E Tahe V Oletah

Genre: Instrumental, Ambient, Hip Hop, Industrial, Electronic

After Dustin Beyette composed 5 albums as "Tooth", his music started to take on a more serious nature. This is where the content of this particular website originates. "E Tahe V Oletah" was note-for-note produced by Portland, Maine-born music producer, Dustin Beyette, with the use of sequencing software, MTV Music Generator for PC (Thanks Bartlett!!). EXTRA POWER TOOLS "WITH A LITTLE HELP FROM MY FRIEND" Previously with "Tooth", Beyette made due with a keyboard. Self taught, he learned his craft over some of the types of beats you'd expect to hear on an old ICP record, using a Yamaha DJX. "they definitely used a DJX beat in one of their songs, but haha, look at them now, surrounded by an eager audience, with businesses and community to do whatever they want. Almost time to take that make-up off." On this record, however, in the winter months concluding 2000, Beyette's best friend, Bartlett gave him a "video game" called MTV Music Generator, the PC version of which could be used to arrange tid-bits of music put in there by others, but Beyette started right away at amateur drum programming and learning to use a Piano Roll to supplement his growing live instrument skill with songwriting tools. It was a way that finally Beyette could output digitally, and promote the sounds to websites like MP3.com, Audiogalaxy and the now defunct IUMA. The result is a new, completely authentic, electronic record, with Beyette's first and last name instead of "Tooth", "E Tahe V Oletah". E TAHE V OLETAH The source of the title's meaning is found in that it is written in mirror writing. The words "hate love hate" were combined, reversed and split up into new words. According to Beyette, this was "my way of showing, through my vision, the troubles of the world around me. I want to love, but I don't want to get hated. I think this is universally apparent of the human condition." Even though no words were recorded on the album, "E Tahe V Oletah" started Beyette on a path of humility and authenticity at once, through fusing emotional and visual-creating instrumentation. DEEP SONGS When Beyette was emerging adolescence, still dealing with the loss of a loved one and unwanted social distortion, he started to get very depressed and "E Tahe V Oletah" has been described by him, to "take on the role as a calming record for someone who is depressed. It definitely calmed me writing it." As stated in the booklet for the album, there were originally lyrics for a couple of songs, but Beyette decided against it, because Beyette felt "my voice didn't make the songs sound any better". "Le Tah", the album's second track was done with the absence of drums, and is the most revised song/chord progression to pop up into future albums." LE TAH'S LEGACY The melodic framework of "Le Tah" was continued on the tracks "H Atel", a very abrasive and heavy version, "Et Ahev", a low tempo atmospheric hip-hop fusion variant, and brought to a close on the final track "Complete". The completion was luckily still very far ahead, and Beyette began working diligently on his next album, "Editation".


