About Neon

I started making music back in '79 when, with a couple of friends, I formed a punk/new wave rock kind of band that, frankly, sounded dreadfull but was a lot of fun to do. But I always really wanted to make electronic music. I had a large collection of albums featuring the electronic bands of the time. Bands like Tangerine Dream, Kraftwerk, Klaus Schulze and of course the up and coming british electro scene with artists like OMD, The Human League, Gary Numan, Bronski Beat and Depeche Mode. In fact, if it featured a synthesizer, I bought it. It wasn't until 1985 that I managed to buy my first synth. A Kawai 100F monophonic, and then proceeded to spend all my hard earned money on building my collection of Roland gear mainly. The TR808, TB303, SH101 and MC202 along with a cheap string sounding organ for those pad sounds and a few effects. But even with all that gear I found the sound I was making was very limited and not what I ultimately wanted to do. Frustrated, I eventually sold the lot and stopped making music for about 8 years. Then a friend showed me an Amiga computer and a programm called OCTAMED. I thought this was amazing. Four tracks of audio, all sequenced, and you could easily save your work. This was the way to go. It got me back into making music big time. I even used it in a small concert I did with a friend of mine, Maxine. (See pics) I used this set-up for about 5 years, then Max got a proper PC and an early version of cakewalk. This was very impressive, and since then I have gone down the pc route. I now produce all my music on a laptop with various software programms including REASON 4, CUBASE SX and fruity loops. I control it all via a Novation X-Station 49. I also use a Novation Nova II synthesizer. Vocoding and speach synthesizing is a large part of my sound and I use various TTS utilities. I have been featured on a number of internet radio shows including Shinebox radio in Belfast, The excellent "MUSIC NON SUCK" radio show by 216 productions, Canadian college campus radio, Electroland radio in Denmark and the brilliant "ROBOCAST RADIO SHOW" here in the UK, as well as shows in Spain and Belgium, and have just had my first radio play in Kyoto in Japan thanks to OKA RIUICHIRO from Kanade. Minimalism is the key, an experiment if you like, to see if I can create a lot of noise with very little gear. So enter the world of bleeps and beats and electronic voices where the influence of Kraftwerk is obvious. 

Jonteknik has been creating electronic music since 1988 when he discovered Kraftwerk and Jean-Michel Jarre. Back then the music was created on an Amiga computer with a tracker program. Soon progressing through Cubase on the Atari ST and finally finding the joy of Apple Mac, Jonteknik started with Logic and now uses Pro-tools LE with a variety of soft synths and plug-ins.  The first release came in 1994 on Desy Balmer's 'Nice & Nasty' label. This was the 'Tanzmusik e.p' created up in Manchester's 'Out of the Blue' studio, now sadly gone. Jonteknik joined forces with Kraftwerk enthusiast Mark 'Staggman' Stagg and Andy Sturmey who is responsible for many of Jontekniks CD cover images.

Gaining respect from the press, such as Melody maker, Future music, Music Technology, MT and The Mix, Jonteknik was crafting his own sound around the heavy influences of those great pioneers from Düsseldorf. It was soon discovered by the world's coolest Belgian and writer/producer Pascal Gabriel who helped Jonteknik sharpen production skills. Pascal introduced Jonteknik to Claudia Brücken. They both corresponded by post. A simple demo was recorded around 1993 called 'Ohm from ohm'.

Jonteknik also had the pleasure of meeting up with Holly Johnson in the mid 1990's. A few ideas were put together and there was a lot of music chat. Holly showed Jonteknik that songs worked with the right structure. An acoustic performance of 'Relax' and 'Love train' demonstrated this exactly!

More recently Jonteknik worked with Paul Humphreys and Claudia Brücken on their 'Onetwo' project. Jonteknik co-wrote and co-produced several tracks and even dabbled with lyrics. One of the highlights for Jon was getting to program percussion and synths on a track that has Martin Gore from Depeche Mode on guitar! It was a hard time for Jon as issues beyond his control were making life complicated. To this day Jon holds the times of working with Paul Humphreys as a great memory, especially creating 'The theory of everything'.

