Beautiful Sun Ra touch here - great sounds and guitar conception!
Sun Ra is casting strong vibrations in this aeon!
:
The drums almost make it jazzy in a way...like tripped out experimental space jazz. Love the tension towards the end too.
the jazzy element in the drums might be due to me combining different drum pattterns, and so getting a polyrhythmic thing going, and I suppose jazz drumming is based on that idea. Also, I think space rock, prog and jazz all flow into one another - I like to introduce tension - that's why I'm never happy with ambient as there is a lack of tension in it - perhaps I need to chill out more!
subtle drums and adventurous layering
I am not a giant drum fan most of the time but these just fit - very human in the stutter in a good way It has a thing and that swing it appears.
I'm always trepedatious about putting drum sounds on; bottom line has to be, do the sounds add something to the track ... something worth adding
Somehow early Santana and Mahavishnu had a crazy love child while sober for a day.
Went straight from Hawkwind live at the BBC to this. It fits somehow!
t ... you are nailing my influences here
Another hugely enjoyable 10 minutes of reality displacement
That's a gorgeously angular sequence. .so cool
: that flowed out right on the Ibanez creating counter patterns over the shifting drums, ever trying to reach up and sink down like a powerful bird flying against a storm wind
love the way those drums increase the intensity
: Two drum tracks parting their ways and leaving behind the initial groove to make an unsettling undercurrent as the lava gnaws into the ice - lots of drum machine abuse here!
love the fizzing fuzz of lava and ice here...and I'm getting the alchemy that makes the sculptures
: That's the fuzz spot on the kaoss pad, treating one of the bass guitars. the main experiment here was to take guitar and bass tracks already laid down, and play them back through the Kaoss pad, manipulating that - I did four different Kaoss treatments of each track, and then pared them all down. The Kaoss pad is very random and allows that alchemical aspect you spoke of. Sculpting it all is just as much fun - if not more so - than playing the lines in the first place - that is the area of experimentation, pretty much, although the original lines are all free improvisation on guitar and bass.
Had me at the dancing chicken there!
I don't know which guitar layer to comment on first.. but the creamy fast lines of the main voice sound beautiful and strange
this is my Ibanez - a modest model compared to your own, and bought only out of curiosity. And yet I was amazed at the "creamy" sound, as you put it. Being always a Strat man [or variations thereof] I was completely naive when it came to, shall we say, the Gibsonesque. I hadn't realised how the combination of a short scale, low string tension, humbuckers and stop tailpiece, can contribute to the woman tone I'd always had in my head, but never quite got out of Fender style guitars. I think I first used it on Let's Move to the Sky, and then on Demons Dug Out. I aim to make lines which are experimental, but not necessarily ugly [unless I want ugly], so that paid off here
: Then there's the ugly stepchildren of the Fenders, the Mustangs and Jaguars and short scales that create a confusing "what am I anyway?", especially with the extra-long string behind the bridge for resonance of the Jaguar in particular!
: yeah, I need to try out a Mustang ... ever since I heard that McLaughlin used one on most of the Miles stuff - In a Silent Way, Bitches Brew and Jack Johnson in particular. Then I might graduate to Jaguars but I can't even picture that ... essentially a short scale Fender or Squier - I'd prefer a Squier for cost .. thanks for opening up all these incredible vistas
I can get the basic sound out of either interchangeably, with the exception being the Mustang harmonic fretting on the neck pickup and the phase switch, and the Jaguar does the strangle switch and has a working vibrato. The Mustang....let us just say Leo was not on the day he designed it.
: you mean the so called 'dynamic vibrato' on the Mustang? Was Leo trying to compete with the LP Juniors, Melody Makers etc.
: Yea, he was trying to but keep the cost down or something (pre-CNC routing, since the Mustang is top-mount and takes little to install and the rout doesn't have to be clean). The arm is held in by a prayer and an allen screw, and is the easiest screw on earth to lose. I don't even hook mine up 99.99% of the time, just manually push or pull the lipstick tube if I want the effect!
nice lines, very
: The Ibanez again - the lines just flow out of it, and it records very well - it keeps the woman tone bloom of all its notes even when it is in the company of a lot of other sounds which tend to leech out the timbre of other guitars. It's almost the sound I heard in my dreams, but couldn't get until now. Other guitars can approximate it, but not easily. The other guitar with the trem sounds was a pretty sunburst Squier Strat. I had the trem set up to float, so there's some nice quivering sounds there. On my other faux Strat I have the trem flat to the body for down ward only - that gets a completely different sound. So much hinges on the slightest of alterations in these things - I don't need to tell you that with your modded Tele.
i don't know why i would say this was your best yet. makes no sense. but i was into it at that level. what a fine, fine collection of guitar generated sounds that don't sound that way. please tell me there were no synths (or not many)
- on the last one I said I was moving away from the guitaristic - no way! I suppose I really wanted to widen the guitaristic with this one. The trick here was taking a load of guitar tracks and playing them one by one through a Kaoss pad - which is a kind of primitive synth that Furtkamp has also used. So every single sound is generated by guitars or bass, but they are all [apart from the lead guitars] put through the Kaoss pad. That is prominent at 04:31 where you remark. There are quite a few tracks of that which are mixed further down in other places. This was the basic idea of the piece. I began with an improvisation of three guitars and bass, I then put each track through the Kaoss four times each. Then I sculpted the results, added drums and lead guitars. A lot of sound on there.
what a sound palette!
: This section has the guitar synths coming to the fore, with random accents and a lot of depth
hey cats and kittens, we're in the club for a moment
: There's something very incongruous about that beat, and yet it fits - it has a built in glitch too - the combination of the beat and sounds creates a strange world that cannot last
very horn-like - that is my Ibanez - it just has that sweet horn-like sound - it gets that easily in a way that none of my other guitars can. It's a combination of things, of course, not just pick ups etc. and I'm playing legato on it, whereas I'm picking every note on the interlinear passage that bubble up in between. I had listened to Last Exit's 'Iron Path', as it had been recommended by Furtkamp. I understood what the bass and guitar were doing on that, but Brotzman's horn was something else. And I thought subliminally, how would I get that sort of sound? I haven't got there, but it gives you something to aim for - how to get the tone and texture of an overblown sax?
getting very icy here
t: there's a point where ice gets so cold that it burns ...
