A big wooden table spreading farther than my arms can stretch if I were to put my chest and the left side of my face onto the middle somewhere, sits (wobbling without certainty) in front of the open screenless window. Moths come in and bang themselves against the light bulb. A bulb on a geometric stand with no lampshade. A bright murderer.
In this space I had a keyboard hooked into my computer. I assigned this MIDI (musical instrument digital interface) to control a reverb-soaked clarinet part in an old, highly layered, progressive instrumental hip hop song once called “Euphoria” and maybe changed to “Eureka!” or “Harbor Sunsets (Euphoria revision)” and letting my own name hold off on its own to fill in space for the songs and ambience of the spacious sections outside of the broken bridges (at double time) and the smushed hands if all 30 parts could be played at once.
Simplify and the music will become more true. Sure. I still want to make something out of this single tempo song and track. Let the improvised lingering keyboard solo hang on over the jazzy section.
Letting the structure snake its way out of a standard skin.
This time I tracked and re-tracked live parts (on the synth) instead of punching in rectangles to represent notes and to carefully piece together chords one note at a time based on the sound of the internal harmonies, if vibrant enough, if tonally pleasing, if only discordant to later resolve, to hold off on keeping atonal progressions from taking over into a stormy sea.
Drums tomorrow with Tony. A jam session first taken place sometime in 2008 I think. This was before we made a band in high school and later became college roommates for 10 months.
Maybe we can record something if we get in the good groove.
I know I no longer have the same quality metal chops because I’ve listened to a lot of jazz and restrained myself on that instrument (on most instruments). This restraint is what I can do when I play live but sometimes I let it go and fall out the tonality of the song with something needlessly flashy (an arpeggio, a big drum fill, a pinch bend, a guitar spin, a wave at the bartender for another stage beer while playing a tap-bass part with the other hand.)
My LogicX recording sessions are an example of excess aside from what Brian and I have recorded so far.
(maybe a tasteless overabundance of tracks can be miserably found and miserably drowning-out instead of riveting and wall-of-sound echoing.)
Regardless of what I’ve written about current projects, here is something I made with another friend from that old high school band, earlier this year. Listen and tell me how you feel about your insides.