Malkolm is my artist name as a bass-player.

I play live with "persuaders" (mostly "rolling stones") and "neon heart" (jamming) sometimes.

MP3 is or should be for free but it does not sound good enough for the best of music and will I ever earn some money for my work? But if one wants cd-quality from me in the future one has to pay for it because I need some more money.

A small record label that suits my music maybe. But probably not. I would not like anybody else to create his own records of my songs. If so it should be called a compillation. I have made 29 records (volumes) and one compillation and two records with "the lost songs" with sertain song orders and those are the records it was meant to be.

Between 1988 and 1995 I played heavy metal and thrash. Some different rock folks between 1996 - 2003. I started with persuaders 2003 and with neon heart 2006. My own bass music on this home-page was started autumn 1996. So far I have recorded 29 records with this music that I have given to some close people (and I also have made one compillation, the best of volume 1 - 21). I call the records volume 1 - 29.

I do not think I now sound like anyone else. I am pretty minimalistic like Brian Eno. Many of my songs could be seen as film music. In my thrash period I was influenced by Conrard Lant (Venom) and Cliff Burton (Metallica). Since then I have been influenced by John Entwistle (the Who) -especially in my rock-band today, Pete Townshend (the Who) - he gave me the idea of triplet drills that I sometimes do a lot, I think he is the best guitarist in the world, Chris Squire (Yes) - strong melodies and awesome sound with a pick, Stanley Clarce - chords, funk, virituosity, awesome light sound. I am very inspired by Brian Eno as a composer and musician and Robert Fripp for his frippertronics and soundscapes music. I love Beatles, Rolling Stones, The Who, Tangerine Dream, Moody Blues, Jean Michel Jarre, Bryan Ferry, David Bowie, Annie Lennox, Yes, Flower Kings, Depeche Mode, Deep Purple, Pet Shop Boys, Kraftwerk, Manowar and any song I happen to hear. The best record I ever have heard (and I have heard hundreds of records) is "endless wire" by "the Who" - so far I cannot hear anything else that can compete with it. The idea of my intro slides comes from two persons: Masse and John Entwistle. And then I started to use it as some kind of "trademark thing" very frequently. Of course a lot of worse things can be said to a person, but one of the utterings I hate the most is "bass should be bass" and mostly guitarists use to say it. I know electric bass has got a very musical frequency range (from 4 to 12 separate strings) and an extreme array of tones among instruments and it can take endlessly many roles and individual forms. To be onnest: I think electric bass guitar is one of the most musical instruments in the world and it is meant to be played freely! But I never forget to groove in a rythm-based song - a song with groovey rhythm. A pick for bass is like a brush for painting - it reveals everything. I hope that my songs reveal intension. That is the same thing as heart for me when it comes to music. You simply like it or not. I like the IDM genre.

