that guitar line over and over and over and over
I should post more.
So the marathon tragedy thing happened. I don’t usually get emotional about things like this but having it happen so close and with so much uncertainty was especially unsettling this time. (Relying on Twitter and local news for updates clearly didn’t help, either.) I can’t anything more emotionally valid or witty or powerful than what’s already been said, so I won’t bother.
I spent Monday evening working on an arrangement of a song that a friend of mine wrote over a year ago which seemed oddly appropriate for the day – given the unexpectedness of everything. I’m still not sure whether or not I’d release it as a sphmrs track or something, but once finished I was really happy with the end result: imperfect, but naturally complete and capturing the feelings of the moment.
this is one hell of a place
set up to let the bomb drop
killer in a bed of lace
little taste of the power then you don’t stop
eating from the deepest sea blissfully
tell your friends that they should try it
while his only energy comes to be
from a saltwater diet
getting all your nutrients from innocence
tell me, does she fill your hunger?
oh my god, in his defense at present tense
i’m not healthier or stronger
i don’t wanna suffer
This song (and most of the album) are causing me to change the way I approach writing music. Fantastic use of rhythm, pedal tones, dance/drum+bass/world music, and just so so dense. Listen now.
I like this piece a lot. So did the audience. Very few composers (and songwriters, for that matter) these days make full use of the bass guitar, and ones that do stand out to me. For this piece, I was focusing on complete destruction of the main theme I had written, both in the classical sense and in new ways. All the electronic sounds are sampled from the original recording I made of the theme – thus, I am making use of as much of the theme as I can.
I also like to loop things (thank you Steve Reich). I tend to do this frequently in the music I write, with the hope of something interesting coming out of it. Two sections of this piece are almost entirely structured on looping, and how melodies change the perception of that loop.
Special thanks to Max/MSP for making this piece possible. Max/MSP is a really cool and insanely powerful piece of software that I like to use for performing music.