Music

catechism

A composition that at its very core is a simple finger picked classical guitar piece that should be able to hold its own without accompaniment. Thus, apart from minor forays into breakbeat rhythms and atmospheric drones, most additional instrumentation is sparse....

A composition that at its very core is a simple finger picked classical guitar piece that should be able to hold its own without accompaniment.

Thus, apart from minor forays into breakbeat rhythms and atmospheric drones, most additional instrumentation is sparse.

barren

The track revolves around a 9/8 rhythm and is based around the Hungarian Minor scale, though deriving t's modes it provides a more Arabian than gypsy flavour. The lo-fi output of the Ploytec PL-2 synthesizer provides a jagged texture in the bass line that revolves around more crisp ambient sounds, derived from several recorded guitar "accidents". ...

The track revolves around a 9/8 rhythm and is based around the Hungarian Minor scale, though deriving t's modes it provides a more Arabian than gypsy flavour.

The lo-fi output of the Ploytec PL-2 synthesizer provides a jagged texture in the bass line that revolves around more crisp ambient sounds, derived from several recorded guitar "accidents".

The result should sketch a brooding feel of ruin and abandonment in a desert. 

point-blank

Morse code-style percussive sounds provide the rhythmic backdrop for a hyperactive arpeggio repeated on both bass guitar and bass synthesizers....

Morse code-style percussive sounds provide the rhythmic backdrop for a hyperactive arpeggio repeated on both bass guitar and bass synthesizers.

Bygones (ft. Daniƫlle Kuijten)

A pop-oriented track for the Type 3 Civilization-project. Whereas previous "Type 3"-tracks feature vocoded vocals in an electronic disco style, this track features an organic vocal sound, courtesy of Daniëlle Kuijten. The tracks sound is stil very much retro-tinged and harks back to a seventies feel, think California, 16 mm film and quaaludes...

A pop-oriented track for the Type 3 Civilization-project. Whereas previous "Type 3"-tracks feature vocoded vocals in an electronic disco style, this track features an organic vocal sound, courtesy of Daniëlle Kuijten.

The tracks sound is stil very much retro-tinged and harks back to a seventies feel, think California, 16 mm film and quaaludes.

crestfallen

A short waltz piece inspired by the minimalistic compositions of Erik Satie. The sparse, single instrumentation of his pieces has been abandoned in favour of complementary electronic sounds. The main motif is alternately played by piano, classical guitar and a khim (zither / dulcimer-like eastern instrument)....

A short waltz piece inspired by the minimalistic compositions of Erik Satie. The sparse, single instrumentation of his pieces has been abandoned in favour of complementary electronic sounds.

The main motif is alternately played by piano, classical guitar and a khim (zither / dulcimer-like eastern instrument).

This Paradox of Mine (ft. Pelle Kuipers)

A collaboration with Pelle Kuipers for his Sketchy Songs on Saturday-project. For Sketchy Songs Pelle collaborates with a different musician each week. The style / genre can thus be completely different from a previous song. Apart from writing and recording the music, Sketchy Songs also provides a platform for video / graphical art as e...

A collaboration with Pelle Kuipers for his Sketchy Songs on Saturday-project.

For Sketchy Songs Pelle collaborates with a different musician each week. The style / genre can thus be completely different from a previous song.

Apart from writing and recording the music, Sketchy Songs also provides a platform for video / graphical art as each song will be accompanied by a video.

For This Paradox of Mine most writing duties and singing came from Pelle, with production and background layers provided by myself. The video comes courtesy of Pelle, Amber Vermue and Lisa Raisa Ferrari.

scutterblotch

Revolving around a percussive pattern and bass riff created by the Ploytec PL2 synthesizer, this track is an exercise in early 90's computer sounds, modular synthesis and stuttering beats in an overall sci-fi feel. Part of the experiment was to have a dark, murky palette while maintaining separation between all the actors. Aural weaponry evident ...

Revolving around a percussive pattern and bass riff created by the Ploytec PL2 synthesizer, this track is an exercise in early 90's computer sounds, modular synthesis and stuttering beats in an overall sci-fi feel.