Digitally Delicious

Genre: Electronic, Experimental, Alternative, Dance, Instrumental, New Wave

Previously described by Beyette as "Emotionally electric journeys into dark, sometimes danceable abandoned territory." The result of musical lab experiments After bringing "Editation" and it's companion remix disc, "Noitatide" to a close, Beyette worked on a new project. In 2005, written note-for-note using a lot of the same software (FL Studio) and a slew of new plugins, the nearly hour long, instrumental, "Digitally Delicious" was the result of a project that got too big and too conflicting to call an album. The songs on this record are "the more electronic oriented" tracks of a project that was originally called "May 10th". Moods of the sounds Composed while living in "the wretched place that is" Sanford, Maine, Beyette focused on deep, emotional and darker sounding concepts. Some of the instrumental songs were written for his girlfriend on his mind, "Our Vacation", "Cavalier", and "If She Died", others about certain life attitudes and outlooks in mind, "Positive Reaction", "Slick", "Involved", "Machismo", "Fresh", "Competition", "Ups and Downs", "Teeth in Car", "Royalty". "The test of years and years of listening" It was around this time that Dustin had so much music going on, he started to limit his outside musical influences. He didn't really listen to anything but his own "ivory tower" of music. "I've always found myself, at risk of sounding arrogant or narcissistic which I'm not: I believe there's something for everyone, to have a certain leg-up with other musicians because I listen to my songs CONSTANTLY. When I'm walking, when I'm hanging out with friends, in headphones, on nice speakers, crap speakers, studio monitors, on a crappy boombox at work, in cars, every where I can. Plus sometimes people don't know what you're listening to and be very frank. The critical ear of a music producer is great for first impressions, but I've found that longtime listening can be far more critical in terms of knowing what you'll want more of and what starts to annoy you after 500 listens or so. From my informal, albeit extremely elaborate, studies of [mostly Western and international] musicology, it seems the only really humanly important music is still known of because it stood the test of years and years of listening. It is likely obvious to others that I can't stand all my old amateur lifeless misfits of songs, critically, a lot of it wasn't really music in a traditional sense." The cover image The image on the cover of "Digitally Delicious" shows a "tribal-tattoo style symbol depicting my notoriously unique beard. I read that fashion-wise, vertical stripes are supposedly slimming, and recommend vertical stripes down fat men's necks, but watch out, when you shave it off, you're huge again! If you really want to look slimming, want it even more and be diligent about the goal, we really don't have to live this way". Also, it shows "a very cool place I've been" ;-) that just so happened to be in the shape of a water leak I saw on the side of the road. A lot of these songs were written with "a very cool place I've been" in mind. The symbol of [the beard] is on the cover of both "Digitally Delicious" and "Rugged". It's there to unify the two separate "May 10th" musical projects while nodding to their same origin. Only one half of the results The bi-polar "soft songs/hard songs" dual perspectives behind Beyette's stacking music creation catalog continued on another double disc project, jointly named "Textures", but the next in line for these collections is the other half of the "May Tenth" compositions, "Rugged".


Editation

Genre: Alternative, Instrumental, Electronic, Ambient, Industrial, Hip-Hop

A STEP INTO AN INWARDLY POSITIVE DIRECTION The 28 track, mostly instrumental "Editation" was, musically, an adventurous departure from previous musical styles of Beyette while refining and perfecting established styles. For most of 2003, Dustin spent his time writing and producing the tracks that would evolve to be known as "Editation". THE FIRST BITE OF A SWEET FRUIT (no, not that one, fools!) Initially starting with a similar dark and moody emotional music palette that continued from the previous record, "E Tahe V Oletah", the production started with the new implementation of Image-Line's FL Studio (then-called "Fruity Loops") 3.4 (Thanks Fox!!), in place of the the previously used MTV Music Generator that his best friend, Bartlett bought him. Also new on "Editation" was the quest for different life outlooks outside of his own perspective. The title of the record could be seen as a fusion of the words: edit and meditation. NEW ORGANIC EXPRESSION AND MUCH MORE PERFORMANCE The result, from Beyette's perspective, is a much more emotional and authentic record. Using the new found musical liberation of a combination of the early build of what would become the fully functional DAW, FL Studio, as well as other windows-based software to digitally record the performance of live acoustic guitar parts, electric bass and an increasing amount of vocal tracks, Beyette was able to have more natural and organic control over the expression of the musical phrases. Also a fresh addition to the sound was the involvement of live drum performances on some of the songs, performed on a compact Sonor drum kit, by Eddie Hernandez, a current co-worker of his at the time with a lot of heart and laughter. EDDIE'S LEGACY IN THE STORY OF BEYETTE The album was done before more high-end equipment was brought into Beyette's music, but it never stopped him from achieving the quality he seeked. Fact: All Eddie's drums were recorded with a stereophonic JVC GR DVL522U MiniDV camcorder because according to Beyette, "it was the best stereo mic I had at the time". While a lot of royalty-free live drum loops were chopped and edited with Image-Line's old school Beat Slicer to achieve the rock sounds Dustin was after, Eddie can be heard putting his heart and soul into "Robot Love", "The Rise of the Hero", "Robot's Journey"(chopped in the remix of "Robot Love") and "Winter". Eddie had originally wanted to also do drums on "Worm Back in Ground" (a remix and reprise of "Worm"), but Eddie moved south to Texas with his wife and kids before the session was able to be recorded. His warm smile, communication style and professional collaboration is deeply missed by Beyette. COMPANION DISC The completion date of this album was sometime around the winter of 2003, when Beyette relocated to Sanford, Maine. But all the while he was completing "Editation", he also worked diligently on the side, the result of his efforts were what would become a remix album of "Editation", "Noitatide".


