I don’t think I’ve heard a rock vocalist sing with this much anger in the last 10 years. Not even Trent gets this passionately angry to the point where he has to catch his breath mid-song, literally spits out lines like “SHE WORE THE SAME BBBBRANDS” and consciously lets his voice crack in order to hold a word. It makes me want to punch a wall in the best ways.
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 interface 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 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.
This is a recording I just finished that may very well be a track on a future taken by name record. I played two great piano chords, reversed them, and came up with two more for the second half. Then I got this sweet guitar fuzz tone that reminded me of Ratatat. Then I sang some pretty paranoid lyrics I had written into an SM58 while wrapped in a blanket. (It’s cold.)
I like the sound of things when they get looped, especially when other things are looped against them. By extension, I admire the hell out of Steve Reich. This recording in particular is cool because of how the vocals work against each other because of the poor quality of recording. It’s difficult to focus on just one lyric.
Note the inclusion of a digitized speech by this guy during the first half (he’s actually pretty interesting and totally crazy).