Part of the experiment was to have a dark, murky palette while maintaining separation between all the actors.

Aural weaponry evident on this recording :

Ploytec Pi Lambda Squared (PL2) synthesizer.

squelch (Tasty Chips Piggy demo)

This composition acts as a demo showcasing all the possibilities of a particular instrument. Apart from the percussion all sounds evident on this recording stem from a Piggy, an Arduino-driven monophonic synthesizer developed by Pieter van der Meer of Tasty Chips Electronics. Apart from occasional use of overdrive and delay, all sounds were ...

This composition acts as a demo showcasing all the possibilities of a particular instrument.

Apart from the percussion all sounds evident on this recording stem from a Piggy, an Arduino-driven monophonic synthesizer developed by Pieter van der Meer of Tasty Chips Electronics.

Apart from occasional use of overdrive and delay, all sounds were recorded dry, showcasing the sound of a Piggy as it is delivered from its output. This highlights the dynamic range of the synthesizers ADSR envelopes, FM modulation and resonant filter,

There are a total of eleven Piggy tracks, of which four are harmonizing with eachother either creating chords or multi-voice melodies.

intermission #3 - vexed

A short workout featuring the jagged, lo-fi sound of the Ploytec PL2 (Pi Lamba Squared) synthesizer almost exclusively. The PL2 is a "lo-fi" synthesizer in that it features extensive sound shaping options creating heavily aliased square waves, basically degrading a signal beyond acceptable levels of fidelity. For additional interest, a meter of 5...

A short workout featuring the jagged, lo-fi sound of the Ploytec PL2 (Pi Lamba Squared) synthesizer almost exclusively.

The PL2 is a "lo-fi" synthesizer in that it features extensive sound shaping options creating heavily aliased square waves, basically degrading a signal beyond acceptable levels of fidelity.

For additional interest, a meter of 5/8 has been employed along with an algorhitmic composition using diminished scales. This composition has been generated using my Molecular Music Generator-program which was based on an algorhitm by Duncan Lockerby.

This track also functions as the soundtrack / auditive pulse for the short film "Erasure - the right to be forgotten".

intermission #2 - complaint

The results of using a mathematical algorithm for composition, using the time signature of 9/8 and the Middle Eastern Nikriz scale (in A) as the conditions.The algorhitm determines which notes are selected, their duration and their offset relative to eachother. These motifs then weave in and out of sync with eachother, occassionally overlapping, a...

The results of using a mathematical algorithm for composition, using the time signature of 9/8 and the Middle Eastern Nikriz scale (in A) as the conditions.

The algorhitm determines which notes are selected, their duration and their offset relative to eachother.

These motifs then weave in and out of sync with eachother, occassionally overlapping, at other times syncopating angularly.

The motifs were spread over bass, piano and vocal sounds for a wider palette.

Those interested in working with the algorithm (by Duncan Lockerby) can try the open source generator written by yours truly : Molecular Music Generator.

knock.turn

A portrait depicting the nighttime, or more precisely its potential for both serenity and intense paranoia. Instruments of interest evident on this recording: The main pad-like motif as well as the muted trumpet-like screeched come courtesy of a processed Piggy synthesizer (by Tasty Chips Electronics), which has a very tweakable envelope section....

A portrait depicting the nighttime, or more precisely its potential for both serenity and intense paranoia.

Instruments of interest evident on this recording:

The main pad-like motif as well as the muted trumpet-like screeched come courtesy of a processed Piggy synthesizer (by Tasty Chips Electronics), which has a very tweakable envelope section.

Most of the rhythmic and melodic motif come from the Piggy, with a few guitar overdubs and an electronic percussion during the middle climax.

Zgor (ft. Pelle Kuipers)

A collaboration with Pelle Kuipers for his Sketchy Songs on Saturday-project. For Sketchy Songs Pelle collaborates with a different musician each week. The style / genre can thus be completely different from a previous song. Apart from writing and recording the music, Sketchy Songs also provides a platform for video / gra...

A collaboration with Pelle Kuipers for his Sketchy Songs on Saturday-project.

