An open collaboration with Hot Os based on his Soundcloud track ‘Bunch of Irreverence’:
wow that's mysterium and adventure!
mysterious impression
Love how the drum beat loosely hold the melting madness together...then eventually melts itself! I wish I could transmit the picture this paints in my mind to you.
- it was a departure, to see if I could do something with hip hop sounds - yeah, to hell with categories - that's why I called it space hop and cosmic hip -
Brutal trem action..yowls of execration
some of my favourite tones there - cheap lefty Strat copy - three springs on the trem - secret is the contact mic at the nut, picking up the strings catching on the nut - no graphite used!
Awesome fluorescence on those high notes
: P90s, slide and then adding some upper transient EQ - even so, it is easy to lose clarity on those things, so I can't fully explain how they stayed so luminous
Sonic truffles with every step..snuffling through the undergrowth and raising the eyes to see huge panoramas of lights and treasures
There was something of the city about it, hence the title, but there is also something of the country too, as you suggest. The city I imagine here marries the urban with the wilderness like a cyborg marries the organic with the mechanical - there are electronic beeps and robotic sequences alongside bird song and pig snuffles
great sound,,,,fantastic atmosphere,,,,,great work
: It was the atmos in Hot Os's stuff that struck me ... I then tried to add to it ... I didn't want to stifle it ..
oh, that one sounds alive, as it is being thrashed!
: really pleased with the timbre of that one. It is a cheap left handed Strat copy set up right handed to get the Jimi vibe. There is [you guessed it] a contact mic on the nut this time, as well as the normal single coil pick up sound which is put through a phaser. These two distinct sounds [the contact mic picking up the sound of the strings as they catch on the nut as I slam the whammy bar] are then both put through a a raw distortion pedal which kind of marries the two distinct sounds into a grungy gruel. The guitar is then played as brutally as possible - well it's only a £20 guitar! Sounds a million dollars here because there's distortion with depth and texture - like an impasto.
: i can feel the ridges where the knife passed
: a six blade knife ... you take away my mind like you take away the top of a tin ...
barely recognizable as guitars... the height of achievement.
: you put your finger on a slight change in direction on this one [or perhaps a return to previous directions]. Most recently I have been exploring characteristic guitar sounds. On this one I'm wanting uncharacteristic guitar sounds ... where there are sounds which just happened to have been generated by guitars. I've always thought that a guitar is just my sound generator of choice. To make guitar sounds which are not 'guitaristic', that is part of my aim - and why I am an anti-guitarist
: I go back and forth with this myself, sometimes favoring the plainly guitaristic, and at other times, using the guitar as an on ramp to sonic space. It is both a blessing and a curse that I have both the broken remnants of technique, and also the proverbial little bit of knowledge that is said to be dangerous, left over from a prior lifetime.
: Yeah - I began correcting myself after making that reply. Of course, 'unguitaristic' is a relative term and relies on being contrasted with the guitaristic. And so my pieces play on that contrast. prior to this piece, the guitaristic had been coming forward. So here is a switch in emphasis, but the guitaristic is never ditched completely [never?].
I like what you say about technique. I remember as a youth diligently ploughing through scales and arpeggios against the metronome and a wise teacher saying to me, "but Bill, what are you going to do with all this technique you are amassing"?
I care little for technique now and want only to hear painters, like Mr Furtkamp. But even more importantly, I want to hear the you of you. Technique can be a barrier to that. I enjoy the mistakes and fluffs in a solo more than the flash
such attention to textural detail.
: detail is my thing; but as say below, I have to pull back and look at the piece as a whole at times, and use bigger brush strokes. But in terms of poetics, I'm influenced by Keats who advised poets to "load every rift with ore"! Lots of orey rifts here - or hoary old riffs
amazing how you can have all these shards flying and no unfortunate collisions. that's air traffic control of a high order.
: there's an overall shape that guides them all - but there is also some editing after the fact - some collisions are taken out ... and good collisions left in; there are a few bird strikes here! This piece is of the air, and actually influenced by bird song. Thousands of birds sing at once, but it always fits together.
: great analogy.
Aliens need landing assistance. Please advise. Make the sign, audio transmission on!
Parts of this remind me of the Last Exit "Iron Path" album, which is never, ever a bad thing.
I like big filters, I cannot deny!
Love the atmospherics - chirps and chimes and glorious things bumping in the night.
: great - Hot Os's original track has a cinematic atmospheric quality - I added lots of guitars in a kind of stew - two ebow guitars, two slide guitars, three jazzy guitars, two synth guitars, two fuzz basses and a single strat copy whammy bar victim - all these were then given various perspectives, using spacing reverb etc
: Whatever it takes it make it work. Definitely stacks up well, good show!
lyrics
Secret cities
Everybody, and everything, has a double.
Everybody and everything has an inverse,
An opposite,
A counter.
This Earth has its doubles in the Cosmos,
So does this city,
And its anti-city.
This very life we live today is existing in its polar opposite ...
