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Michael Briel

Michael Briel Radio

Important Message

Attention - please read:

Die to the incredible ammount of spam being sent around here on myspace making the messaging system practically un-usable I won't read any IMs or comments any more. If you would like to contact me, please use the options on my webpage brielmusikde - you will also find all of my music there and I'm always happy about some feedback!

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  1. Michael Briel

    I added a video to a @YouTube playlist http://t.co/g3EgGSa57u The Most Offensive Jokes Ever

  2. Michael Briel

    I added a video to a @YouTube playlist http://t.co/H1mA9zxQUW The Most Offensive Jokes Ever Part IV

  3. Michael Briel

    I added a video to a @YouTube playlist http://t.co/i3mwk6UjT5 The Most Offensive Jokes Ever Part III

General Info

  • Genre: Ambient / Electro / Trance

    Location Bonn, Nordrhein-Westfalen, Ge

    Profile Views: 43532

    Last Login: 3/13/2013

    Member Since 6/22/2008

    Website http://www.msplinks.com/MDFodHRwOi8vYnJpZWxtdXNpay5kZQ==

    Type of Label Unsigned

  • Bio

    It was during school that I encountered computers for the first time - remember that those were the pre-PC-days... So I learned Basic (and later Pascal) on an Apple IIe. I got bored with programming very soon, but from that moment on I *was* hooked on computers anyway... After all this was something really new in those days... If you're from a 'younger' generation you probably won't realise that, up to the middle of the 80's noone even *knew* about computers except from sci-fi movies! ;-) Ok, except some government experts perhaps - you know, what I mean! Of course I had to have one on my own and of course it became a Commodore C64... And of course I very soon got to know the works of such famous game-soundtrack-composers like Rob Hubbard, Ben Daglish, David Whittacker, Chris Huelsbeck or Martin Gallway. At the same time I became more and more aware of the music of a certain Group from D�sseldorf - Kraftwerk - and the new sounds they had created. I assume that those really were my earliest influences, because their work inspired me to try it on my own as well. First I programmed some tracks in C64-Basic (quite an inefficient way to do such a thing, believe me!) and then came the real Genesis: Some German magazine printed the programm-code for Chris Huelsbeck's SOUND MONITOR, one of the earliest tracker-like programmes freely available... With this nice piece of software I did my first real steps - not fantastic or ingenious, granted, but my first own compositions... Sadly most of the music from these days is lost, the tapes destroyed and the disks long reformatted. I then moved on to the Commodore Amiga - unbelievable! This machine worked with samples and actually was able to produce four channels in stereo - a novelty, for sure! It was also then, when I had my first contact to midi and *real* synthesisers, in this case a Roland MT-32. From that point on, things grew bigger and bigger - I soon moved to real sequencer-software, got another synth and another one, got a mixer and when it became too small I got a bigger one, then an Atari ST and Cubase and so on... Today I'm the proud owner of my own small homestudio and I can look back to some nice productions. At the beginning of my "career" as an artist, I produced a lot of tracks for tape compilations. In the late 80s/early 90s, before anyone was seriously talking about the Internet as a mean of distribution for music (to be more precise - noone talked about the internet at all...), there was a nice, world-wide net of 'tape artists' which I happily joined. It was ... well, somehow it was "underground" since there you had the chance to meet artists without any major or even a minor contract, it was there where you sent a tape to some guy, preparing a tape-compilation in France to later get Fan mail from Brazil from some other guy who now owned a really noisy copy of a copy of a copy... ;) And it wasn't about money. Maybe that's been one of the most important things - you just wanted to have fun, distributing your music through those channels. Of course everyone was dreaming about being discovered, some even did. Some of the bands that I know from the tape days are Sabotage (qu est ce que c'est), Endraum (then "Schaum der Tage") or Dauerfisch. After the release of "Brot f�r die Jugend" (Kobayashi Maru), I left the tape-scene. Not because I disliked it, but simply, because always was a bit lazy and it was too much trouble to copy tapes and send them around the globe... It was in early '93, that I started to work with Stephan Riess, at first I simply let him use my equipment to produce his own music, but we very soon started to work together. First we called our new project "Wolf 359", but later we changed it to W359 , perhaps because the too obvious Star Trek reference didn't really work out as a concept... It was 1998 when I first heard about mp3.com and the possibility to publish my own music via the Internet. This was really cool - actually I felt the spirit of the old tape-days at once. For me, the concept to put my own music into the Internet, available for free downloads, is the logical continuation - money ain't the most important thing, it's the distribution of my work, the fact that I don't just make the stuff for myself and a small group of friends but for *everyone* around the *world* who happens to like it. And this time I didn't even have to copy tapes... ;) Even though a lot of the changes they had were rather bad choices imho I stood with mp3.com until the "end" when they closed down after a sale. Until then I found a lot of great new music and some good online-friends who as well are really creative artists there. After mp3.com I first thought of joining one of the other available online-music platforms, but then decided against it, since I found this webspace that isn't really more expensive than joining one of the services. And the *big* advantage: On my own page, I can decide how *everything* looks and don't have to live with advertising I don't like (on mp3.com they once were running popups for the US army... No comment there).

  • Members

    Me.

  • Influences

    In no specific order: Einstürzende Neubauten, Laibach, Karl Bartos, Kraftwerk, Orbital, Alan Parsons Project, Jeff Wayne, Tangerine Dream, Jean Michael Jarre, Mike Oldfield, Clock DVA, Komputer, Tomita, Autechre, Aphex Twin, Senor Coconut, Yello, Rob Hubbard, Chris Hülsbeck, Ben Daglish, Philip Glass, Steve Reich, Dead Can Dance, Front242

  • Sounds Like

    In no specific order: Karl Bartos, Kraftwerk, Orbital, Tangerine Dream, Jean Michael Jarre, Mike Oldfield, Clock DVA, Komputer, Tomita, Autechre, Aphex Twin, Senor Coconut, Yello, Rob Hubbard, Chris Hülsbeck, Ben Daglish, Philip Glass, Steve Reich

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