For Sketchy Songs Pelle collaborates with a different musician each week. The style / genre can thus be completely different from a previous song.

Apart from writing and recording the music, Sketchy Songs also provides a platform for video / graphical art as each song will be accompanied by a video.

For Zgor writing duties came from both Pelle and myself, where most of the synthesis comes from an Elektron SID Station, a MIDI-driven facility built around the Commodore 64's SID chip.

The overall tune is an ode to 80's game music, rippling arpeggios (carefully timed!) everywhere in a "hero'-theme.

The video comes courtesy of Pelle.

octagrammaton

A short workout using lo-fi waveforms, lending the track a chiptune feel. Apart from gliding low sine sounds, the minimal track count features either heavily distorted or fully square wave signals for blending the fine line between an industrial dirge and a chiptrack (though no actual video consoles were actually used during creation)....

A short workout using lo-fi waveforms, lending the track a chiptune feel.

Apart from gliding low sine sounds, the minimal track count features either heavily distorted or fully square wave signals for blending the fine line between an industrial dirge and a chiptrack (though no actual video consoles were actually used during creation).

TMA-3

"After an absence of four Earth-decennia the civilization has returned to spread the positive message of uplifting music, using instruments of Earthly manufacture." Extend your receptacles on the dancefloor....

"After an absence of four Earth-decennia the civilization has returned to spread the positive message of uplifting music, using instruments of Earthly manufacture."

Extend your receptacles on the dancefloor.

byzantone

Having been without the sonic nor lyrical inspiration to finish the two "proper songs" that are in the in the pipeline, "Byzantone" came about after deciding to spend a day off with the assignment to "create a short groove in 7/8-time using the Byzantine (double harmonic major)-scale and its derived chords". The track is the result of imposing two...

Having been without the sonic nor lyrical inspiration to finish the two "proper songs" that are in the in the pipeline, "Byzantone" came about after deciding to spend a day off with the assignment to "create a short groove in 7/8-time using the Byzantine (double harmonic major)-scale and its derived chords".

The track is the result of imposing two requirements prior to writing the composition : it must be in an odd meter and feature a non-Western scale/mode. Apart from meeting these prerequisites, the track had to be completed in a "see how for you can get within a few available hours"-time constraint to keep spontaneity.

ganja jess

An upbeat jam between a Commodore 64 and a single, clean electric guitar, backed by electronic percussions. The Commodore 64 caters for the bass line, lead lines, noise synthesis and arpeggiated chord stabs. The tune itself clocks in at under 2 minutes, just along enough to showcase how cold, low fidelity computer sounds can blend in with a danceab...

An upbeat jam between a Commodore 64 and a single, clean electric guitar, backed by electronic percussions. The Commodore 64 caters for the bass line, lead lines, noise synthesis and arpeggiated chord stabs.

The tune itself clocks in at under 2 minutes, just along enough to showcase how cold, low fidelity computer sounds can blend in with a danceable rhythm.

warganism

A tearing bass motif in subtly drifting time signatures, pumelled to death by low, violent kick drums. "Stream of consciousness"-style mumblings float on top resulting in what one could label morbid disco. Probably what Portrait of an American Family would've sounded like if it were performed by ohGr....

A tearing bass motif in subtly drifting time signatures, pumelled to death by low, violent kick drums. "Stream of consciousness"-style mumblings float on top resulting in what one could label morbid disco. Probably what Portrait of an American Family would've sounded like if it were performed by ohGr.

browbeat

An ever-repeating vocal breaks the repetition of its mantra-like motif by subtly dancing around the pushing electric guitar- and percussive-motifs playing in an odd (and shifting) meter. Soundtrack to a retribution....

An ever-repeating vocal breaks the repetition of its mantra-like motif by subtly dancing around the pushing electric guitar- and percussive-motifs playing in an odd (and shifting) meter.

Soundtrack to a retribution.

the sentry

A blend of metallic industrial percussion, jagged beats, a hefty dose of pulse-width modulation and ethnic instruments. The narrative of this track shouldn't be unknown to those familiar with the horror that is Geoff Crammonds "the Sentinel" : opening with an ominous drone outlining the tension one feels when desperately trying to remain discreet,...

