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EDBZ BLOG #38

  • Sep 2

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Summer is coming to its incredibly hot and humid end (Soon? Please?) which means Halloween is just around the corner.  Well, between now and Thankgiving I have Nitzer Ebb and Stereolab live to look forward too and I’m taking my end of summer week in San Diego the second week of September. Superman and The Fantastic Four have fed me through the last few months, along with The Naked Gun, Weapons and 28 Years Later as far as movies go. I know there’s plenty on streaming to catch up on like Aliens: Earth and some other interesting series and a few movies as well. 


But what really has excited me is the new releases I’ve been sent over the last few months. Superchunk have a new album called Songs In The Key Of Yikes and it’s a masterclass of catchiness and noisy guitars. Hunk And His Punx circle around melodious Pop, Garage Rock and nostagia on Walking Out On This World. They even have a song called Rainy Day In L.A. One can only wish! The Planet Smashers return with On The Dancefloor, thirteen tracks of Ska fun. Tremours’ new album Fragments is all texture and atmosphere designed to make you forget about the world.  INTO-NARU-MORI’s new release The Things We Lost is an interesting collection of songs that blur genres and styles, mixing Trip-Hop, Indie Rock, Electronica and so much more, for fans of Massive Attack, Bjork and Lamb. And This House is Creaking on their new album I Want To Feel At Home Here play the type of weird, wonderful music that just gives me faith that there’s still talented and intelligent and fun music still being made that isn’t interested in getting the most clicks.

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Dream Gaze and Tremolo Fest 2025 are just a few weeks away, so if you’re in Portland or Seattle be sure to get your tickets for one, two or all three nights. Most of the bands are playing both events. 


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Our latest addition to Eardrum Buzz Radio is Dave Fennessy and his Outsiders Music Show. You can hear Dave on Wednesdays at 11am & 60m Pacific time. From a seaside town in southern England, Dave has a weekly show that goes from Punk to Pop and is always a fun hour of music. His announcer lady sounds rather attractive too. 


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And I want to say farewell and bon chance to DJ Wampas, who has been doing two shows a month for several years now on Sundays and is saying farewell to creating his music shows. He will be back for our sixth anniversary though. Thank you Stephane for all the hours of underground music we wouldn’t otherwise be exposed too! 



Thanks to all who take the time to listen to Eardrum Buzz Radio. You know we’re on all day, not just during our DJ shows, right? Support the station via Patreon or Paypal, it really helps! And please continue to seek out and purchase music! Let’s keep creativity alive and not just support some business owner who is investing in murder machines. 


Listen: eardrumbuzz.net 

Eardrum Buzz Radio Patreon page: patreon.com/eardrumbuzzradio

Follow Eardrum Buzz Radio: Instagram: @eardrumbuzzradio 

Twitter: @eardrum_buzz 

Send submissions to: bret@eardrumbuzz.net with "Submission" and your band name in the subject. Include your band name, song titles, album title, track numbers and artwork in your metadata. Please no Country, Modern Pop, Blues, Rap or Americana. Please make the song/album link easy to find in the email. Please only MP3 files, no WAV files, no Spotify links, just your awesome music!

EDBZ BLOG #37

  • Jul 2

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Friday, July 4th is the beginning of Eardrum Buzz Radio’s Fifth Anniversary! We have a special Vapour Trail from Greg Peters, a show from Gunnar Malmquist, aka DJ MQT, Gretchen DeVault of The Blue Herons and shows coming in from Sean F. Schultz, aka Sonder, Goran and Ronny from Damokles, Contrarian Speaks with Goran Karlsvik, DJ Jimi C aka Jim Biggs of Black Nite Crash and DJ Knillz and a show from Meagan Masingill as well. Keep looking for updates on Facebook at facebook.com/eardrumbuzzradio and facebook.com/groups/eardrumbuzzradio.


We’ll also have our regular shows on Saturday from DJ Wednesday, Nico Beatastic, and Rob Levy and our Sunday shows with DJ Wampas, David Kasheta and Brandon Dudley, so check the schedule below the player at eardrumbuzz.net to be sure not to miss out.


I’ll be giving away items from our merch store, so head over there and maybe you’ll find something fun to wear, drink from, something to stick on your stuff or something to carry your stuff around in: eardrum-buzz-radio.printify.me


Every dollar helps keep Eardrum Buzz Radio going, from a gifted album on Bandcamp, to a few dollars via Paypal or even a yearly subscription on Patreon! You’ll hear my archived live Friday I’m In Love shows before the rest of the world along with exclusive mixes and discounts on our store.


