Started off as a dub test again....with aim of doing something for winter. But for winter i always think of Detroit techno, as that was the season i first heard it walking home through some old council estate. So it went that way. So follows a fairly well known techno pitch bended chord sequence (m, +2, -2). But the last chord is not so well known and has a Detroit vibe to it...to my ears.
Really late submit. Was trying to make something similar to vim's breaks and boards of canada inspired stuff. But I'm no vim :) It turned out it was a pretty bad idea to take different breakbeat samples with different sound and tempo, repitch them and try to chop and mix together. Should have taken one and work with it. And the track structure is primitive, at this point this track is just a sketch.
On a positive side, I really like how harmony, melody and bass are working together. The part at 1:44 reminds me of my bloody valentine sound and harmony, it would be great to remake this track as a shoegaze song with real instruments, Kevin Shields style guitar instead of pads, female vocals instead of melody.
Noise for November #2
Title from a random facebook yardsale ad I saw right after I woke up from the dream that inspired me to do this subproject (I think it's an automotive thing, fuel injection controller maybe- but it ties into my immediate plan to use the furnace noise)
Noise sources: furnace kicking on, jenky old deep freezer, unplugged instrument cable, electric toothbrush bass
I grabbed a couple photos of said furnace for the song graphic, and accidentally got "MORE POWER" (the logo says Kenmore Power Miser) but that seemed too on the nose. Still amused myself for a few minutes :)
This week was an exercise in cutting to make something kind of ordinary potentially interesting. I had a chord progression in mind that was fun and satisfying to play, but which sounded...pedestrian. Rather than throw it out, I went for cuts. While I tracked it in a straightforward way, in this rendering, the first half of this piece disrupts the progression by emphasizing off-beats, and the second half restores the cut sections, but removes the parts that are audible in the first part. Two other guitar lines get a similar cutting treatment, without the restoration, and parts of the bassline are cut as well.
Drums: one track of 64-pad rock kit (every seventh beat dropped), and one track of 808 samples. Guitar: three tracks of Res-O-Glas recorded through the Vox Wah, with different sets of low-cut and high-cut Auto-Filter to simulate amp drive. Bass is the usual Epi P-J with EQ-8 low-cut, and a bit of air with a convolution reverb send. Guitars get that send, too...as do drums. There's also a delay send that the drums go to. There's flat full-chain master on the 2-bus.
Title from the use of this week's element (californium) to start nuclear reactors.