I like Sweden as long as I find my places to be.t

I started 1988 as a two-finger-player but quickly switched to pick because my fingers felt too slow for thrash-metal. But I nearly became a finger-player because the bassist in my danish practise-book played that way. For about 8-9 years untill 1996-1997 I was a distortion-freak and I owned many odd stomp-boxes for that purpose and I never needed any on/off swith - to play without distortion was unthinkable! When I look back on that period my favourite pedal must have been the "Tubeworks Blue Tube - pedal" (with a 12AX7 tube) but I sold it for coffee-money and I now regret it much... It had clear bite and solid bottom and not too much drive. Nowadays I sometimes use a "T-Rex bass juice" pedal for grit or overdrive. I also have a home-built fuzz that I built together with a guy for more organic glow and sparkle.. For a long time (around 1990 - 2000) I played with stone-picks untill one day when it in one ballad with a clean sound sounded like I was maltreating the bass with the stone-pick-noises and I grabbed a triangular tortex pick from my wallet and tried it and was blown by its sound. Ashamed over the recording I finally realized that I had had a fixed idea for maybe around ten years!!! Now I allways play bass guitar with triangular clayton bass-picks between 1 mm to 1,52 mm simply because that feels and sounds best to me. Nowadays I love a fretted bass-sound with lot of twang. When less treble is needed I use to play my fretless... In the jazz band I use an ampeg V4BH amplifier with an ampeg HLF410 cabinette and with the rock band I use a Hartke kick-back combo with 15-inch speaker. For the music on this homepage I nowadays allways use an ampeg SVTDI direct box. I also have a pedal board that I sometimes use, consisting of mostly boss pedals by Roland. Last in the effect chain is an echo effect that lets me do frippertronics-like music with only one bass and I call this music "BEEM" (Bass Echo Effect Music). The pedal-board also includes a home-built fuzz that sounds very organic and effects to go down one octave and go up one or two octaves. I have in february 2009 bought a new fretted 24-fret Music Man Bongo bass that I will use a lot in the future and it has a compact and heavy sound with hi-tech treble, not as woody as my MTD. I have used my 4-string 24-fret fretted MTD Kingston Heir bass with an added Bartolini preamp for hundreds of songs since 2003 - it is the one with pick-guard that is no longer in production, built in South Corea. It has the original pick-ups. This bass is very twangy, woody and I easily get pick-popping sounds with it and it has guitar-like qualities. It can sometimes sound raw and un-even dynamically because of its upper mid and totally uncompressed nature and this makes it hard to play fast sometimes and it also has deep sub-bass in the lowest notes but not as solid middle and upper bass as with my new Bongo that has a more compressed and even nature. I also use a 4-string fretless Warwick Rockbass with Vintage Fender pick-ups with my rock-band, built in China and that bass sounds warm and muddy and solid and a bit woody but no sub-bass there is... I have also built and designed my own 4-string 12-fret fretless bass that I have not used very much. It sounds very deep and heavy, "gloomy" and electric. Pictures on all four basses are available on this home-page. Nowadays I use software synths (Albino, Absynth, Proteus) and E-magic synth-drums. Earlier I have used a Yamaha RM1X seguence remixer (sampling workstation synth) very much between around 2002-2005 and a Roland MC303 workstation synth (my brothers) around 1996-1998 and my brothers hardware and software synths and samplers (he then made them work for me!). I use DR or EBS strings for snappy and deep tone all the way to the 24th fret on the heaviest string and I cannot play with anything else because other strings sounds like church-bell sh*** high up on the heavier strings. I use medium (standard) guage and standard tuning (E-A-D-G) for anything. Between maybe 1990 and 2003 I used a defretted 4-string Zeta Prism bass with only piezo-pick-ups. That Zeta sounded warm but it fell apart (piezo-pick-ups and truss-rod cracked) and the pots corroded to much. The design of that Zeta must be the coolest bass-shape I have ever seen though. I was so proud when I first bought it so I could not stop smiling. It sounds neutral and bassy, warmer in the bottom and harder in the top. It was red but I repainted it orange (what else?) around 1999.

Some more personal stuff: I am also interested in philosophical grammar - the common conceptions between different languages and I have written a book of it where I introduce my theory. The book is 340 pages and is written in swedish and it has taken 25 years to finnish it but only some months to write the most of the latest version. I am afraid to publish it right now - it is an extreme linguistic theory. But what should I do with it? Grammar is a swearing to most people. That book is strictly deep-case grammar and I can not even laugh at word-order based "tree-diagrams" therefore. I just feel overcome when I see it. I also like beer-drinking (beer with 3,5 vol% alcohol) and cafe-sitting (with or without company). I have started to walk often and sometimes I walk through the terrain with map and compass in the summer. Really a dream-come-through! I hope you like my music, every song has something for its own to express I think. Because of a medicine I take since 9 years I suffer from a bit clumsiness in my hands and bad coordination between the hands first of all but it seems to get better with some regular practice - so much better so I forget the problem most times! I hope it is not heard in my recordings where I keep the best takes. But If you think the bass sounds a little bit hard between 2003 to spring 2009 it has to do with my MTD-bass with a very uncompressed nature and a little bit raw upper mid and usually no compression on the bass at all in the mix and that could bring an uneven feeling of the picking! On the other hand my ear has developed (more than my technique) the last 9 years. I often see my bass-fretboard as a piano key-board of possibilities where people seem to not excpect perfect chops all the time. That is the "ear-side" of my music. All the best to you all!!!