ArtEfficient Intelligenz: Recent Episodes
ArtEfficient Intelligenz
ArtEfficient Intelligenz is Evan Lopez dB - a composer, producer, sound designer and multi instrumentalist whose trajectory includes work with producers Colin Thurston (Human League, Bowie, Iggy Pop, Tony Visconti, Talk Talk, Duran Duran), and Paul Kendall (Wire, Piquet, Depeche Mode, Erasure, Recoil, Goldfrapp). Evan's work has also been personally praised by producers Dave Allen (The Cure), Ian Little (Roxy Music, Duran Duran), Stephen Lipson (Grace Jones, Propaganda, Art Of Noise, XFactor), or Supergrass. ..Where the strange ones go. Evan has played live at legendary venues such as London’s Shepherds Bush Empire -supporting Pulp during the 'Common People' tour at their request-, or the London Astoria. He has studied sound production, synthesis, composition and audiovisuals his whole life, including postgrad, cause he's obsessed with the stuff, while also studio collaborating with J. Parsons, and studio-mastering charting hard-tech for dance circuit artists like Kevin McKenna.
AR020826Original picture by Caroline E.In memory of my friend and musical partner Gerard Kelly.An excellent person, brilliant musician, genius guitarist.
AR290426Original picture by Caroline E.Original vocal dialogue samples from the Sabby Sabs Show ©2026Original song, How Do, by The Sneaker Pimps ©1996Original melody and song, Willow's Song / The Wicker Man Song, composed by Paul Giovanni for the film The Wicker Man ©1973
AR140426Perhaps whales, dolphins, rabbits, cats, or squirrels. Certainly not humans.Humans are the most technological and aggressive species on planet earth...Difference.
Original picture by Caroline E.Original song, Follow Your Bliss, by The B52s © 1989Quite possibly my favorite 'instrumental' song by anyone ever.
Guitars by Genius G @stumpymusicOriginal track, Blue Monday | The Beach, by New Order © 1983
AR110226Guitars by Genius G @stumpymusicOriginal track, The Loner, by Gary Moore © 1987
Guitars by Genius G @stumpymusicOriginal track, For The Love Of God, by Steve Vai © 1990
Guitars by Genius G @stumpymusicOriginal track, Mammagamma, by The Alan Parsons Project © 1982
Guitars by Genius G @stumpymusicOriginal picture by Caroline E. Original track, Heart Of Glass, by Blondie © 1978
Guitars by Genius G @stumpymusicOriginal track, Oxygéne Part 4, by Jean-Michel Jarre © 1976.
Guitars by Genius G @stumpymusicOriginal picture by Caroline E.Original track, Magic Fly, by Space © 1977.
Guitars by Genius G @stumpymusicOriginal picture by Caroline E.Original track, Axel F, by Harold Faltermeyer © 1984.
Original Picture by Caroline E.Original 2005 mix by Jel Parsons https://soundcloud.com/thickjel2025 remix & remaster by ArtEfficient Intelligenz.
AR030925No samples used whatsoever.Guitars by Genius G https://soundcloud.com/stumpymusicOriginal picture by Caroline E.Original song, Tiger Tiger, by Duran Duran | Tritec Music © 1983
Guitars and arrangements by Genius G https://soundcloud.com/stumpymusicOriginal picture by Caroline E.Original track, Crockett's Theme, by Jan Hammer © 1984.No samples whatsoever used in the making of this cover version.
Guitars By Genius G. @stumpymusicOriginal song, Strangelove, by Depeche Mode | Mute Records © 1987.Original picture by Caroline E.
AR150825Guitars By Genius G. @stumpymusicOriginal track, West End Girls, by The Pet Shop Boys | Columbia Music © 1984Original picture by Caroline E.
AR150825Guitars By Genius G. https://soundcloud.com/stumpymusicOriginal track, West End Girls, by The Pet Shop Boys | Columbia Music ©1984Original picture by Caroline E.
Guitars By Genius G. https://soundcloud.com/stumpymusicOriginal track, Is There Something I Should Know, by Duran Duran | Tritec Music | EMI © 1983Original picture by Caroline E.