Now Jon looks towards the future and as well as working with vocalists/writers on a brand new album, there are releases of older material being released to introduce you to the sound of Jonteknik.

About jon ryman

1984 IS MY FIFTH STUDIO ALBUM IN 15 YEARS. IT IS ENTITLED 1984 IS VERY LOOSELY BASED ON THE CLASIC ORWELL NOVEL OF THE SAME NAME.

ROBO CAST RADIO highly recommends the album. We absolutley loved it!!

i have been phucking around with music since the early eighties. I only really got into the music when i thought i could make a buck and not have to suck a shed load of ..... JUST GOES TO SHOW HOW WRONG YOU CAN BE!!! . Like a lot of people i found myself in ibiza during the summer of 1987...and attended the now legendary amnesia..it wasn't anything like what it is today...you were just as likely to hear a pop tune as you were anything else...acid hadn't quite filtered through...that happpened in the uk the following year...mainly it was a place that dealers and drug users frequented...in fact i was introduced to the club by a bar owner/drug dealer. LOCO AMNESIA. When i got back something seemed to have changed in the musical landscape, i couldn't tell you precisely what that was, possibly just an influx of frankie knuckles style acid and dancefloor tracks. By early to mid 88 a full scale musical revolution was taking place which seems like the last real youth cult to me. You could find me in the squats with acid ...this was long before the "crusties" took over that scene. You could find me in underground garages. you could find me in some of the most drug-addled clubs the world has ever seen. Sometime around early 89 the masses got involved and everything changed. From being highly elitist, ecstasy started to get a grip on the Chelsea supporters and the West Ham and the rest is history. From wanting to kick your head in they wanted to score and hug you...titheads. I can remember that lot taking the piss at the clothes and style still in thier shabby top men gear with the ubiquitous pint in hand. Even during the hieght of 88/89 you could easily clock them in the club. They would be holding the pints! Superclubs started emerging with strong criminal links... for a good expose of this check out "the rise of the foot soldier"... etc etc there was money to be made in selling 5 thousand E and at 20 quid a pop. Suprisingly, ecstasy really took off. I can clearly remember attending parties in early to mid 88 where there was no E , or if there was it was highly expensive. A lot of us were on mushrooms and Lsd. Lsd was a big part of the early acid scene. I remember one party with that dude from the mud club phillip whats his name and everyone was tripping on acid! Another night , on the south coast there was a dude dishing out free mushrooms on the door...a huge fucking plastic sack of the shit! Anyway, by 1990 i had had me fill during the early nineties i did the smart thing and took as much money off the state as humanely possible (thats you folks)...some examples would be dropping out of university only when it was no longer possible to scam any more cash out of the banks and student loans. Another money making scheme was card counting... you would be AMAZED at the possibilities!! THe last time i paid any real rent was back then...before i got wise and angry. in 1986 i had bought an akai s7000 with a total memory of about 7seconds. I didn't know anyone else with one let alone anyone to look up to...it was make the rules up as you went along! Frankly im not a fan of digital production techniques...the records sound like shit. low depth, overtimed and weak sounding. Im a fan of the 24track, analogue synths, and a big fuck off neve desk. These days records appear out of time or lacking a groove because they are over timed...too tight! I can remember a now world famous dj playing to about 50 bods and completely ruining the party with that rare groove shite he used to drop. Then fabio would appear and drop some future prototype acid breakbeat and the house would just ROCK! seems ironic now. I started making early acid breakbeat, ambient and house...joining the infamous