from a few years ago when i was just herp derping my way though music, although very few tracks survived when i purged my external hard drive in 2016-17, most are from a time when i knew dick about synthesis and music production and was just applying a shitload of fx and resampling the fuck out of everything in order to get a good sound…
these are more recent… made within the past 2 years…
and this is where im at currently:
(apologies if i already posted this)
Another round of throwback…
First up…not really electronic, but sometimes I grab my guitar and just rip into my punk rock roots like an old worn out pair of converse.
Such was the case 6 some-odd years ago when I went into the garage, flipped on a drum loop and just threw this on the 4-track to shake off my writer’s block for music.
Another early work, this next one was somewhere between my punk rock roots and converting to thinking more like electronic music, or EDM…ish.
It’s definitely not EDM, or anything remotely close to it, but it was a song where I learned more about how to do what I wanted to in the DAW better by working within a framework I was more familiar with (regular songwriting format…just without vocals).
The idea here was something of a nod to Nirvana, NIN, and Naked Eyes’s Always Something There To Remind Me (edit: previous edit remembered wrong which song I was talking about) without being any of these things. It just took elements that I loved from all and made some other thing of my own style.
Dropbox
So, the bells stuff is the Always Something There To Remind Me inspired bit, the screaming and squealing lead which sounds like I could be doing this all on feedback from an amplifier was the Nirvana - specifically Kurt Cobain, and more specifically his piece with William S. Burroughs reading The Priest They Called Him (*note below), and the NIN inspiration was Reznor’s love of out of tune and crappy pianos, what the piano bit is about.
This was actually the song image back when I made it:
Fun fact: the squealing lead is actually an organ routed through a distortion pedal and all the wobbling is accomplished by exceeding the voicing limit and toggling back and forth between which notes exist and which don’t so it bounces back and forth, which when mixed with the distortion creates a pretty interesting and raw sound.
Cheers,
Jayson
*note from above: Kurt’s playing for Burroughs was just such a wonky mind blow when I first heard it. I thought it failed horribly at mixing with the spoken poetry, but if I ignored the poem and just listened to Kurt, it was insane what he was doing. The sounds were just jaw-dropping. I spent countless hours working at how to make my guitar do anything remotely close to what he was doing.
Love this! Also digging the title
I’ll bite.
Here’s a track from an old release (2010, though I’m pretty sure the track was made 2008). I started this track around midnight after a night at the pub with some friends. Finished it around 2:00 pm the next afternoon (all my best tracks from that period were all nighters…the joys of being young, single and jobless). All the synths were made on a small eurorack system, some samples from Ghost in the Shell, the drums were half Machine Drum and half samples in the computer. I was especially proud of the flute sound I made on the modular and that all synth and bass parts were played live with slight edits. Had a couple of further sessions to work on mix and arrangements a bit, but 90% of the work was in that first session.