Music

This is called Europa, and it was mostly made on buses to and from the airport and on a grounded plane. I worked in samples recorded at my parents’ house. I mixed it with earbuds, so that might be rough. This is one of those things I didn’t have enough time to judge, but I’m glad I am keeping the composing part of the brain from rusting.

This song is called You Must Explain the Delta Variant to Your Parent and Reschedule Your Flights. (I drew from life experience.)

I wrote it in response to this Junto challenge, which asks you to play a theme as yourself, then as two other identities.

I've been mostly making music by programming and clicking on piano rolls for the last few years, but I feel like that gets you very diverse sounds, and my stuff doesn't seem consistent enough for an identity yet. So, I played the "self" part on guitar.

The other identities are a free jazz musician (I have no idea how free jazz works, but I had fun learning you can have a fast, aggressive trumpet sound) and a dumb computer program that takes rough directions for making riffs, then makes a bunch of random choices. (It's sandworm, a weird thing I made eight years ago.)

I made this altered soundscape, which I call "Closing" (you can see why in the middle of the piece), as part of this challenge, which asks that you add an imperceptible sound to a field recording, then make it become more obvious.

I found the imperceptible part really hard because I know where the added sound came from, and therefore can always perceive it. I did run it by Katt, and it didn't jump out at her, so I counted it as good enough since I didn't have time to survey a whole bunch of people.

I don't know if I'll think of this as "successful" in a month, but it was indeed a good exercise.

Barbaric Silence is my entry for the Disquiet Junto Isolation Room challenge. It asks you to take something you made in the past, isolate one aspect of it, then build something new around it.

I picked a primitive black metal song I made twenty years ago and used just the guitars. I tried to make something out of it with horns and strings, but it just wouldn’t mesh, and I only had a couple of hours a night out on vacation, so I had to pivot to something simpler.

I decided to make it even more barbaric. I added some tense strings and also several copies of the original guitar parts, manually creating delay. The delay creates the dominant rhythm for most of the song, but fades back to the original toward the end.

While I was at it, I made a more natural mix that's kind of how I imagined I actually wanted it back in the day. It's just guitar and drums, but the drums are more Bathory-like than in the original. Back then, I had to use 808-style drum samples, which sound techno-ish.

For completion's sake, here is the original 1998 version. You already heard about the drums. The vocals are awkward, and the lyrics are dumb. At that time, I felt I had to have funny lyrics that my friends would like. Otherwise, why would anyone listen to my music?

My 1998 self has a point, but things you make just because you think they're good make for better future listening. To flip flop back again, though, it's better to make dumb joke songs than to not any songs at all, and that was all I was willing to make back then because of weird ideas I had about how perfect and how trailblazingly original music had to be.

Trying to get back on the song-a-week horse. Here's Io Buggy, a stoner metal tune. It's a filled out version of this demo. The solos could be better, but I'd have to work for a minimum of weeks for them to be significantly better, so I'm just letting them go like this.

This week's song is called Advice and Healing. I used Animal Crossing samples and samples from a Jorge Luis Borges lecture to create custom "drum kits" (like those old Flash soundboards). At one point, I had a solo in there that I played on the guy's toy clarinet, but it was too terrible, even to be funny.

I made a dungeon synth song for this week's song. It's called Village's Edge.

I tried to do some extreme mood changing, and I wanted to do it without crossfades, which felt cheap. I exploited a riff that has some key ambiguity, and maybe a week later, I'll know if it worked. There is also a trumpet solo which feels very Western, but dungeon synth rules aren't written in stone yet, so I think I'm OK.

This song-a-week song is Sky Ghost Farewell Fugue. I was trying to make something with loose timing instead of the strict lockstep I usually use. I also wanted to shoot for something ambient and got about halfway there.

I don't know if I'm going to say this every week, but again, this was a struggle. Never challenge yourself!

The Adventure of Getting a Donut is this week's song-a-week. (The guy named it.) I tried to stretch myself by avoiding making the song build in intensity, which I do with pretty much everything I write, and sticking to a major key.

I had trouble coming up with riffs, and digging for them unsuccessfully cost way too much time. I also realized that my inspiration, game show jingles, aren't full songs. They're jingles! So they can actually be 1-2 riffs with a lot of empty space, unlike what we generally think of as songs.

In the end, it's a two-minute song that has parts that I left in only because I don't want this to go beyond today. (There is also half of a Carcass riff in there.) I think it was good for me, though. I just have to be better about settling for riffs earlier in the week.

I'm going to try Ludum Dare this weekend, so I had to do my song a week early. It is called Rumor of Robot in Town. I was going for a YMO/SNES JRPG kind of song.

This is my first song-a-week entry, called Get Up Eat Breakfast Get Dressed Go to School. I decided to mess around with low horns. As a result, it's not easy to mix as the instruments all operate in more or less the same range. It's not Professional Mix-a-Week, anyway.

I was reading something Laurie Spiegel said about being at a conservatory:

[John Duarte said] I should practice by writing a piece every day, no matter how short or simple. I did my best to comply…Later, at Juliard, I was shocked at how students were allowed to work on a single piece all year, while I was paying my tuition by composing an educational filmstrip every month.

Given that I have more convenient tools than she did in the '60s and '70s, as well as lower standards, I figured I should be able to write a song a week for a while.