Cruel World Fest 2025 was a blast! I got to see Daanon DeCock and Anthony Michalopoulos for the first time in a year and met Al Koehly, whom Daanon met at another show. It was cloudy and gloomy but I had hopes for a dry, if not warm day. It began to drizzle during Midge Ure's set and he and the next few acts, who all happened to be from the UK apologized or commented on the English weather.  At least it wasn't hot and sweaty!

We lunched, chatted, took the shuttle to the Bowl, enjoyed Midge Ure, who sang songs from his solo career as well as from Ultravox and Visage. Midge was in fine form belting out the lyrics to Vienna and We Fade to Grey. 


Blancmange was Neil Arthur performing for the first time in over 30 years and Tara Busch on synths, creating a danceable racket loud enough to get the attendees moving for songs like Dancing on the Ceiling, Blind Vision and Don't Tell Me, easily swinging from Industrial menace to Synthpop bliss. 


It was a real joy to see Alison Moyet for the first time. Her band performed songs ranging from her time in Yaz to the last decade or so, with highlights Situation, Love Resurrection, Nobody's Diary and Don't Go plus It Won't Be Long and When I Was Your Girl. Moyet was sexy and has a voice you remember in your bones. 


'til tuesday reunited for the first time in almost 40 years, sounding fine. They did a cover of Drive by The Cars as well as lively renditions of What About Love, Coming Up Close, Love In A Vacuum and Voices Carry. There were quite a few people singing along, including myself. Aimee Mann went on to have a successful solo career and her song Wise Up from the Magnolia soundtrack was ingeniously and emotionally used at the climax of the movie. I do wish they'd played that song, but it was fun seeing the band for the first time. As they got to the climax of Voices Carry the stage began turning to set up for the next act, leaving 'til tuesday to finish the song and thank the audience from the other side of the stage back. The crew should have let them finish!s

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Orchestral Manoeuvres In The Dark (OMD) were excellent. I'd heard them from afar at the Darker Waves festival but this was the first time to enjoy them up close. Andy McClusky and Paul Humphreys plus a drummer and second keyboardist performed so many great songs and even two they weren't planning on playing. McClusky played bass on a few tracks and Humphreys took over on vocals for a few songs. There is a reason they're so beloved and the fact they still sound terrific and continue to tour is a testament to their talent and catchiness. We sang along to If You Leave and Electricity and Joan of Arc and Enola Gay and So In Love and Dreaming! 


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After OMD we hoofed it to the Sad Girls stage to see a little of Clan of Xymox who did their European Darkwave thing, then we got a good spot at the Lost Boys stage for Devo. This was the second time Devo had played Cruel World, but since it was still sunny the last time, their multimedia goings on behind them wasn't as effective. With the clouds and gloom, this time they were somehow even better, louder, angrier, more angular and just simply the best band and performance of the day. Again. I asked Tony what a Devo show back in the early 80's at a small club must've been like and we could only think it would have been dangerous and full of violent energy. The band ran through Whip It, Uncontrollable Urge, Jocko Homo, That's Good, Girl U Want, Mongoloid and Gates of Steel and were just truly amazing. If you haven't yet seen Devo live, you haven't seen one of the best bands AND best live bands around. 


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The Go-Go's were another band I'd never seen live and they completely blew us away with a noisy, punky, flashy, colorful set of songs from their teen years through their pop heyday. There were pictures of them with musicians of the day, candid pics of them goofing around on tour, a travelogue of their looks and hairstyles with the visuals adding even more fun and gravitas to a band that started out as spiky punks and became icons.  It was so much fun to see the band in shiny and fluffy and glittery outfits playing distorted guitars and singing sweetly to such songs as Vacation, This Town, Tonite, Head Over Heals and closing out hard with Our Lips Are Sealed and We Got The Beat. 


Seeing The Go-Go's would have been enough for me and Tony but we went to see New Order headline the main stage. It was fun to hear songs like Temptation, The Beach and Bizarre Love Triangle, but my back and my feet were hurting and my ears were tired as well. There was still a huge crowd of thousands out under the clouds and while it did drizzle for a few hours it wasn't hot and uncomfortable, making for an easier festival to live through.  