Noitatide

Genre: Alternative, Instrumental, Electronic, Ambient, Industrial, Hip-Hop

Described by Beyette as a "Companion remix-disc for "Editation" with new songs as well as remixes from 'Editation'". As another soundtrack to your life and his, the instrumentals continued from Beyette with "Noitatide". It could be said that "Editation" was an attempt to "get positive, put on a smile and conform", and "Noitatide" was settling back into what was real and authentic for Beyette as he continued to practice songwriting, instrument arrangement and audio recording and engineering. A fresh addition to the tracks was longtime best friend and rock/blues guitarist/songwriter, Josh Kanter performing electric guitar on "Thirteen" (You can hear the track on the bottom of this page). During these sessions, Josh and Dustin also worked on five other collaborations, some of which were played live by Josh in a band called "Ostrofsky" in various gigs in Baltimore, Maryland. Beyette had always hungered to make rock music, but lack of financial responsibility kept his focus on writing better songs and less on buying music equipment. This kept his music very electronic until 2009's upcoming "rock" album, "Change". But no less authentic in heart and soul. While some songs "humiliatingly and lazily used royalty-free drum and guitar loops that weren't even chopped and screwed", other songs like "Worm (Piano and String Mix)", "The Baby with One Eye", "Le Tah V4" focused on transfer of emotion through music, something Beyette would get increasingly good at in the coming albums. "I feel good sometimes, and sometimes I feel bad. When the song brings the listener through one emotion to another, I think I've done my job as an effective music producer, the music is [unfortunately] electronic for now, but very full of real-to-life feelings". Completed in the months after moving to "the wretched place that is" Sanford, Maine, "Noitatide" bridged Beyette to a fresh new project, which started on May 10th, 2004, and would eventually be too big and sounds too conflicted for one album. When all was said and done, the more electronic side of the next album was completed as "Digitally Delicious", and the more heavier tracks in a collection called "Rugged".


Rugged

Genre: Alternative, Electronic, Industrial, Instrumental

Previously described by Beyette as "A non-stop assault of relentless noise, furious guitar and unforgiving electronic drum smashing." A heavier perspective The cancer-infected garbage pail that was the remaining angry songs from the "May 10th" project, were to be compiled into an album finally called "Rugged". Abrasive and dark, the songs on Rugged were much faster, and much louder. "May Tenth" Starting with an intro to the title track and then the "song I probably just should have never wrote", "May Tenth", complete with vocals. "Yeah musically, I've always loved the vibe I got from the bass line on that song, but lyrically you see a very dramatic simple angry man. I did a lot of instrumental remixes (I might release) that, in my opinion, were really good musically, but yeah, the words on the original song, I can't stand them these days, totally not my style or outlook." The fresh familiarity of a reincarnation "Rugged" uses a lot of programmed, synthesized, guitar parts and royalty-free drum loops that were often manipulated with FL Studio's old school Beat Slicer. Also a new edition that can be heard on "I Gotta Do Something" was a Yamaha DJX II, a "newer" version of Dustin's first keyboard, the Yamaha DJX. "Yeah the other [DJX] was way better, they are both technically toy keyboards, but have certain things a geeky music producer could work with, like a quality 6-instrument music sequencer on the first one that is pretty commonplace for Yamaha, but the live dsp effects on the Yamaha DJX-II were super awesome, especially with all the hip-hop and electro themed instruments. I would buy both these keyboards again, obviously for nostalgia, but with the equipment I got these days, I could still use them in professional tracks. Yamaha has been good to me in my humble beginnings, Casio is the crap keyboard if you want a crap keyboard. Ha. If you a musical producer on a budget, Yamaha is the way to go." Simulating rock with circuitry "This album started my obsession with the powers of Fruity Beat Slicer, these days it's called Slicex and is way more elaborate, but for me, especially with a record like "Rugged", I was trying my damnedest to produce as good of a rock vibe as was electronically possible. By using royalty-free live drum loops from the internet and British magazines and beat slicer, I was able to have full control of all the individual drum hits and design crazy electronic drum patterns with the sound of live drums. This was before I eventually started using Addictive Drums for that, but ultimately, as much as I love electronic sounds, LIVE PERFORMANCE is the way I've found a lot of people tend to respect. I could never see myself DJing any of these songs, ideally they would be performed by authentic musicians, every single Beyette song." Calm before the musical storm Around the time this album was completed Dustin started really despising "the wretched place that is" Sanford, and started longing to go to back his hometown, the classy machigonne of a tourist city that survived three fires, Portland. As his friend's distances both physically and mentally weighed on his mind and as Sanford "appeared to be a warehouse that boxed a certain kind of individual", Dustin started worked on his most prided elaborate musical creation, a double disc collection called "Textures".


