#1

I wrote an exegesis of the project here. Everything important takes place in your mind.

One idea: try the track with shitty speakers, listen to your environment while the recorded sound grows and changes from a tiny feature in your real soundworld.

I’m trying to fuck with the input form for bandcamp to make people see the forest for the trees.

there’s sound

there’s words

ignore that it’s hosted on a platform and try to eat all of the bits whole if only to realize that you can’t quite, unless you try on how they feel inside of you.

this is one mushroom among other challenges

a music I have never attempted before, and had to get to the world as quickly as possible. It was conceived and released within 30 minutes.

what is it?

I’m gonna call it a this.

It sounds good with headphones, otherwise it’s a bit harder to feel the space. For the patient, this should tell the story of my life with words that ring but don’t mean.

For the wealthy, it’s the chance to give money to me to give to artists. Buy track 2, you’ll give Cassie 1000 dollars. She gave me my third finnegans wake tattoo. But this one hit different. They all did.

As I expected, she said NO. Give me HALF. I will give her all of it, and she will give away half. Or not. That’s not my business.

500 dollars?! What are you giving me 250 dollars for! 100 dollars? That’s so nice of you!

Wow I really needed that 20 bucks, buys friend lunch.

See?

Moreover, I cry over real pain! 26 years not knowing you’re trans is an encyclopedia of obscure sorrows and this feels like the overture. Something that took 12 minutes and a 100 dollar zoom recorder to make took 26 years of confusion to be possible. Ow!

5 Likes
#2

Ha, I like your $1000/track price! Not bad.

#3

see edits <3 I think this is maybe the first work I’ve made that feels like “cause” rather than “symptom.” I was really moved to action by Pauline Oliveros and Emmanuel Levinas.

Two big insights:
my voice is a very interesting synthesizer
Words are very interesting found sounds.

#4

Words are indeed great instruments! I’d recommend a synth bed underneath this, at least in the beginning. For me it isn’t very easy to follow, audibly, until around 1:45. I enter into the piece at 2:05 with the extra sounds (door opening) so that might be a better way to invite others ears into the work, as well.

Some technical feedback: Whispering is nice and moody, though compression will help the amplitude curve, whispering is sharp so if someone leans in to hear the softer parts their ears will get hurt when it sharpens up higher in sound, or with popping plosives. Perhaps play at a very low volume to find what isn’t audible? You recommend headphones, but it’s helpful to use the worst possible speakers and play at a barely audible level to see how most people approach anything they’re not familiar with. All said with encouragement, just technical observations.

Keep makin work!

2 Likes
#5

Thanks for the feedback I appreciate that! I plan on incorporating, well, actual feedback and some morphagene textures thru my fixed filter.

These recordings may be a bed for themselves– I think they would sound cool stacked on top of each other.

Kinda like how early jazz mans didnt care about the new fangled machine recording, it was about the notes, but as they explored more, they needed more boundary to push.

Going from all synth to nothing, starting with a whisper barely audible, feels like a fitting beginning to a stream of work.

The compression was of the life story into 12 minutes, feelings and all.

#6

Laughs, well let me say with the kindest intentions, then write it out as a book. If you want it to be audible, and record your vocals in the way that you’re very happily enjoying, compression is also the story of how someone can understand or hear what you’re saying.

Or don’t compress and record a lot more so your voice has the presence you’re intending with these descriptions. All’s well in a good process.

Maybe split both worlds and include lyrics?

#7

Well I did that lmao but it’s not a book so much as a spreadsheet.

#8

and not so much a words as a wandering rocks