I think this was the best year so far, at least for me. There were more female acts and musicians represented than any other year, which gives me hope for even more diversity next year. Who will play, who will headline, who will we manage to see for Cruel World 2026? The next day I recuperated, resting my feet and back and dealing with the increased ringing in my ears thanks to another great day of music and friends.


You can see photos in the Cruel World 2025 photo album HERE


Written by Bret Miller 


Listen: eardrumbuzz.net 

Eardrum Buzz Radio Patreon page: patreon.com/eardrumbuzzradio

Follow Eardrum Buzz Radio: Instagram: @eardrumbuzzradio 

Twitter: @eardrum_buzz 

Send submissions to: bret@eardrumbuzz.net with "Submission" and your band name in the subject. Include your band name, song titles, album title, track numbers and artwork in your metadata. Please no Country, Modern Pop, Blues, Rap or Americana. Please make the song/album link easy to find in the email. Please only MP3 files, no WAV files, no Spotify links, just your awesome music!

EDBZ BLOG #36

  • Apr 29

We’re rolling into Summer here in Burbank, though the days are still pleasantly 80 degrees or lower. May is coming with Cruel World and Swervedriver, as is my week away from work and stress. I’ll be doing a show with Meagan Masingill while in San Diego and doing a show with Greg and John of Beyond The Beaten Tracks later in the month. I’ll be airing their shows on the station in a few months, so look at the schedule for more info when it is added.  Listen here: mixcloud.com/beyondthebeatentracks/btbt-episode-1-starting-points


We’re looking for guest DJ’s for the fifth anniversary weekend on July 4-7. I’ve got former Vapour Trail host Greg Peters, along with my other former Vapour Trail Live cohost Meagan Masingill, Goran and Ronny of Damokles and hopefully more. Hit me up at bret@eardrumbuzz.net with the subject line Fifth Anniversary Guest show. Get them to me by the first week of June. The earlier I get them the better placement on the schedule. 


I’ve also added some more stickers to the Store: eardrum-buzz-radio.printify.me/

You might see a familiar face modeling the items.


Now for the grumpy old man stuff:

To give you some context of who I am and where I’m coming from in regards to music, I’m an INTJ, Highly Sensitive and have tinnitus. Music has been my only constant in life that has given me pleasure and helped me get through an otherwise uncaring and chaotic world. While I try to keep my routine close to the same every day, I go to work, I watch TV, I eat a small variety of things at a few places, I do love an eclectic variety of music. I love what a melody does to me, the memories it evokes, the stories told in lyrics and arrangements. I’ve air-drummed to Neil Peart, air-guitared to Eddie Van Halen and Dave Mustaine, sang along with Siouxsie Sioux and Danny Elfman until my voice was hoarse, danced until I was soaked through to Ned’s Atomic Dustbin and Orbital. I wrote about music and interviewed musicians for Highwire Daze magazine for almost 30 years, forgotten about more live shows and albums than most people ever attend or hear in their entire lives. Music is a celebration, a source of joy and hope.


I’m not sure if it’s mainly because I have tinnitus or if it’s because I was raised with analog recorded songs and intelligent people taking the time to make sure music actually sounded good coming out of my speakers and headphones, but I have noticed that the vast majority of music releases today are pretty much ruined by brickwalled mixes. That means, to quote the mighty Motorhead, known to be the loudest band in the world, “Everything louder than everyone else”. The end result is that all the various elements of each song, from drums to bass to guitar to vocals are all mixed at such a high volume and so closely together in dynamic range that the entire song turns my ears to mush. There is no dynamics, no space for our ears to relax for even a second, no reprieve from the constant barrage of 100dB source material where all the elements are within one or two decibels from each other in the mix. This constantly loud and closely mixed aesthetics leads to ear fatigue. This doesn’t mean that breaks with fewer instruments are not mixed lower, which do give our ears a break, but that the vast majority of the song is just really fucking loud the whole time.