Textures (disk 2 of 2) Hard

Textures (hard and soft) is a two disc exploration into relaxing tones and breaking bones.


Change

Genre: Alternative Experimental Electronic Rock

A NEW LIVE ROCK SOUND Composed and produced by Dustin Beyette, production started in the early winter of 2006 of "Change" a Beyette album which features the single, "Million-Faced Man" as well as guest performers, former Metal-Blade records band "RetroGrave" guitarist and good friend, Red Beard (Mike Schermuly) performing electric guitar on "Humble" and Boston-born Vocalist/Hip-Hop producer G Dubbs singing and rapping on "Still Afraid to Ask" and "Nothing I Do" respectively. Also featured on "Still Afraid to Ask" is acoustic guitar performed by Portland resident, talented songwriter/guitarist James Lowry. CONTINUING A BRAND OF DEEP PERSONAL SONGS The title is not a political reference regarding the previous election, it's just ironic/coincidental that "CHANGE" was a central word in the Obama campaign. Three years in the making, "Change" is the first Beyette record that involves vocals on virtually every track as well as mostly live instrumentation. The personal themes are based on limited assessments of society, both the general worldly public as well as closer relationships. Beyette struggles to emotionally understand human nature as it seemingly destroys the happy life around him, and constantly strives for some sort of peace and resolve through his songs using an attempted voice of diligence and humility. INSTRUMENTALS There are two instrumentals, the title track "Change" is a fast swinging rock track based on a more electronic version that inspired the album's name. The other, "Decide" is a fast paced evolving piano song "Someone told me "Decide" sounded like 'peanuts from the dark side' haha I wrote it on a whim when my wife and I were visiting her grandmother, on the white upright piano at the Barron Center in Westbrook, Maine and rushed to program it into my laptop in the car." A FULLY PRODUCED EXPERIMENTAL ROCK RECORD The unique, complex and original sound of the album has been described enjoyable by fans of Nine Inch Nails, Linkin Park, Beck and Black Sabbath. With all the live electric and acoustic guitars, synthesizers, live electric bass, electronic beats, rock drums, piano and sound effects the record is somewhat of a genre-bender. "Change" as a studio presentation features a very small percentage of computer programming due to the presence of mostly live instrumentation. The songs go from heavily distorted rock influence, from hard ("Guided without Direction", "The Bad Things", "Result") to soft ("Still Afraid to Ask"), tastefully from loud to calm using exotic scales ("It's Still There") and uncommon time signatures ("I Can't Be Happy"). RELATED DISCS The first and only single released to promote this album was "Million-Faced Man", released online seventeen weeks before the physical "Change" was publicly available (the physical CD of "Million-Faced Man" released just over two months preceding "Change"). The disc included 4 bonus remixes not available online. WHY IS THE ALBUM CALLED "CHANGE"? While the word "change" was somewhat of a buzzword at the beginning of the 21st century, more in the later half of the first decade, the real reason the album bares the name is because of a "swinging" instrumental song Beyette wrote that sounded electronic and dramatic. "G Dubbs really dug the hook on that one, all the synthesizer solos sound almost Elfman awesome, it sounded snazzy, adventurous, spacey and epic, and extremely theatrical" The song's bare bones are performed with electric guitar, electric bass and rock-styled drums on the instrumental title track, sans synthesizer funkiness. The title was originally going to be in the sans-serif "Arial Black" font, but the title at the top of this very Holotype Design website inspired Beyette to take on a different "look" with a font from a popular science fiction video game. While the font changed, the visual concept that the title was bigger than the cover on a box-shaped graphic remained. The original electronic song has not been publicly released yet. "After I'm done with "Growth" the original song might be more suitable for the upcoming "Orphanage" album. But who knows, maybe the fans want it sooner." WHERE TO GET "CHANGE" • • • "Change", the physical CD is available at Bullmoose locations in the Greater Portland area. • • • Audiophiles can download "Change" in multiple file formats digitally (including FLAC, OGG, AAC...) on bandcamp. • • • Outside of Maine "Change" can also be shipped through Bullmoose's website.