A blend of metallic industrial percussion, jagged beats, a hefty dose of pulse-width modulation and ethnic instruments.

The narrative of this track shouldn't be unknown to those familiar with the horror that is Geoff Crammonds "the Sentinel" : opening with an ominous drone outlining the tension one feels when desperately trying to remain discreet, this suspense lasts for a few measures only until it is interrupted by an air raid siren setting the pace to ramming speed as the protagonist is found in the shadows.

The middle section outlines the inevitable clash which leads back to a more positive portrait of the initial conflict theme...

...but was the actual outcome indeed positive ?

whirr

A quick sketch in the "acoustic-slide-guitar-recorded-in-the-kitchen"-vein. To break with potential roots-music connotations the MS-20 style filter on the KORG Monotron features heftily for all things bass and rhythmic. The third and last instrument used is a MIDI controlled guzheng for its eastern twang....

A quick sketch in the "acoustic-slide-guitar-recorded-in-the-kitchen"-vein. To break with potential roots-music connotations the MS-20 style filter on the KORG Monotron features heftily for all things bass and rhythmic. The third and last instrument used is a MIDI controlled guzheng for its eastern twang.

UT2600 soundtrack

When asked by Megga to supply the tunes for the 2013 remake of Unreal Tournament, I jumped upon the chance just to realize the wonderfully square waveform pictured above, which stems from the output of... an (emulated) Atari 2600's 2-channel audio as "UT2600" is not so much a remake, but a complete "port" to the Atari 2600 ! As opposed to the luxu...

When asked by Megga to supply the tunes for the 2013 remake of Unreal Tournament, I jumped upon the chance just to realize the wonderfully square waveform pictured above, which stems from the output of... an (emulated) Atari 2600's 2-channel audio as "UT2600" is not so much a remake, but a complete "port" to the Atari 2600 !

As opposed to the luxury offered by the retro computer / audio weapon that is the Commodore 64, the Atari's TIA-generated audio could only generate sound frequencies by dividing a 30 kHz base by 5-bit values, resulting in "notes" in varying degrees of tuning (up to 44 cents sharp or flat from a perfect pitch!)

As such, compositions have to be carefully crafted around a scale or harmonic base which offers the least amount of harmonic flaws when rendered by the Atari's oscillators.

Programmed / composed in assembly language, but aided greatly by using Paul Slocum's sequencer, leveraging the annoying aspect!

Each theme is loopable for an in-game context, all individual tracks are separated by a small two second silence so you can locate and skip to them easily.

contorted

Probably the result of what the nutcracker's suite would sound like if it was written by Lewis Carroll. Largest part of the recording consists of toy instruments (1.5 octave piano, flute and assorted wooden trinkets for percussive effect) doused in a bath of goth, deep saw bass and dubby rhythms. Original recordings stem from 2009....

Probably the result of what the nutcracker's suite would sound like if it was written by Lewis Carroll. Largest part of the recording consists of toy instruments (1.5 octave piano, flute and assorted wooden trinkets for percussive effect) doused in a bath of goth, deep saw bass and dubby rhythms.

Original recordings stem from 2009.

foulmouth

After originating as an exercise in rippling classical guitar arpeggios, the final result is far removed from the original mellow vibe. Keeping the dark harmonic minor tonality, but ditching the acoustic guitar of the demo, the compositions arpeggiated melodies have been synthesized by an Atari 2600, limiting the polyphony to only two channels.Bein...

After originating as an exercise in rippling classical guitar arpeggios, the final result is far removed from the original mellow vibe. Keeping the dark harmonic minor tonality, but ditching the acoustic guitar of the demo, the compositions arpeggiated melodies have been synthesized by an Atari 2600, limiting the polyphony to only two channels.

Being an outtake for an Atari-related project where the track didn't fit the context, a different approach was taken where the Atari sounds act as part of a larger palette.