Laura Elle : drumsEvan : keyboards, sequencersGage : bass, backing vocalsG : guitars, backing vocalsXav : vocalsRescued from Laura Schellino's playlist.The sound couldn't be worse, and megamono at that - don't know how that could be, but that's the files she uploaded.So it is what it is, I've rescued the sound as much as.Cannot remember the name for the studio we did these Colin-produced demos at. Pretty sure it was pre-Chippin Norton residential studios, a pre-demo of the demo, as desired by Polydor - cause Chippin Norton being residential, twas 5k a week.
Laura Elle : drumsEvan : keyboards, sequencersGage : bass, backing vocalsG : guitars, backing vocalsXav : vocalsRescued from Laura Schellino's playlist.The sound couldn't be worse, and megamono at that - don't know how that could be, but that's the files she uploaded.So it is what it is, I've rescued the sound as much as.Cannot remember the name for the studio we did these Colin-produced demos at. Pretty sure it was pre-Chippin Norton residential studios, a pre-demo of the demo, as desired by Polydor - cause Chippin Norton being residential, twas 5k a week.
Keyboard strings were processed with Alan Parsons' old EII, as given to me by Jel Parsons back in 2007. Beautiful actual analog filters.Bass and sequences were mostly PPG v2.
Guitars by Genius G @ Stumpy Music.https://soundcloud.com/stumpymusicOriginal track, Bette Davis Eyes - An Actual Work. Of. Art. Written and composed by Donna Weiss and Jackie DeShannon in 1974. It was recorded by DeShannon that same year, but made popular by Kim Carnes in 1981.Original Picture By Caroline E.
Peter - Broken Forest [Artefficient Intelligenz RePeAter SW/NE ReEdit]https://soundcloud.com/brokenforest/peter
AR240725Where's my differentiated left & right, rather than a midpan amalgamation of the stereo spectrum, SoundCloud, thankyou. ..It's 11€ a month, you take from moi. 10 yrs now...I'd expect stereo to be stereo, for that price - but maybe it's me 👍Original track, Bette Davis Eyes - An Actual Work. Of. Art. Written and composed by Donna Weiss and Jackie DeShannon in 1974. It was recorded by DeShannon that same year, but made popular by Kim Carnes in 1981.Original Picture By Caroline E.
Vocals by B. Woodhouse.Bass, keyboards, drum programming by Evan.Engineered & mixed by J. Parsons, 2005.2025 remaster by J & E DigicallScaffoldings.Original track Never Let Me Down, by Depeche Mode © 1987
No copyright whatsoever is claimed on this specific musical work.This is for obvious spoken word reasons.For educational purposes only and indeed.
Evan - keys + drum programmingGage - bassRachel Johnson - guitarRachel and Gage, rockin' this one out live.Oh. OH.Original track: Dancin', by The Tubes, as featured on the Xanadu soundtrack.Original samples and original song © The Tubes, 1980.
Evan - keys + drum programmingGage - bassMark Rutherford - vocalsRachel Johnson - guitar
Evan - keys + drum programmingGage - bassMark Rutherford - vocalsRachel Johnson - guitar
Featuring Gage's experimental bass filter pedal.This track was around and ready, made by moi, with sequences and sounds already quite structured, during late dexdexter days.Could've gone on either a dex or exdexes set, though I remember Xav specifically not wanting the track when I played the late band an embryonic demo of its sequenced stuff + my live keys...But the by-then-evolved version, did make live appearances aplenty, with ST...With choruses by Gage, who made a conscious effort to make this chorus more and more bent-akin to ACACC, since we had by then lost a reason to play such dex days track, but we both really liked ACACC's choruses, live, specifically, and so made a conscious effort to quasi-rescue them more or less as happened here, cause we also thought ACACC would be forever lost, pre-web days...But this track v much holds its own, that's why we played it, like this.Hold Back The Rain is also half Hungry Like The Wolf, half My Own Way lol.It was ready to go live as an instrumental, with Rachel on guitar, by 1998, played live by the 3 piece instrumental 'early' version of ST, previous to taking Mark on vocals circa 2000/1...I must say, ST's music was whole without any vocal participation.ST actually peaked as a fully functioning, instrumental, live rockprogpunktechpop 3 piece, in London, during post britpop, post romo, post lad, pre-fischerspooner days. Go figure.Must also be said, famous as ST got at a certain point, twas