#42

Thanks, nice review, you are right: the “reduction in the middle” is an idea I had in mind, to break the constant ambient-like build, but decided to keep it plane and simple in terms of structure and keep providing development in terms of texture instead of formal “parts”.
But I’ll feel more comfortable braking the crescendo in the middle and resuming later.
The Frippertronic texture is a long 4 part e-bow quartet (drone) that I used a bit here and there, but my initial intention was to break the build in the middle and bring the solo and quartet ebow instead, as a bridge.
I’ms till thinking about this. Your comment is gold.

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#43

The instruments are Abelton packs of strings (orchestral strings pack violin and cello) and bass (from guitar and bass pack).

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#44

On first listen we could have sworn we were listening to a lost Tuxedomoon track, perhaps something from the late-1980’s You period. A lovely, minimal melody played with sensitivity and restraint. Those little bongs in the background make a nice contrast from the trumpet. Almost thinking that the space surrounding the notes could be extended, letting the trumpet fend for itself a bit. A piece like this should breathe – perhaps it’s a matter of less, not more. Wonderful.

#45

Really enjoying this, also thanks so much for sharing. Sometimes (for me) hard to connect with the humanness of everyone on here (and everywhere). I’m glad for your joy (ok even if it’s a bit dark … but seems more joy).

#47

Here’s my effort - a track that had laid dormant for some months until I decided to dust it off and try replace some synth sounds with some from Propellerheads Europa synth. It’s a lovely, bright, shiny object now

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#49

Really interesting. There’s almost a Mediterranean quality in the melody, perhaps it’s those stringy mandolin-type sounds in the lead synth. There’s also a bit of Gothic overtones. Kind of feels like it needs something around 2:42, although the piano that arrives just afterward has real possibility. What if the piano simply lived by itself, before letting the remaining parts build in for the climax? That piano line is too good to bury in the mix. A touch of reverb and a hint of chorus will fatten that up a bit. Also, really love the pap-pap drum sound you achieved. That could be a track all by itself.

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#50

thanks for the kind words. I’ll tinker around with your suggestions :smiley:

#51

Also (just thought of this) check out Glyph by Hector Zazou and Harold Budd. There’s a track called “The Aperture” that comes to mind, sort of the same vibe as what you have going on. Listen to how they isolate the piano at various points in the track – that might be something to explore.

#52

I’ve just become acquainted with the work of Harold Budd. I’ll gleefully follow your advice

#53

Ok … I think this piece is very beautiful. I actually listened to it many times, a lot more that 9 minutes. I think it’s good as it is, and if you try to make it ambient … it will make it worse. One thing that stuck out is the 8bar(?) change part, I think it works well at say 6:00 (around) but I think it’s a bit overkill before that. It seems to me it is implied every 4 bars, but actually at the longer (8bar?) intervals it might be better to switch it up sometimes. (ok sorry 磕頭)

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#54

I’ve sat on this for 3 years. Its like the pieces are there but its lacking in composition. I was coming from a Mark Stewart/Tackhead angle, but don’t break it up into as many pieces, nor employ as much content, as they would. At minimum I think it needs a second set of percussion loops to break it up some.

A few samples involved: 1) a religious nut who ranted up and down the street I walked down for work; 2) known Dominionist Michele Bachmann, who has since faded from the public eye, from TV spots on archive.org; 3) a street drummer and some percussionists one day in front of Old Navy; 4) modified electric guitar opening from a live Kiss song at the beginning. Guitar and bass scratch tracks throughout.

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#55

Hey, Thanks Don, I don’t think I get what you say, but it made me listen to the chord structure again and have some issues with that 8 bar thing.
It is actually a 4 bar progression, but every 8 bars I replace the normal 4th bar chord with a “weird chord” in a melodic arpeggio…
What you mean is that you’ll prefer the normal 4 bar loop and the “weird chord” popping up every now and then and not making it into every 8 bar loop?
If that’s what you mean I really might go that direction, if that’s not what you mean you gave a (perhaps good) idea anyway! Thanks.

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#56

Nice one, the drone, with field noise and all is gorgeous. Personally I think that the bell’s delay it’s annoying and ends up making sense when the pizz (with similar delay ) enter.
I’ll like to have the more spare bells with the drone (and perhaps a huge 15sec reverb on it) and no delay, and bring both delay and pizz at the same time (@2:30), to have more contrast between section 1 (pure drone) and 2 (rhythmic).
But I found it very enjoyable as it is.

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#58

Thanks for this interesting input and the musical hint on O.rang. I will definitively give the atonal exit strategy a try!

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#59

Thanks for your critical input. Since months I’m really in love with multiple delay on delays … but maybe it’s time to end this relationship … :wink:

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#61

Man, I can relate to that, took me years to tame my infatuation with treated rhythmic delays, I was using it all over the place. Made full albums with that trick. Still love it.
But back in 2010 a publisher contacted me to work with them thanks to that, had many producer’s calls to make delay drenched music, but eventually the same publisher politely asked me to stop (a little bit at least) and move forward.
In the end it’s about avoiding any trick to be too obvious and predictable and keep it as a surprise thing.
The delays in your track really work, it is very nicely done.

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#62

I’m happy to be not the only addict …

#63

Atonal Exit Strategy is a band name waiting to happen. :grin:

#64

The first minute is glorious, especially when the bass kicks in at 0:58. It resembles some of what The Pop Group, Rip Rig + Panic, Flowers of Romance-era PiL, etc. were creating in the very early 1980’s. Maybe it’s the angry sampled voices being applied to rough, rhythmic structures. It’s an exhilarating listen. Feels as if something should happen between 2:10 and 2:25 – maybe bring the drums further into the mix, like what happens at 2:32, crunch up the midrange EQ, and just let them hammer away for a few bars with no voices. The guitar phrasing at the end is nice, perhaps consider making it a rougher, more abrasive sound – think Keith Levene’s work on PiL’s “Careering” or Andy Gill on Gang of Four’s “To Hell with Poverty.” Playing with a metal pick is fun :slight_smile:

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#65

We could start with naming a track …:crazy_face:

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