Added to the lo-fi paranoia are the glitchy beats, both holding back and pushing the rhythm by shifting their accents in the otherwise conventional 4/4 meter. Droning guitars rumble over the square wave assault.

The Atari 2600 parts have been programmed using Paul Slocum's sequencer kit and excellent programming guide.

SID Barrett

The name being a pun on the late English psychedelic songsmith, of course.A short "Hero vs. Villain"-theme executed in the chiptune realm with all sounds (bar the sequenced kick drums) stemming from the 80's videogame era with heavy pulse width modulation and arpeggiated chords.Aural weaponry of interest evident on this recording: All sounds (bar ...

The name being a pun on the late English psychedelic songsmith, of course.

A short "Hero vs. Villain"-theme executed in the chiptune realm with all sounds (bar the sequenced kick drums) stemming from the 80's videogame era with heavy pulse width modulation and arpeggiated chords.

Aural weaponry of interest evident on this recording: All sounds (bar the kick drums) were created by an Elektron SID Station played via MIDI guitar. See the 8-bit guitar introduction on YouTube for more details and an in-depth look at both the sounds used on this recording and the conventions for working around the limitations of the Commodore 64.

jaunty

The piece is led solely by a single finger-picked classical guitar and minimal accompaniment, incorporating a rag-time rhythm lending a horse-falling-over flavour to the main theme. At the end the original demo - recorded on mobile phone in a less than hi-fi manner - makes an appearance as the low fidelity ambiance seemed to suit the piece, and th...

The piece is led solely by a single finger-picked classical guitar and minimal accompaniment, incorporating a rag-time rhythm lending a horse-falling-over flavour to the main theme.

At the end the original demo - recorded on mobile phone in a less than hi-fi manner - makes an appearance as the low fidelity ambiance seemed to suit the piece, and the composition remained unaltered.

bird of ill omen

Driven by a cavernous ambiance, you could describe the feel of the piece, at the very best, as "moody". The percussive opening repeats its motif endlessly, but with a time signature of 10/8 and its focus on fives, the accents appear to be floating more than they really are (to a western ear). Vocoded drones float in and out of the rhythm alon...

Driven by a cavernous ambiance, you could describe the feel of the piece, at the very best, as "moody". The percussive opening repeats its motif endlessly, but with a time signature of 10/8 and its focus on fives, the accents appear to be floating more than they really are (to a western ear).

Vocoded drones float in and out of the rhythm along with bell-like sounds and percussive water sounds to give the impression of an endless, floating ride in the darkness, to be perturbed by a heavy ride in the middle, courtesy of that-which-cannot-be-named.

monotron

The sources for the sounds used within this composition stem from the battery powered hand-held KORG Monotron synthesizer. While this device is notorious for its hiss and the small, tinny sound emanating from the internal speaker, the recorded line-output is in a whole other ballpark, especially in conjunction with the extreme, wide filter it creat...

The sources for the sounds used within this composition stem from the battery powered hand-held KORG Monotron synthesizer. While this device is notorious for its hiss and the small, tinny sound emanating from the internal speaker, the recorded line-output is in a whole other ballpark, especially in conjunction with the extreme, wide filter it creates useful source material that awaits further manipulation.

Syncopated beats and low bass motifs have been created from recorded filter sweeps and low oscillations. The higher oscillator speeds with low filter resonances helped sculpt the tearing sounds reminiscent of insects communicating (or plastic pipes rubbing their joints uncomfortably).

The only non-Monotron sources are evident in the guitar parts and the non-synthesized percussive parts which hark back to (nowadays) cheap 80's / 90's drummachines.

glass

Short piece originating on acoustic guitar, written and performed for the ivories.The piece is deliberately short, apart from a single appearance of a bridging section featuring a brief accompaniment on electric guitar, the piano theme is a repeating motif, altered slightly every few bars or so.Aural weaponry of interest evident on this recording: ...

Short piece originating on acoustic guitar, written and performed for the ivories.

The piece is deliberately short, apart from a single appearance of a bridging section featuring a brief accompaniment on electric guitar, the piano theme is a repeating motif, altered slightly every few bars or so.