I can tell within the first few seconds of hearing songs that come through my speakers if a mix is too loud or brickwalled. Imagine a person, a coworker, a family member who doesn’t understand that they are a loud talker. I get this from strangers talking on their phones, or should I say yelling at their phone. Don’t you also find it annoying when people don’t use their phone like a phone (putting it up to their ear) or don’t care that everyone else hears their conversation on speaker phone? Talk to the person on the other side of the phone like you’re talking directly into their ear. You know, like a phone works. So why should we think that all the parts of a song should be yelling at us?  Rhythm guitar doesn’t have to be up front. Lead guitar could be higher in the mix, various drums and cymbals in the kit could be higher or lower depending on what the band is going for, the bass guitar prominent or lower in the mix and the vocals could be right up there in the center of the mix with the lead guitar dancing around the left and/or the right channels at about the same levels. Leave space between all the elements and make sure you don’t get overtones or frequencies all battling for the same space. That leads to some wonky and unintended effects and just sounds weird in a song. If your vocals are in the same range as the bass or lead guitar, sculpt one or the other so they don’t blend/overlap. Make each part distinct.


I’m using Audition. Here is a screenshot of the newly released B-Movie album from the early 80’s. Listen here: youtube.com/watch?v=aQfC7Ow5GHo&t=22s


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There are dynamics. I can listen to the song at top volume without my teeth aching. The various elements of the song are mixed at higher and lower levels, between around 80dB and 100 dB. The keyboards are at a certain level, as are the guitar leads, the vocals, drums, bass, all the instruments and extra touches are placed in their own areas for maximum effect and an overall pleasurable listening experience. 


Here is the title song from the new Swervedriver EP The World’s Fair. Listen here: youtube.com/watch?v=2R4tH_hvIQg


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The vast majority of the song elements are within 6dB of each other, meaning that the entirety of the song is played at around 94dB for lower mixed parts to 100dB for the peaks. That’s all very loud. While the songs themselves are of a more midtempo Rock sound and the arrangements are quite good, the overall mix makes me turn the volume down and wish for some dynamics and space in the mix. The song is supposed to be swirling and psychedelic but the end result is a sludgy mess of overtones and overly loud elements. My ears hurt one minute into hearing this song from my favorite existing band.


Go listen to Steely Dan for an idea of what I expect in a mix. Listen here: youtube.com/watch?v=6O4cvfaAsUM


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Dynamics and space are always evident. On Deacon Blues off Aja from 1977, at least on the files I have, the highest peaks, meaning the parts with the highest volume in the mix, are no higher than 97dB. The vocals are prominent in the mix with keyboards coming in higher, then receding, lead guitar lines appearing in the left channel only. The drums, bass and rhythm guitar levels are steady until rising at the end with louder horns spread out from left to right with the ending horn lead louder and in the middle. The busiest area of the mix is somewhere between -16 and -12dB or 84dB to 88dB. That is the sweet spot. I’m certain the vinyl mix is even lower overall.


When you hear a song where the majority of elements are crushed together within a tight space of only a few decibels, when you chop off the peaks in favor of a flattened mix where everything is close, you get mush. You create fatigue. A speaker sends air vibrations out into the air. Your ears take in the air vibrations then translates them into electrical signals which is then interpreted into sound. Wouldn’t you want a listening experience that didn’t bash your ears in with too much lower end presence, or that weird effect you get when standing too close to the speakers at a live concert where all you hear is the wuhwuhwuhwa of an overworked speaker system or any of a number of possibly unintended overtones and just chaotic nonsense?


So maybe my 56 year old ears with their constant ringing need to hear things in a different way than they did when I was 20. Or maybe it’s just that I remember when mixers, producers and musicians cared enough about the end effect to make sure their songs were well-crafted, each instrument had it’s own space, things were placed on one side or the other of the mix or fit right there in the center, parts were place higher or lower in the mix or even moved up and down depending on the feel of the song, when it all meant something more than how some technician thinks the music they’re working on will sound on some tiny earbuds attached by Bluetooth to a smartphone coming from some music service that doesn’t pay musicians to play their music. Let’s get back to making music for music fans and making sure the end result is something we want to go back to again and again. Without hurting our ears. listening to Eardrum Buzz Radio and please keep supporting independent musicians!


Written by Bret Miller 


Listen: eardrumbuzz.net 

Eardrum Buzz Radio Patreon page: patreon.com/eardrumbuzzradio

Follow Eardrum Buzz Radio: Instagram: @eardrumbuzzradio 

Twitter: @eardrum_buzz 

Send submissions to: bret@eardrumbuzz.net with "Submission" and your band name in the subject. Include your band name, song titles, album title, track numbers and artwork in your metadata. Please no Country, Modern Pop, Blues, Rap or Americana. Please make the song/album link easy to find in the email. Please only MP3 files, no WAV files, no Spotify links, just your awesome music!

© 2025 EardrumBuzz Radio

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