This piece began as a collaboration with Wou Wou and the Wormling, using the loop samples of their Open Collab Loop Pack 01
It kind of grew and grew with me putting a whole array of guitars, basses and synths on there until those original loops got rather buried – but they remain as part of the piece’s gestation.
Superbly orchestrated warped out there...
- as I said on another track, the method is: 1) jazz it 2) warp it
So tight!
- the 'fusion' is almost total there!
Brilliant instrumentation!
- the instruments at this level of combustion seems to 'fuse' - a different kind of fusion - like molten metals
Love the soundscape you are painting!
Hey this is absolutely brilliant dude,I feeling like i'm floating in space.......great work
The mellowing works here, as everything hits a stable orbit.
it's the cyclonic element where everything is pulling to that centre - in the bass here - as it does so it tears down everything in its path during the journey, but it always wants to rest in the centre, in the drone
Little vibrato, little feedback, and the spaceship has righted itself!
the feedback from the Ibanez jazz box
Glad to see you're making it roar properly!
The space sirens will carry us home!
Visions of the surface from "Logan's Run" for some reason.
' - yes, my retro synth has much in common with those selections - I must get more into the soundtrack stuff
Yea, it's the old soundtracks that taught me so much about electronic music ironically - they did the same for that approach like exploitation movies of the 60s did for beebop.
There is a contentment here somehow, a happy snake in the mist.
it oscillates between contentment and chaos
Hello, fake zither!
oh yeah... HIT IT!
: minor ax abuse in progress
Posted 6 months ago6 months ago
right cosmic soup!
: what it says on the soup tin!
pleasant sounds)
coming in for a landing, and it's the size of a planet
: two basses can make a Jupiter sized sound - didn't Ornette have two string bassists at one time?
Mr. Left Ear is skronking along just fine.
: that might the ebowed Ibanez 175 where I was trying to get a kind of wild sax approach, I kept thinking of Peter Brotzman; imagine getting that kind of sound and attack on a guitar
: I wasn't using ebow in the usual smooth way, I was trying to use it as if it were a sax mouthpiece and reed - blowing into, tonguing it, spitting into it, chewing it, biting it; that cobined with a lot of hollow body gain and dirt
that Wou-Wou can get you places!
Yeah, I used all the loops, sequencing them out to 12 minutes each on top of the drum tracks I already had. As I worked on it, the loops seemed to disappear. But when I muted them, some texture was lost, so I kept them in. The bass loop is quite prominent in places. But yes, here the loops were a great catalyst. I just the openness of Wou Wou's collabs - there's no conditions placed, or very few. And sounds are about free play ... play
this is sounding so very "live"
; the first things I had were those two drum tracks which I juxtaposed to get that sense of chaotic free jazz propulsion. I had no bass, just drums. I then recalled listening to Wou Wou's loop collection, and remembered liking the bass loop. So I reversed it, and then sequenced it variously. It worked, and then I added some bass of my own, and then a whole of guitars. On that section I wanted lapse and then filled it with another bass going through a retro synth sound - I just jammed it in. I rely on first takes as they're always better! That's why it has a live sound, too
completly cyclonic
: That word has come up a few times; it is apt as it is rooted in the word circle, cycle; existence is best thought of in terms of circularity. And the cyclone combines tremendous force and flux with a stillness; the centrifugal force is so great that cyclone hovers and plateaus. I find that with sound so often; you pour many kinetic and chromatic elements into the cauldron, and the soup settles and coagulates, scabs up. And yet that broth is like wicker man, or like Dr Strange's Eternity. Bless you for that word
Sun Ra walking
n: those three words are so great ...
approaching the eye of cyclone
: that is a key moment of destiny in the piece
the eye of storm, inmidst cosmic ice rock battles
: that incessant contrast between fluxion and staticity
when things forget about their order and extend ...
: "... to see things as they really are, infinite."
impressing cosmic happening, i like very much the moments in your music, when it's calming down, it's uplifting and hurting, great work!
You've touched upon a really important aspect - I want to create moments within the density where there are kind of clearings and sudden space - quantum shifts in focus which then get swallowed up again in the guitarophany.
: ... create moments within the density where there are kind of clearings and sudden space - quantum shifts in focus which then get swallowed up again ... yes, i've heard and felt that space amidst unbound forces, great how you let this feel
this is chatoic and lovely...
Reassuringly dense, exquisitely layered..sonic art..superlative poem too
I wrote the poem when searching for the title. I coined a neologism for the title from the poem. The poem was written listening to the track - I can't post if I'm not happy with the title [although there have been some naff titles]. But the sounds, the production, the title, the poem - are all part of it, as much as the playing.
Nice pick tickles across the strings
That's using rigid stainless steel picks, as is my wont. It's on the Tele copy, so everything is steel on steel on steel
: Metal makes you strong, as Manowar say :)
: It has to be metal on metal - If I came across an all aluminum guitar, like Travis Bean or something, I'd have to get it to take that theory to the nth degree - Also, I love Manowar and their campaign against false metal! Strange though, I have been using metal picks only for the last few years, but when I got that Ibanez jazz guitar I couldn't use metal picks on it. I mean, it has steel strings, so it should work, but the sound was all wrong. You have to start from mellow. So for that one I have to use plastic picks, very small hard ones. I also have some soft felt mandolin picks that I sometimes use on bass, although I prefer, like you, to use fingers on bass
I'm intrigued by the thought of felt picks..never seen them and I'll have to seek them out. Saw and met Manowar in the early 80s and again a few years ago...Eric Adams is, for me, the greatest rock vocalist ever..such an extreme range. I'm convinced I lost some of my hearing during his screaming vocal solo all those years ago!
Manowar really have their concept together - Total Metal. I came across felt picks in an old fashioned music shop - I just asked the guy to show me *all* his picks, and he gingerly brought the felts out last of all ... and I immediately thought: these would be great on bass for a smooth but precise sound. Later found out they were for mandolin. You need to buy quite a few as bass strings wear them out very quickly.
Nice line there and a throaty quiver to finish! :)
- that's my Deacon Strat copy - quite a few guitars on this; there's Ibanez jazz guitar played with ebow, there's the Squier Mustang played clean and then with fuzz probe, there's the Tokai Tele, and lastly the Epiphone Les Paul for a woman tone. Also, the Yamaha 5 string bass - two different tracks of that, one through the synth. Wou Wou's bass loop is there too but heavily changed.
A sterling array of noise machines!
Wild guitar gymnastics here on in
yes - like circus gymnasts on the high wire - one hands over the baton to the other in a circular fashion - and a few crash and burn without the safety net!
What an extraordinary whirlpool of sound..tumbling forwards into the cosmos
Quite a job to cut through the thickets and get them all to stand and sit when needed; such a choreography can only be had in space
lyrics
As the cosmos uncoupled its consciousness,
And Phenomena fizzled into forgetfulness,
So stars suffered amnesia,
Lurching slowly from their orbits,
And fading into deadly eviscerata.
Cosmic soup, returning, without limits,
Without limits ...
credits
from News Ears for New Music,
released October 29, 2017
Bill Boethius, guitars, bass, synth
Wou Wou & The Wormling, loops
Straddling the threshold between studio performance and digital technique; the NYC artist applies "fake jazz" principles to synthpop. Bandcamp New & Notable May 2, 2024
A collection of tracks from the singer and multi-disciplinary artist's 111 collaboration series, featuring KMRU, Laraaji, and others. Bandcamp New & Notable Apr 25, 2024
