Alrighty, so not only did UK's Artrocker radio spin some static, the Lullaby 7" is now available at Rough Trade Shops over there, over there... Listen down below (follow the link the player thing dont work out of the blog) and much ado about something....

http://woxy.com/music/artrocker.php

Artrocker Radio Show – 10/28/2009

ACOUSTIC LADYLAND "Iggy" (opening theme)
PULLED APART BY HORSES “Get Off My Ghost Train”
BILGE PUMP “Thanks You Very Much”
CASTROVALVA “Belhausen”
INVASION “Invasion”
BIG SEXY NOISE “Doughboy”
HEALTH “Severin”
PENS “I Sing Just For you”
THE LOVELY EGGS “Rappin’ In Plastic”
FOLLOWED BY STATIC “AADC”
WET DOG “Women’s Final”
LILIPUT “U”
HATCHAM SOCIAL “Wild Creatures”
SHABBY ROGUE “My Life As A Secret Agent”
JAPANDROIDS “Sovereignty”
JOHNNY FOREIGNER “Criminals”

ate some sushi snack. bought some fish at the jewel-osco for the lady. cooked flank steaks. got drunk at club foot...

went to hang some posters there last night for one of the rad ass shows we're playing this month (it is sept now right) and the dude behind the counter said "mmm noo. you can't hang posters here, this area is for the major labels" support local what?! keep austin what?!?!? sellout bastard mafia fucks

BUY OUR RECORD AND ALL RECORDS CDS WHATEVER AT REAL LOCAL SHOPS LIKE TRAILER SPACE END OF AN EAR SNAKE EYES SOUND ON SOUND OR WHOEVER FUCK WATERPOOOOOOOOO

Whether or not they rigged the ballots - http:../../..www...austinchronicle.....com/..gyrobase/..Issue/..column?..oid=..oid%3A823632 - the message was clear yesterday morning when we woke up with a bat head in our bed. Yes. We have taken the 7" to Waterloo Records. Its is there for the taking. Well, selling, the mans gotta get his take right? So pick it up there. its a $1 more expensive there than it is at Trailer Space Records or End of an Ear. so save a buck. or support the mafia. whats next, kgsr?!

uhm. http://www.facebook.com/pages/Followed-By-Static/201688325455 

In audio engineering, a fade is a gradual increase or decrease in the level of an audio signal.^[1] The term can also be used for lighting in theatre, in much the same way.

A recorded song may be gradually reduced to silence at its end (fade-out), or may gradually increase from silence at the beginning (fade-in). For example, the song Bittersweet Symphony by The Verve fades in from the beginning, while the songs "Born to Be Wild" by Steppenwolf, "Boogie Oogie Oogie" by A Taste of Honey, and "Hey Jude" by The Beatles fade out. However, "Born to be Wild" and "Boogie Oogie Oogie" fade out in a matter of seconds, whereas "Hey Jude" takes over 2 minutes to completely fade out. "Goodbye Stranger" by Supertramp takes about a minute to fade out. Fading-out can serve as a recording solution for pieces of music that contain no obvious ending.

The term fade is also used in multi-speaker audio systems to describe the balancing of power between front and rear channels.

Contents [hide]

1 Origins and early examples

2 Fader

3 Crossfading

4 Pre-fader, post-fader

5 See also

6 References

7 External links

[edit]Origins and early examples

"Neptune", part of the orchestral suite, The Planets, by Gustav Holst, was the first piece of music to have a fade-out ending. Holst stipulates that the women's choruses are "to be placed in an adjoining room, the door of which is to be left open until the last bar of the piece, when it is to be slowly and silently closed", and that the final bar (scored for choruses alone) is "to be repeated until the sound is lost in the distance".^[2] Although commonplace today, the effect bewitched audiences in the era before widespread recorded sound—after the initial 1918 run-through, Holst's daughter Imogen (in addition to watching the charwomen dancing in the aisles during "Jupiter") remarked that the ending was "unforgettable, with its hidden chorus of women's voices growing fainter and fainter... until the imagination knew no difference between sound and silence". ^[3]

The technique of ending a spoken or musical recording by fading out the sound goes back to the earliest days of recording. In the era of mechanical (pre-electrical) recording, this could only be achieved by either moving the sound source away from the recording horn, or by gradually reducing the volume at which the performer/s were singing, playing or speaking. With the advent of electrical recording, smooth and controllable fadeout effects could be easily achieved by simply reducing the input volume from the microphones using the fader on the mixing desk.