Aural weaponry of interest evident on this recording: the Bazantar software instrument by 8DIO provides both organic percussive sounds and breezy strings.

urubu

Created after a trip to Brazil, it might come as no surprise that the opening rhythmic element is in fact a berimbau.However, the world music-tag quickly loses its relevance there as the electronic manglings creep in with stuttering glitchy effect to add jagged, distorted edges to the rhythmic elements.Melodic content comes from clean bass guitar a...

Created after a trip to Brazil, it might come as no surprise that the opening rhythmic element is in fact a berimbau.

However, the world music-tag quickly loses its relevance there as the electronic manglings creep in with stuttering glitchy effect to add jagged, distorted edges to the rhythmic elements.

Melodic content comes from clean bass guitar and electric piano motifs. Extreme low bass frequencies emphasize the monstrous scraping drag and tear of the middle part before entering the toned-down epilogue.

heliopolis

Arrives at your ears in three parts: An eastern-tinged opening, in which low flute-esque sounds pair up with percussive glass sounds and wooden hits. This slowly leads into the drumbreak section where filtered slap bass coupled with effected guitars and washes of synthesizer pick up the pace frenetically. This part moves steadily towards its end w...

Arrives at your ears in three parts:

An eastern-tinged opening, in which low flute-esque sounds pair up with percussive glass sounds and wooden hits. This slowly leads into the drumbreak section where filtered slap bass coupled with effected guitars and washes of synthesizer pick up the pace frenetically. This part moves steadily towards its end where it breaks down into a piece that is best described as "stoner dub", where off-beat hits complement the percussive sounds of the piece's opening, accompanied by abstract noises for a downbeat outro.

ganymede

Kindly remixed by Mike Senior for the December 2011 issue of Sound on Sound magazine. Multi-part composition: starts off with a wall reminiscent of being inside a ballistic object breaking through the clouds while being met with chants during it's descent ( it happens, you know ).The main part ( "ascension" ) features low string-esque pads paintin...

Kindly remixed by Mike Senior for the December 2011 issue of Sound on Sound magazine.

Multi-part composition: starts off with a wall reminiscent of being inside a ballistic object breaking through the clouds while being met with chants during it's descent ( it happens, you know ).

The main part ( "ascension" ) features low string-esque pads painting a moody melody, paired with "spaceship engine" sounds propelling the cosmonauts forward into a crunchy guitar chord crash ( playing Rachmaninov-style inversions of minor chords ) predicting catastrophe. After a repetition of these parts it descends into a demented dance that sounds like a drooling monster tongue tripping over itself.


Aural weaponry of interest that is evident on this recording: a velocity-layer sampled toy piano which was bought off eBay ( the piano that is, the sampling still had to be undertaken ), that appears in the second occurance of the main theme, along with a SH-101 synthesizer which, after having it on loan for months, ends up being used just to go 'bip-bip-bip'...

flagiolettes

"...after entering the dark tunnel of the pyramid, the archeologist was met with..."Bell-like harmonics play a minimal, understated theme aided by a large decaying reverb filling out the field. Tension slowly builds with the introduction of new instruments playing mostly staccato parts in a call-and-answer approach until the pieces climax is reache...

"...after entering the dark tunnel of the pyramid, the archeologist was met with..."

Bell-like harmonics play a minimal, understated theme aided by a large decaying reverb filling out the field. Tension slowly builds with the introduction of new instruments playing mostly staccato parts in a call-and-answer approach until the pieces climax is reached, after which the tension is suddenly released.

fisher price deathmachine pt. II

One of the louder tracks on display. Loud drum snares and distorted guitars make for a very violent mix, led by a chugging groove backed by industrial washes which is probably reminiscent of what would happen if there were a transitional album between Antichrist Superstar and Mechanical Animals, if that was written by KMFDM. Abstract breathing sou...

One of the louder tracks on display. Loud drum snares and distorted guitars make for a very violent mix, led by a chugging groove backed by industrial washes which is probably reminiscent of what would happen if there were a transitional album between Antichrist Superstar and Mechanical Animals, if that was written by KMFDM.

