Apparently, I've been a little too immersed in the writing cave for the past few weeks, as I've gotten rather far behind in posting up my 23 in '13 songs. Really, not a bad problem to have, but I like to give the appearance of still being alive and stuff. In other words, song #6 is done, and I'm just getting around to posting song #5.
This entry is continuing along in the same vein that The Witch started in, heavily electronic. The E-Mu sampler came with an absolute wealth of sounds that are proving to be incredibly inspiring. The twist this week is that I've coupled the normal industrial/electronic sounds with an orchestral backing. My discovery in writing noisy music is that I need to approach is from an orchestral standpoint and make it gritty, rather than the other way around.
The voice samples are being taken care of by my other new piece of hardware, an Akai S3000XL. It's the other reason I've mostly vanished from Twitter and blogging, and I've had some rather thick manuals to plow through! Fortunately, both the E-Mu and the Akai are rather straightforward once you get used to them, so they're quite an integrated part of my workflow by this point.
I've long bemoaned the fact that the sample-laden songs of the 80s really aren't feasible to be made anymore, due to the licensing considerations (and song #4 is no exception to this...I doubt I'd be able to get a commercial release of it, due to the multiple samples in it). But this week was a sudden realization: the samples that I like aren't about where they're from, it's how they sound. As such, I headed over to archive.org, and started plowing through old Public Domain video. Clips in this track are all PD, and use audio from Detour, The Gorilla, and The Boy in the Plastic Bubble. Oh, and I also used a cordless drill. For the sound, not on my rack.
More to come. Maybe I'll get around to posting song #6 before song #7 is done.
Nah.
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