majorly down to the way Rachel managed the band...Must also be said, Mark did feature, on most demos he sang on, extensive expert use of his [then as much as today] state of the art, Eventide floor pedal, with harmonizer, sampling, delay-sampling, and precise digital modelling of early AMS-style 'timed/quantized-sampling', to then, the latter re-trigger back them phrases, double-triger-ing his own harmonies, sometimes as 'simple but precise short wave reflection Elvis-like early echo chambers' - which kinda accurately also mimicked studio-double-tracking, as programmed by Mark...And all of it done while he sang, triggering different effects / sampled backing voxes / just previously presang-mpled vocal harmony licks while the rest of us kept quiet, done rite there and just then.Quite effing precise and engineer-like methodical, Mark was with that Eventide kinda 'mini H3000 floor Harmoniser', I guess - a box I'm familiar with, Paul Kendall knew those well and I'd observe him while he worked, aplenty, on H3000/40000s, much to his annoyance. And Colin was really, really, really familiar with older Eventide 900s - ask Simon Le bon. Ask Limahl, ask Mark Hollis, ask Phil Oakey. ..Or Bowie, cause Colin first used an Eventide on him during Heroes, as Tony Visconti got hold of early, ground breaking gear.Mark's Eventide pedal was also a beautifully weird piece of state of the art tech, made mostly out of desperation by the end of its blueprint process, cause it was such an expensive piece of live gear. This Eventide Black Hole, or whatever the name was, did look bulk-ishly basic, though digitalish and with a small LCD screen, but like Rachel's 'standard' 2-unit Marshall fuzz / distortion / compressor pedal (which she gave to me and I have in the studio upstairs to this day, got its shelf of honor), did much more than it seemed it could at first sight, if ye werked it...I have the somewhat plugin version of it too these days...However. Mark, manipulating the real thing, live, as one would with a moog Taurus pedal, was something else, an actual orchestral maneuver in the dark, while singing live, both during most these demos and also when playing live til mid 2002 when we parted ways.No wonder Mark has plentifully collaborated, sound wise, amongst whatever other capacities, with Roisin Murphy, post Moloko.Other songs do feature Gage & Rachel on harmonies / backing vocals.Evan - keys + drum programmingGage - bassMark Rutherford - vocalsRachel Johnson - guitar
Evan - keys + drum programmingGage - bassMark Rutherford - vocalsRachel Johnson - guitar
AR141123So apparently, were this a holographic file mastered by Bob Ludwig himself, Soundcloud would still somehow feel compelled to somewhat intervene and f*ck up the audio file, cause in-house mastering services are for hire, and he who makes umbrellas requires rain. Gotcha 👍
Original picture/s by Caroline E.Perhaps SoundCloud would be interested in hiring MY mastering services.They certainly sound better than what ends up rendered by SoundCloud.
Dedicated to and in memory of Cecilia Z.Original picture by Caroline E.AR290923Is it too much to ask, for SoundCloud not to freely tamper about with uploaded files.Is it now.
Produced by Colin Thurston.Recorded for free, live in one day, for a Melody Maker promo, at Protocol studios, London, early '96.My cassette master version, pre-polish session.Plenty of sonic issues with this old cassette recording but just cleaned it up a bit, cause I like this version, cause I can sort of hear the guitars, throughout.Oh le musique industrie du le british disque and the phenomena commonly and gingerly known as 'someone else always making decisions on one's behalf'.Laura Elle : drumsEvan : keyboards, sequencersGage : bassG : guitars, backing vocalsXav : vocals, backing vocals
Salvaged from Xavmania's dexdexter playlist, the sound has phase to it so must be from old cassette. I kinda like this Protools-ed version and remember parts of this mixing process so I've remastered it a bit.As can be seen, we had just discovered Protools and digital manipulation of an entire audio track, so we kept demanding this Prodigy-tal treatment on a couple of sections, which we were advised wouldn't work, in time - and surely enough, they don't really. Lol. There are sections of this edit which were done for good reason and did improve the track. So, this song ended up a fragmented version of itself. Very COY indeed. Relol.
