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.

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.

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.

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.

varken

The result of looking suspicious carrying a stereo mic setup into a petting zoo, with a mind set out to record a sow roughly twice the size of an average human. Apart from piano (sequenced in the MikroWave app for Android) and a single 8-bit synth all sounds stem from the field recordings mentioned above. Drones and beats have been made by creatin...

The result of looking suspicious carrying a stereo mic setup into a petting zoo, with a mind set out to record a sow roughly twice the size of an average human.

Apart from piano (sequenced in the MikroWave app for Android) and a single 8-bit synth all sounds stem from the field recordings mentioned above. Drones and beats have been made by creating layers from all harvested sounds which were, apart from the aforementioned pig, ranging from creaking wood, wind, general conversation, the distant sound of a festival pounding in the backdrop to the horrendous song of children.

Apart from layering, individual grains of the audio recording have been stretched and processed to shape new sounds such as what can only be described as "monkey glossolalia".

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.

the gospel of the hoof

..."preached at the altar of decay", of course. This can be described as pastiche for those of an industrial metal-bent. Guitars are down-tuned to B for a typical grinding flavour. Further sonic manglings are catered for by the Elektron SID station and bass guitar thumping. A quick burst of energy-type-of-tune....

..."preached at the altar of decay", of course. This can be described as pastiche for those of an industrial metal-bent. Guitars are down-tuned to B for a typical grinding flavour.

Further sonic manglings are catered for by the Elektron SID station and bass guitar thumping. A quick burst of energy-type-of-tune.

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.