Textures (disk 1 of 2) Soft

Genre: Soundtrack, Instrumental

Previously described by Beyette, "Textures (Hard and Soft) is a two disc exploration into relaxing tones and breaking bones." A NAME THAT STARTED WITH A NOD TO THE PAST The name of the album came after the songs. As with a lot of Beyette's improvised musical heart pours of songs, the name came with the conclusion. But the name has a personal meaning, "Back when I was doing music as "Tooth", the final "Tooth" album was written after a much more deeper album was written. I had spent about 6 months on a record, it was some really good stuff, I even wrote a couple songs with vocals and my friends ACTUALLY liked them. I used to live near work and on an hour-long break from work one day I came home to listen to my music on my Windows 95-based computer and eat a couple sandwiches. Neo-luddites and Mac-users can have a laugh on me, the album I spent so much time on was deleted when I moved it between two folders, when I went to PASTE in the new folder, paste wasn't there, and when I went to the previous folder there was nothing to CUT. It was a CD called Textures, six months wasted. My last "Tooth" cd, "In The Middle of the Road" has a track called "Textures remembered", it was a nod to it's palette of multiple emotions." INSPIRATION FROM A CLOSE FRIEND Starting the two-disc instrumental compilation "Textures" was disc one, "Soft". "My friend Fox would listen to songs like Editation's "One Kiss" and more specifically "Regret Stories" and always said stuff like 'wow man, you have really relaxing slow songs'. That type of praise really nurtured the ability to keep writing relaxing stuff when I was relaxed, and often times when I myself was in need of relaxation." INSPIRATION FROM A HUNDRED YEARS BACK The focus, mentally, of "Textures" was somewhat inspired by world history. At the time, Beyette listened to an industrial band that had released an album that visually and thematically had a somewhat kitschy nod to a particular time in Germany. It got Beyette thinking to give his music some inspired flavor he'd research a specific time in history. After a musical book describing the origins of the word "Decibel", it inspired Beyette to skim a children's book on Alexander Graham Bell. After learning a great deal about how Bell, to Beyette, personally was seen as a vital source of electronic audio engineering inspiration on top of everything else he influenced, Beyette started researching strange and specific things in the early 20th century America. Elements of the said research can be found in songs on the "Hard" disc of "Textures", specifically "the only song I can remember, that I've ever outright sampled anything from and called it an original work, which to me is tacky and morally deceitful unless you're talking about specific hip hop and electronic music that is honorable and delicate with the process. The song borrows the midi structures of a public domain ragtime song for the intro and takes pieces of the riffs in a very exciting completely different direction. That song was so fun to make, and the results of the track are ultrasonically and harmonically heavy in so many ways for me, I was completely out of my element basically remixing ragtime. If there ever became a time on Earth where there weren't more important things to do, I would love to see a music video of someone's interpretation of that song." EMOTIONAL SUBSTANCE Thematically the subjects of the songs on "Textures" were things that weighed much on Beyette's heart and mind. In the early winter of 2004, Beyette left his hometown of Portland, Maine to move to Sanford to help a new found girlfriend to help with her family. The resulting culture shock of "the wretched place that is" Sanford, Maine combined with his eventual feeling of guilt towards how he left things with the group of friends he felt a sort of social distortion with caused a great deal of emotional songs. "In the terrible town of Sanford in my nature-rich home state of Maine, I was intimately experiencing, culturally, a hypocritical dogmatic mentality that I was not very comfortable with, this caused a great deal of the darker sounds on this record. Sometimes, and maybe this is from listening to so much alternative music in the 90s, but when I'm in a bad situation with someone deceitful who acts in a bad way, I have found it beneficial to act the opposite way. I was raised that two wrongs don't make a right, and would connect with people through connections later in life, but using this alternative method, this made me feel almost gothic in