Stereo-fied from a mono cassette recording, so it is what it is.This is probably the best live rendition of COY that remains recorded, so it's nice.Laura Elle : drumsEvan : keyboards, sequencersGage : bass, backing vocalsG : guitars, backing vocalsXav : vocals, backing vocals
Stereo-fied from a mono cassette recording, so it is what it is.This is probably the best live rendition of ACACC that remains recorded, so it's nice.Laura Elle : drumsEvan : keyboards, sequencersGage : bass, backing vocalsG : guitars, backing vocalsXav : vocals, backing vocals
Made this for uni in 2016, was considering it as a surround sound remix, ended up as an intense stereo one. Didn't remember this, literally found it while looking for other stuff through drives, reminded me of Olivia Newton John, now passed, which seemed forever impossible, and the awesome team her and Farrar always were. Long live Olivia Newton John ✊❤️For edumagicational purposes.Original song 'Magic' © 1980 John Farrar & Olivia Newton John
Made this for uni back in 2016 as I worked on a surround sound trailer for Blade Runner. Never thought of disrespecting Vangelis' works of art by inserting my replicas for public consumption - or whatever.But since he always was my pulse, beam, pulsar and bastion for what mankind could achieve with technological magic, and was perhaps the first thing that pricked my ears together with the ELO, when I was even more unbearable, cause I must've been 8, and since he passed this year, and we nowadays just generally seem to be properly inhabiting the Blade Runner film set, I'm not gonna let it get to xmas without placing these 2 tracks here as my very humblest homage to the v man who said 'I don't care how you remember me, but I always asked for respect for the music, cause music is the universe, it's primal, I'm really not kidding.'He helped me in so many ways, it's unreal - even though I've never really completely understood half of what he speaks of during interviews.But it seems to make sense.I guess this already makes him a genius, at least in my eyes.So long, Vangelis ♥No samples were used for this whatsoever.
Made this for uni back in 2016 as I worked on a surround sound trailer for Blade Runner. Never thought of disrespecting Vangelis' works of art by inserting my replicas for public consumption - or whatever.But since he always was my pulse, beam, pulsar and bastion for what mankind could achieve with technological magic, and was perhaps the first thing that pricked my ears together with the ELO, when I was even more unbearable, cause I must've been 8, and since he passed this year, and we nowadays just generally seem to be properly inhabiting the Blade Runner film set, I'm not gonna let it get to xmas without placing these 2 tracks here as my very humblest homage to the v man who said 'I don't care how you remember me, but I always asked for respect for the music, cause music is the universe, it's primal, I'm really not kidding.'He helped me in so many ways, it's unreal - even though I've never really completely understood half of what he speaks of during interviews.But it seems to make sense.I guess this already makes him a genius, at least in my eyes.So long, Vangelis ♥No samples were used for this whatsoever.
Demograohic N1 remix, apparently. First one and first time on a DAW I guess.The world of plugins was also literally just getting started up -it shows lol- and I was close to it all for quite a few years.Evan - keys + drum programmingGage - bassMark Rutherford - vocalsRachel Johnson - guitar
Though this track is a demo version, later mixed together with Jerry Parsons, and later licensed to Peter Gabriel's CueMusic, I like this demo version as is.
Guitars and backing vocals by Stumpy Music. Main vocals by Stephanie B. Written by ArtEfficient Intelligenz and Stumpy Music. https://soundcloud.com/stumpymusic
Keyboards + drum programming by Evan Bass by Gage (Exquisitely Awesome, Awesomely Exquisite) Main vocals + backing vocals + lyrics by Elaina G.
Not sure who Elaina was referring to with the 'get the f out of my life' lyric, can't remember. But I do remember that, having done a law degree and later a philosophy one, she was starting her studies to become a judge by the time we decided to amicably split ways. So I'd advise caution to whoever it was lol. Elaina was a brilliant studio musician with an extensive past as session singer, and we never pursued anything more than anyway. But she was whatever comes after awesome. She could rock the absolute f*ck out of a simple Shure SM58 mic, for starters.
If you ever wonder whether there are any true Jeff Lynne fans left out there, you need look no further than moi, cause I agree with John Lennon even there 👌
This song previously was Demographic Number One, which we re-arranged like this cause we liked it as a home studio collaboration, with Elaina singing like this.
Another early DAW recording. Happy if it just didn't crash.
Keyboards + drum programming by Evan Bass by Gage (Exquisitely Awesome) Main vocals + backing vocals + lyrics by Elaina G. Claps by all of the above
Original picture by Itxaso D.
Guitars and vocals by Stumpy Music. Written by ArtEfficient Intelligenz and Stumpy Music. https://soundcloud.com/stumpymusic
Written by ArtEfficient Intelligenz and Stumpy Music. https://soundcloud.com/stumpymusic
Guitars and vocals by Stumpy Music. Written by ArtEfficient Intelligenz and Stumpy Music. https://soundcloud.com/stumpymusic