Death comes, a thousand crows, screaming ...
www.poetscoop.org/archalphatitle.htm
I got this poem from the above source.
A fascinating work as it expresses in imagistic language an almost ritualistic experience of death followed by life – a life that is only found beyond death.
I implicitly looped the poem, as I feel this life after death cycle recurs eternally.
That's a kinky cool bit of synth to finish with! :)
: Yeah - it's the Kaoss pad - great little thing -
: Ive been eyeing up one of those Ibanez Kaoss guitars and thought of you - you'd take it somewhere else!
: Yeah, it would be nice to have a Kaoss pad in every guitar! What I like about it is it's touch senstive/intuitive - you 'play' it with gestures [similar to theremin, in a way] They're good value for the number of effects on them alone, let alone the synth applications
There is a real sense of transition throughout. .a forward movement, and I can't fathom how you do that with no drums. Maybe its the fade in / fade out nature of the sounds, like wind in one's face...dunno...very clever though
; tracks like this grow out of free improvisations where there's usually a natural transitioning. I then take hold of those transition points as I add further sounds, kind of painting in detail - but I also paint a lot out too, sometimes to reveal the transitioning. And the fade is a great tool for that.
And it echos on!
: Into the grateful distance
The sad little synth refrain makes this section really work.
: my synths have that undernourished sound - poor little things, squirreling around between the feet of the guitar/bass dinosaurs!
: Well, sometimes that's the best place for them.
And the grand return!
Little harmonic skips are the wind beneath my wings today!
Mr. Hendrix rides crows too today!
: Yeah! How did you know I was listening to Hendrix the whole time I did this? I had the Midnight Lightning and Voodoo Soup albums on a loop!
: The whammy on that is pure Jimi is why!
: Also, I used a red germanium Fuzz Face for the first time on that - the guitar is a superb Strat copy by 'Deacon' - has Wilkinson pickups, a maple neck, and a heavy whammy block - I have four springs on it [Jimi had all five, but it's near enough]
: Four, five, not much realistic difference (used both on my beasts, I settled on three or four depending on the particular guitar!) And the right Fuzz Face is a thing of beauty, at its core, my 1893 is a (heavily-modified) germanium one!
i happen to be dealing with some death at the moment. she is going via a different route than this one. this is, nonetheless. *very* good accompaniment. (a very old one, who has lived fully)
: Priviliged to have provided some sounds to that death - I like the idea of death as being a process and a state of 'being', rather than just an end - and that is the message of this track ... as the Bluesman said, "you're a long time dead".
oh, have you got it all going on here
: Quite a few guitars doubled then pushed back to get that distance, some squealchy synth guitar too
oh! fuzz bass! how i love ye.
: The TBird bass's pick ups are nice and ballsy
Oh yeah... that bass KILLS (no pun with song title intended)
: Thanks - you don't need to ask - it was the TBird: the natural sustain, extra long scale and ballsy pickups make it an evil beast
Scary stuff! This would probably scare the living daylights in a sensory depravation tank. Did I detect a fretless guitar? I liked the vocal treatment - well matched to the instrumental sounds.
; the piece grew alongside the vocal signs, so they are fairly intertwined. I didn't use my fretless guitar on this one. The main lead guitar is a Strat copy with judicious use of the trem.
: I couldn't really tell if it was fretless or whammy!
: I was kind holding the whammy down variously to destabilise the tuning. Only thing with fretless guitar is the lack of natural sustain.