No single recording can be reliably identified as "the first" to use the technique. In 2003 on the (now-defunct) website Stupid Question, John Ruch listed the following recordings as possible contenders:

"Bill Haley’s cover version of "Rocket 88" (1951) fades out to indicate the titular car driving away. There are claims that The Beatles’ 'Eight Days a Week' (recorded 1964) was the first song to use the reverse effect -- fade-in. (It also fades out.)""The earliest such recording anybody could name for me is an 1894 78 rpm record called 'The Spirit of ’76', a narrated musical vignette with martial fife-and-drum that gets louder as it 'nears' the listener and quieter as it 'moves away'.""The fade-out as a simulation of a moving sound source seems to continue right up to 'Rocket 88'. But other examples aren’t so obvious (though fade-out may always imply that the song continues forever and we’re only passing by it for a few minutes).""The oldest true songs with fade-out pointed out to me by 78 record fans bear no obvious relationship to movement. One is 'Barkin’ Dog' (1919) by the Ted Lewis Jazz Band. Another contender is 'America' (1918), a patriotic piece by the chorus of evangelist Billy Sunday."By the early 1930s longer songs were being put on both sides of records, with the piece fading out at the end of Side One and fading back in at the beginning of Side Two. Records at the time held only about two to five minutes of music per side. The segue allowed for longer songs (such as Count Basie’s 'Miss Thing'), symphonies and live concert recordings.""However, shorter songs continued to use the fade-out for unclear reasons—for example, Fred Astaire’s movie theme 'Flying Down to Rio' (1933). Even using fade-out as a segue device doesn’t seem obvious, though we certainly take it for granted today.""As a film buff, I have a gut feeling that movies were an influence here. Fade-ins and fade-outs are cinematic devices that begin and end scenes—film language that developed at the same time as these early recordings. The term 'fade-out' itself is of cinematic origin, appearing in print around 1918. And jazz, a favorite of early records, was a popular subject of early movies, too." ^[4] 
 7" front cover art work



top 2 tunes in the player, playa


here's a beach house we'd like to play
or this one

http:​/​/​www.​besttuna.​blogspot.​com/​

Seems like we hit the holidays right, though it doesnt feel too holiday-like as neon overhead lights buzz into eyes that need no more buzz for now. ugh.

so we rounded the state and crossed some borders and had the chance to play with some really great bands, and lucked out with some really great sound guys as well. all in all, a lot of greatness, dear reader. read on.
leave austin for houston. make a stop, fret that this is the beginning of tour and we cannot load up on glass jars of pickled goods at gas station, as the glass probably won't make the trip. but the pickled goods gotta be good, right?
arrive houston. go to several bars before club opens. club opens. somebody asks if we are the ones that produced explosioin in the skies. we say no. say yes to NERVOUS CURTAINS as they KILL IT! seriously upped the ante of the evening, got a little shakey playing after em. high points were pretty much every song. check em here/ www.myspace.com/seankirkpatrick   and they covered this, tattooed it all their ownthen antarctica starts here threw it down, wondering how coz they seemed to have consumed as much whiskey as we... to irish bar. to pain in the morning. pain goes away with killer eggs benedict stacked high with bacon turkey and ham. doubt we will ever be back in Houston w/o a visit to the Breakfast Klub.



start to dallas. stopped. more delicious looking pickled good (beets, asparagus, peppers) we have to leave behind.
roll to the What? Records compound. grunt. groan. watch cable, then off to the Double Wide after a subpar burger. dallas crowd is better than expected for early show. big what up to PVC Chris and Chris and Parade of John for making it out early. And Allen Two Songs Two of Us. Then the Make Believers wrangled things in with some twangy countrified rock. roll. Nervous Curtains a little looser, but still so fucking good. gawd.
cross red river. stop for gas is ardmore. slowest gas pump ever. rolling hills and silhouetted winter time trees are nice. then it gets flat. real flat. then this happens (ALWAYS USE YOU TURN SIGNALS KIDDOS:

seriously. no ticket. ride on. okc. eat. buy records (old genesis, stones, nilsson, DAVID LEE ROTH).back to vzds. sit. wait. gutter punk grrls with buck knives try and steal our seats. we do not feat their knives. the grammarians start slow, quiet, pretty, then big sludgey loudness ensues. pretty rad. we go. after smooth sailing in houston dallas the rhythm ace chokes, we carry on. wayword sons of whatever the hell it is we do. some laugh. some cry. all knives stay sheathed as we end. then Kite Flying Robot kicks it into party time. dancing dancing dancing clapping clapping clapping and even a little blood shed. amazing. we drive. stop. drive. couch.
 
 
 

We made recordings. For you to listen to. You can buy them at shows. Or paypal. But they are free too (downloads do not have new mixes of Lullaby and AADC). Here...
http://virb.com/followedbystatic/music/albums/75491
The CDs are a pretty limited pressing, we may even number and shit for fanciness sake. A numbered CD, who'd a thunk it?

kinda shitty looking scanned in copy of the cover (back & front). thats what you just looked at.

Yes! We are so ahead of our time that we built an audio time traveling mechanism that took us back to the tropical warmth of tapes, cassette tapes. Our first release is out bzzzt and has two sides, 8 songs and ............
yes.

they can be bought here or End of an Ear or Trailer Space (if not RIP) records or at shows. or we will deliver to you.
delivery charges could occur. it goes like this:

Side Ace
Bloody Arrows
Bones*
Hole In My Shoes
Someday Musings

Side Beast
Lighthouse
AADC
Rain Clap
TheAceBeast*

*featured songs here on the myspace

You're Welcome. Static.

here's a recap of the recap of last thursdays show at emo's:

'stratified noise and melody'
'rich in atmospheres'
“Bones”

and the recap itself by Francesca Camillo for the Decider
http://austin.decider.com/articles/wilderness-san-serac-and-followed-by-static-at-emo,1257/

drunk bill said we were the best band of the three.

braggarts!