../melody in chaos
PROCESS
Every frettable note (incl. harmonics) on Jolie (my Gibson ES-335 DOT reissue), granulated and held through an Electro-Harmonix SuperEgo synth engine and then fleshed with infinite feedback through a TC Electronic Flashback tape delay. Both pickups were active and thrown out of phase to broaden the aural spectrum.
PROJECT
Step 1: Record 8 seconds of white noise in your own personal style.…
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PROCESS
Transposed the swype into notes by turning the QWERTY keyboard into a musical keyboard:
1. Correlated the major scale to the letters following G by repeating the octave pattern though the alphabet (e.g., J=C, N=G, V=A, etc…)
2. Assigned low octave (1) and high octave (3) to the bottom and top rows, respectively, of the qwerty keyboard.…
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Collaboration with Lee Rosevere, wonderful (and prolific) Canadian producer and musician.
leerosevere.bandcamp.com
happypuppyrecords.ca
Lee’s liner notes:
…When this project was launched, I emailed my online buddy Westy Reflector @thereflectors to see if he’d be up for a collaboration and I was thrilled he agreed. I’ve wanted to do a big huge ambient landscape with his glorious guitar tracks and this seemed like a perfect opportunity.
PROJECT
Compose a 2.5-minute soundtrack to complement the silent video “Untitled #8, 2004″ by the artist Josh Azzarella. The video is intended by the artist as a “Never Ending Loop,” as is this audio accompaniment.
Untitled #8, 2004 from Josh Azzarella on Vimeo.
If not visible above, view the video here:
vimeo.com/21678371…
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This is my fav in a series of soundtracked “cloudscapes” by An Imaginal Space (a.k.a. Spook), a vivid, ethereal and shimmering-from-a-mountaintop-at-sunrise ambient guitarist out of Derby, UK. A wonderful presence in all of my social streams, he’s cloaked in a bit of mystery, but I ask no questions and nothing more of him than to continue his lovely (and enviable) prolific output.…
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A 2nd remix by Bassling (Jason Richardson) of my riding waves. In it, Bassling adds his deft bass to Lee Rosevere‘s percussion and vibraphone, my guitar and nofi‘s original track. This rounded-out full-on quartet performance creates unexpected harmonic convergences and becomes a whole (and real) band – thankfully without van politics, ego mastications and “yellow-M&Ms-only” rider demands.…
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“Fine Art trained” guitarist Mark Ward lives in Sheffield, UK, and his ambient electronica connects listeners to the serenity that inhabits every pastoral dream of the English countryside. He layers guitar with keyboards, field recordings and percussive loops, then filters with a gentle hand through software.…
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shredderghost is a delaware ambient / noise / post rock / thoroughly modern music maker whom i met via the disquiet junto. he revels in cassette manipulation is never afraid to defy the laws of guitar pedal placement.
his tracks play in all types of guises.…
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4 notes. 3 intervals of 3. then 12 pedals. Made mathematical sense, so the title references “An Individual Note” by Daphne Oram, this month’s Junto reading selection (I’ve only gotten as far as pg 50, tho). Image is my pedal board through a kaleidoscopic app.
Finally had an excuse to put my Pigtronix Infinity at the head of the effects chain.…
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An homage in drone to Antoine de Saint-Exupery’s “Wind, Sand and Stars.”
“The first stars tremble as if shimmering in green water. Hours must pass before their glimmer hardens into the frozen glitter of diamonds…”
PROCESS
Connected to this assignment, and wanted to do some small part to keep Bassel’s cause and case out front. I’m not a foley artist and field recording is not my game, though, so consider this less a soundscape than a track that might run over closing credits.
Married some royalty-free congas, tambourines and trap kit loops on an Acid timeline.…
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PROCESS
A random collision of 8-bar loops created in Propellerhead’s Figure app for iPad, royalty-free vocal and wind-chime samples by Mick Fleetwood and three takes of improvised guitar deconstructions of the Jingle Bells’ phrase “jingle all the way” played live over all of it. Assembled in Acid Pro.
This track is a one-minute, 24 bar section of what has become the intro and outro to my cover of Elvis’s “Blue Christmas.”…
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PROCESS
Recorded Bodum electric kettle at point of boil into Samplr iPad app (2sec and 15sec samples). Raw recordings are stitched & looped and peek through at beginning and end of track.
Processed raw sounds with Samplr, then fed to various effects pedals and stretched a few grains in Paulstretch.
Noise thresholds triggered arpeggios, bass notes and drone swells via effect send/receive on synth pedal.…
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improvised guitar drones, loops and melody lines over beats.
guitar / amp:
jolie (gibson es-335 dot reissue, peekamoose custom electronics)
vox ac4c1-bl tube combo
efx chain:
(ebow –) earthquaker “warden” compressor –ehx pog2 –ehx freeze –ibanez ts-808 tube screamer –small sound/big sound mini overdrive –tc electronic flashback delay+looper –strymon blue-sky reverberator –line6 pod xt phaser modeler
software / hardware:
sony acid, motu 828mk2, XP
title is reference to jack kerouac’s “list of essentials” in his belief & technique for modern prose:
17.…
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PROCESS
Currently (re)reading:
The Alchemist by Paolo Coehlo
Illustrated Edition, Paintings by Moebius
First 80 characters on page 99:
“Can’t you just observe men and omens in order to understand the language?” the
There’s a heaviness to Coehlo’s fable that this treatment revealed. I first read it in ’93, when it was first published in English.…
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PROCESS
Headphones required.
The melody is 5 patterns repeated 3 times on a guitar, played live with a touch of boost, delay and reverb.
The rhythm is built from a royalty-free drum construction kit for ACID called “Black Paint Weathered Beat.” There’s a 1-measure intro and a 4-measure pattern, and both repeat 3 times.…
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