, I'm a quite stupid, I know.

1996-7 ::: The computer bagan my first expressive way to push out my deseases and to try to concretise my
musical ideas, but rarely I liked what I realised, due to inexperience and youth. Sometimes I heard some new group and I thought "Whoa! This is the kind of music I wanna do! Let's switch on the computer and try!".
You can hear the results in The I. F. Box.
More often I felt sad or very nervous, anxious, or Very Instable, and I would like to transform that way of feeling in a song. That's why the most are obsessive and gloomy... But I was not always blue, nor I didn't play just when I was angsty!

1997 ::: As you could see in the credits session of each album, many people (girls, often) inspired me in making those stuffs, in particular
Ale Rho and Red Rose, that was the first listener that appreciated my work. After the mom, of course!!! I meet Red Rose in 1997 and we 'wrote' some song together.

1998 ::: After the university years I started to change my musical tastes and frequentations, and my life slowly changed... maybe I got less anxious, or... I just know that my musical inspiration changed too, so were born songs like 'Il Confine del Tempo' or 'A Very Silly Song', contained in Unpleasant Songs.

1999 ::: I stopped to make music under the name of Normality Edge and Human Against Hope, goin on with the Norm and beginning the Sparkle in Grey project.

2001 ::: I realised that all the material recorded on my PC for Normality Edge was good enough to be re-ordered and re-mixed a little bit, so I passed a lot of weeks selecting the less worst songs and getting them shorter and less dirty. The idea was to select the tracks for genre and start to think about a double or more CD... maybe a box of concept album CD's. The 'concept' of each one was the kind of music it could be more similar, that's why the titles are 'Anxiogen Dances' (the most disco I made...) or Industrial Noises (the harder one...).
I melted togheter the songs to build a fluctuating mix for each CD and designed the graphic employing some photographs and drawings of these times.

2002 ::: I found the courage to propose to Andrea Marutti (aka Amon/Never Known) to publish in CD-R on AFE Records my 5 CD box opera omnia, and he said 'yes'. It was one of the best moments of my life. So, go listen the tracks, if you want, and... buy the Box!

Each track has been made by me (Hue) and my computer without using any midi sequencer nor external peripherals as keyboards or drum machines, but just (sometimes) a small low-fi microphone.

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