Sanford." Songs such as "Instruction Manual", "-Negative", and "Books can be Deceiving" and on the Hard disc of "Textures", the songs "Destruction Manual", "Transferred", "Crucifiction Superstition", "Just how Evil?", "Foreign", "Smartyr", "Destruction Manual (reprise)", "Out of Date" reflected this forced grim outlook. "I think religion and spirituality can be a really good thing for people, but something really should be done about the hypocrites and manipulators that seem to draw far more negative attention to each seemingly organically peaceful religion. If we don't renew our driver's licenses so to speak, unfortunately nature laws show that the idiot drivers will crash into other cars, which maybe someone in the non-driving cultures would feel justified saying that no one can drive! But seriously, I'm not a preacher. This is just the perspective of a humble music producer..." HEAVILY ORCHESTRATED MUSICAL STYLINGS During the time Beyette wrote "Textures", his music theory learning had become a central focus. This has caused a great deal of the classical music stylings and the orchestration-heavy songs. "In music theory, I've found that intervals alone cause a lot of emotion, the blend of consonance and dissonance of everything and I exploited that with getting in the habit of complex chord creation. I would build and build and build, make 50-measure organic chord progressions in a couple of hours. I was probably feeling pretty good the day I wrote "Symphonic Iris" and that should be pretty apparent with the mood of the song. On songs creating a bad mood describing a bad day, it's always been less of a challenge. Music from the soundtrack of horror movies have long put to use the music theory that chaotic and exotic scales of music sounds dark and tense. The diminished scale was very prominent in some of the dominating melodic themes of "Textures". You just can't get those dark emotives on the other scales!" SEA OF PILLOWS The opening track on "Textures - Soft" was a nod to a perspective photograph that inspired a day dream that would help Beyette to sleep easier on energetic days. "As far as I can remember, I took a picture one day at the Maine Mall, I was in one of the big national stores with the furniture, and I focused the camera really far away and took a picture from the corner of a bed. And I imagined, for the song, what if the picture was of a bed the size of.. I don't know, haha ...a city? I'd just fall into a sea of pillows" THE ALPHA "SCORES" THE OMEGA "Before the CD got too big for one disc the song was going to act as a segue to the second harder side." Before I had so many songs, I had originally intended to make one album twice, the first time presented softly, the second time presented, note for note, in a different harder way. The inspiration came from a chill remix I heard of an industrial song before months later delightfully hearing the extremely heavy original version of it. "Waiting for that album got me through some miserable hours spent never being put to work at Burlington Coat Factory" The album concluded with a song written in 13/1 time signature, called "Score", of which the last note isn't heard until you listen to the first track of the second disc, "Textures - Hard".


Million-Faced Man (single)

Genre: Alternative

Technical Details The first single from the 14-song album, "Change". Available as a one song download on "all the popular online stores" or a physical CD with four bonus remixes: "a down-tempo laid-back ambient groove, a ferociously loud and thumping drum and bass version, an gothic-industrial overcast, and a percussive, lively acoustic deconstruction." The physical release with the remixes was officially made available on June 29, 2009 at the 7-Eleven Beyette worked at on Brighton Ave, Portland, Maine. Behind the million faces The song was not released as a showcase for Beyette's "virtuoso music skills" but rather released as a single because of it's initial public appeal to the name and the words. The vagueness of the lyrics brought separate visions to each listener who would come up what they thought the song was about. While a lot of Beyette's songs were not vague at all, "but personal and specifically about general things", Beyette enjoyed this new reaction to an abstract song. Along with all the concepts that "Million-Faced Man" would and could describe, Beyette has not been public about the song's actual meaning. [ THIS ALBUM IS SOLD AT BULLMOOSE LOCATIONS IN THE GREATER PORTLAND AREA ! ]


Chances - Original Motion Picture Score

Genre: Instrumental, Electronic, Experimental