Oh hey, this one: HALLOWED KIT… There’s always a piece that gets buried under the newer tunes…
So, the tune is a re-edit… Re-mix?… Re-work?… Re-imagining?… Soft reboot?
Anyway, it’s the same stuff I’ve posted like a year ago, with some added stuff, mostly the drums. The result: It’s the same, but trashier.
I love this version! I like the first one too, but this “Stuart Gordon-edit” really… hey, that’s it!
If only I could start this post over by saying that todays tune is a Stu-G-edit of a composition I made last year.
… a.k.a. How Your Brain Works, part 34.
When I was constructing todays tune, I found myself thinking of some Peloponnesian things. You know, Athens & Sparta brawling to their heart’s content. I also thought about current events like the discovery of pottery and the nifty formation of phalanx. My order was classical, and I had no arms probably because of the surprise result of Euro 2004.
Then Al Pacino interrupted me by screaming: “Attica! Attica!”
I was very impressed by the music I was producing. It had just gave me some really strong impressions from 2400 years ago. So, I named the tune HELLENIC RAGE.
Then my eyes once again wandered to the software synth I was using. One sound preset was called “Hellenic”-something…
Shout out to Civilization the Board Game: I miss you baby!
And now, something we didn’t have before: a nice little pop song, 60’s style. Oh the innocence!
(Yes, this kinda stuff used to be called pop music. This was the age of slowly growing your hair, right before the age of really long hair, which was right before our current age of cutting your hair to look real nice)
There’s some kinks & some small faces of beetles & other animals that dwell in the caves, under some stones… You know…
Imho, CALL HER TELLER is a proper title for this kinds song. It doesn’t really say anything, only implies that there are feelings, which may result in holding hands.
My Halloween traditions start in late september.
First I check if I have any scary tunes available. If not, I better start preparing one.
Then I make sure Halloween is in October, not November. Those two months tend to blend in my mind as a general “deep autumn times”, when the passage of time is measured by the solidity of rain, and whether it moves vertically or horizontally.
At this point I usually get angry during a visit to the grocery store: Yes, Christmas chocolates have already found it’s way to the shelves.
Stupid, delicious Christmas chocolates.
Then I write stuff, post something like GHASTLY GRAVY, and finally forget Halloween exists at all.
Ok, here’s something I think much more often than I really should: Will I make it through this earthly life without a bird pooping on my head at least once?
Admit it, you’ve also thought about it.
‘Cos, you know, all the white & gross stuff out there on the pavement, it’s bird poop. Little bird poop, big bird poop, super nasty seagull poop. It’s literally everywhere. And sometimes our winged friends just roll a critical hit.
Note to self: Wear hats more often. Preferably super-size sombreros.
And hey, not to make this post to be all about poop, RUNT OCH RUNT.
Umm, HAM JAMMER… Yeah…
Those who get it, get it.
For those who don’t, well, you ain’t missing much.
Hey, I’ve got another one for you: Cleric Upton.
I’ll get me coat.
If I had to explain what’s going on in WIND SHANTY, I would probably say the following:
Listen carefully the chord you hear at 15 seconds in. That chord is really just all the open strings of the guitar, in standard tuning. This magnificent find gave the whole idea for the rest of the tune.
I think the title came to me when I was about halfway done, and it really guided me nicely during the rest of the production.
Thanks wind, you mighty messer of hairdos!
Coming up, the rest of the elements.
Yes, as the title suggests, I had template when starting to work on the piece, that became MIELIOPPIVIRNE.
(Template in this case meaning I had a specific tempo & style. Also the number of bars in all the parts – intro, A-part, B-part – were pre-set.)
However the music here is all original, and if I may say – and I may – it came out pretty neat!
I really should make use of templates such as this. Maybe put up a nifty set of instruments, save it and re-use it.
Note to self: Make templates & use ‘em, you big dummy!
Well, there’s a whole lotta breathing going on. And why not. Breathability is pop.
NEVERMORE shall be placed in the “ethnic” category, although I think “world music” would be a more suitable word to describe it.
There’s basically two parts in the tune: The first, more mystic & oriental one, and the second which to me sounds more folksy European stuff. The change is also marked with a slight increase of tempo.
So, international co-operation it is!
We sure could use some more of it.
In my notes, concerning OSAKA LIGHTSABER, says the following:
“Just tell ‘em the whole story, honestly.”
So, that’s what I’m going to do here: The tune is made in the style of 1980’s King Crimson. I really like 80’s Crimson. And 60’s Crimson. And 70’s, 90’s, 00’s…
And that’s pretty much the whole story.
I’ve had the main riff for years, so it was about the time to use it. It’s definitely a lot more simplistic than many of the KC-riffs, but I think you still get the picture. Fun, shameless fun.