Abstract breathing sounds set a industrial atmosphere over the rigid four-to-the-floor kick and hi-hat patterns.

For additional interest, syncopated snares sounds and open hi-hats float around the main percussive rhythms just before the distorted sounds give way a cleaner epilogue.

smoghorn

An abstract "visual" piece as opposed to anything resembling a 'tune'. The earth crust is slowly tearing and shifting, as demonstrated in a lament of moaning tectonic plates dragging over eachother. Extreme static noises give way to clean FM synthesizers spelling out chord fragments for added eerie-ness and round, squelchy basses acting as the pro...

An abstract "visual" piece as opposed to anything resembling a 'tune'.

The earth crust is slowly tearing and shifting, as demonstrated in a lament of moaning tectonic plates dragging over eachother. Extreme static noises give way to clean FM synthesizers spelling out chord fragments for added eerie-ness and round, squelchy basses acting as the propellant in this sluggish contest.

Aural weaponry of interest that is evident on this recording: The Yamaha TX-802 II FM synthesizer is responsible for percussion, bass and more abstract pad sounds.

crab rice pancake

Short excerpt of a summery vibe, created as a study in getting a danceable groove going in both unconventional and fluctuating time signatures (7/4 for the verse theme, 12/8 for the chorus).A wide stereo image is introduced by a phased electric piano starting off the song in a loungey manner, before the thin, clicking percussion kicks in forcing th...

Short excerpt of a summery vibe, created as a study in getting a danceable groove going in both unconventional and fluctuating time signatures (7/4 for the verse theme, 12/8 for the chorus).

A wide stereo image is introduced by a phased electric piano starting off the song in a loungey manner, before the thin, clicking percussion kicks in forcing the girls to shake their hips.

Further danceable additions come from a bass guitar played through an envelope follower for quirky vowel-like sounds added to the lower mids of the spectrum. Muddy electric lead guitars sit in between the latin-esque acoustic guitars for filling out the remainder of the field with melodic lines.

The initial recordings for this song originate from 2007 and span the first minute until the second verse starts. Five years later on, the original recordings where used to "comp" the remainder by re-assembling the original material whether in audio or MIDI form. Kind of like making music using samples. Only that you sampled yourself.

The coda concludes the piece with a final shift in the time signature by resolving to a straight 4/4 motif.

drum n nova

A reworking of an 2006 original which was a hyperactive drum and bass-esque affair. Having replaced the originals lo-fi synth chords with classical guitar playing, the song presented itself for a more flamenco-esque ambiance. The tempo has been slowed down considerably (from the original), leaving plenty of space for claps and percussive smacks on...

A reworking of an 2006 original which was a hyperactive drum and bass-esque affair. Having replaced the originals lo-fi synth chords with classical guitar playing, the song presented itself for a more flamenco-esque ambiance.

The tempo has been slowed down considerably (from the original), leaving plenty of space for claps and percussive smacks on the guitar body, though some electronic sounds do creep in occassionally. The multiple acoustic guitar assault is aided by fretless bass guitar playing an additional melodic role, rather than underpinning the fundamental frequencies.

Further organic feel is added by addition of the cuíca, a Brazilian percussive instrument known for its characteristic howl. Just slap on the "world music"-tag already...

dubterranean

The project files suggest creation in 2008 after which it was decided to discard the track. Having rediscovered the recordings, it reminds of a more focused and inspired period. The beat is actually yours truly "phlegm-beatboxing" just to coin a term. The overall feel should be similar to entrapment in a cold cave, with stalactites spitefully dripp...

The project files suggest creation in 2008 after which it was decided to discard the track. Having rediscovered the recordings, it reminds of a more focused and inspired period. The beat is actually yours truly "phlegm-beatboxing" just to coin a term. The overall feel should be similar to entrapment in a cold cave, with stalactites spitefully dripping fluids overhead.

Aural weaponry of interest that is evident on this recording: The Electro-Harmonix Frequency Analyzer gets a nice workout acting as the ring modulator on several instruments. Large parts of the percussion are recordings of "phlegmy" mouth sounds.