white label culture...I then found myself on one of the worlds freakiest labels: Plink plonk recordings. Most people were label slags: do a few quick tunes, buy shedloads of weed, pay rent, repeat from start. I was no different. If you are so minded there are quite a few obscurities of the uk dance scene out there with my name on. or a name. i think...! A lot of people wouldn't pay up... it was becoming a sordid scene. And i think that somewhere along the line it became a culture of containment rather than of directed anger...i now realise how much the period from 82-88 affected so many of us in so far as things were screwed up by the IRON LADY tm. By the late nineties dance music was looking really tired and maybe so was i: dj's spent a weekend at their gigs.. i was using the money to spend months at a time in places like LA and Frankfurt. Getting back into songs seemed like a good idea. Songs...here are a few of them for Y'all. Now , on a different note...DISCOGRAPHY! THIS IS NOT A COMPREHENSIVE LIST AS I FORGOTTEN OR WISH TO FORGET SOME OF THESE RELEASES. THERE ARE LATE EIGHTIES AND EARLY NINETIES EFFORTS WHICH I CAN NOT REMEMBER WHAT LABELS THE TUNES APPEARED ON!! PREVIOUS JON RYMAN RELEASES: Releases: Artifice & Architecture (CD) Millennium Records 1994 Artifice & Architecture (LP) Millennium Records 1994 Remixes: Remixes Volume 3 (12") No Surrender (Double R... Swim ~ 1994 Production: Dream Injection 3: Trance & Ambience (2xCD, Dig) Surrender Sub Terranean 1996 Appears On: Eternally Alive (CD) I'll Find My Own Way Back Millennium Records 1994 Augur (CD) Plink Plonk 1996 Dream Injection 3: Trance & Ambience (2xCD, Dig) Surrender Sub Terranean 1996 Dream Injection 4: Bright / Dark (2xCD, Dig) Series Sub Terranean 1997 Millennium, Music For The Year 2000 (2xCD) The Edge Millennium Records 1999 Tracks Appear On: Eternally Alive (CD) I'll Find My Own Way Back Millennium Records 1994 Swim records ep double remix 1996 Eternally Alive Vol. II (CD) The Edge Millennium Records 1995 Techno Ballads Vol. II (2xCD) Codeine Bullets Millennium Records 1997 Millennium, Music For The Year 2000 (2xCD) The Edge Millennium Records 1999 Music For The Year 2000 Part 2 (2xCD) I'll Find My Own Way Back Millennium Records 2000 RELEASES UNDER THE NAME OF INTERLOPER!! Quantum Souls (12") EAR (Electro Audio Response) 1994 Quantum Souls (12", Promo, W/Lbl) EAR (Electro Audio Response) 1994 Augur (CD) Plink Plonk 1996 Daddy Vegas (12") Plink Plonk 1996 Dependency Culture EP (12") Octopus Recordings 1997 Dependency Culture EP (CD, Maxi) Octopus Recordings 1997 Get Together / The Sanctuary (12") Rugged Vinyl Records 1998 He's Gone Away (12") Inky Blackness 1999 Bitch Slapper (12") Plank Records 2001 Six Dragons (CD) Inky Blackness 2003 Tracks Appear On: Chillscape Compilation, Vol. 1 - Into The Soft (CD) Surrender Chillscape / Vap Inc. High Times (CD) Satellite State Dust 2 Dust Records Dream Injection 3: Trance & Ambience (2xCD, Dig) Surrender Sub Terranean 1996 Parasols 02 (2xCD) Daddy Vegas Plink Plonk 1996 Spacewars 01 (CD) Surrender Plink Plonk 1996 X-Mix - The Electronic Storm (CD) Daddy Vegas Studio !K7 1996 X-Mix - The Electronic Storm (VHS) Daddy Vegas Studio !K7 1996 Dream Injection 4: Bright / Dark (2xCD, Dig) Series Sub Terranean 1997 Techno Ballads Vol. II (2xCD) Surrender Millennium Records 1997 Techno Ballads Vol. III (2xCD + Box) Seatac Millennium Records 1998 Transatlantik Lounging 3 (CD) The One Life Enhancing Audio 2000 Transatlantik Lounging 3 (3xLP) The One Life Enhancing Audio 2000 The Best Of X-Mix (Part 3) (3xCD, Box) Daddy Vegas Studio !K7 2001 X-Mix - The DVD Collection Part II (DVD) Daddy Vegas Studio !K7 2001 Balance 004 (2xCD) Bitch Slapper EQ / Stomp 2002 RELEASES AS PART OF ENSEMBLES: 2007 - Jamestown union lp - Grand cut recordings uk as mentioned this is not comprehensive... the gap between roughly 2001 and 2007 was filled by recordings for the Lift music group and for the Extreme music group. these supply music to tv broadcast. There are a lot of compilations etc that you can find individual tracks on from the nineties...but im buggered if i can be arsed!