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| Philistine on the Sidewalk |
As you may have seen yesterday, I launched yet another music project. You may wonder why I did so when I already have six solo projects and currently two collaborative projects. Of course, if you’ve read a few of my older blog posts, you may not.
Removing Compartments
Anyone that is familiar with the way that I work on music knows that my musical projects are highly compartmentalized. I get set on trying to make each of my other projects sound a certain way and I try not to have much overlap at all (unless it calls for some). Amaranthine Skies is heavy on the ambience, Concrete Mutant is just freakin’ heavy, and the others have their specifications. Skies of Cyanide is the only one that calls for overlap, but that’s due to it being a combination of synths from my Amaranthine Skies and Cyanidic Rapture projects (thus the name).
With Philistine on the Sidewalk, I wanted to do a mostly freeform project that lets me come up with a musical idea of any kind and see where I can take it. A solo jam band, if you will.
I say it’s mostly freeform because all of the tracks will have guitar of some sort. There’s also likely to be some drum loops that have been slowed down and some vocal samples from various sources that have been reversed and slowed down as well. Why? It interests me. I don’t question inspiration; I go with it.
I’ve done work with slowed down drum loops before (check out [Drinking from the Oil Drum] from my Forfallen project – about four minutes in), but having slow, looping, pummeling drums adds to the hypnotic factor that seems to be permeating a lot of my work as of late (though it’s really nothing new).
In any event, the first song released entitled “Contemplate the Evanescence” pulls a bunch of random sound samples I had on my computer from various sources and couples them with a close to eight minute freeform guitar track drenched in distortion and reverse reverb that ties the song together. It’s undoubtedly a repetitious work, but hypnotic drone generally falls under that category. The only part that’s more or less random is the aforementioned guitar track, but I still stayed within certain scales.
Inspiration from Unlikely Sources
One of the things that I find amusing is that the genesis for this project was rather inspired by [Bull of Heaven], though it sounds almost nothing like what they’re doing. The droning is sort of there, but it’s done in a completely different way.
I might be able to do something in that vein in the future, but I like to layer things a little too much to really strip things down to that point. I’m not one to rule anything out, though.
As for the name and the song titles – there is a source tying them together, but I’d rather not spill it and let people figure it out for themselves. I have spilled the beans to some esteemed colleagues under the influence of some tasty [Samuel Adams Winter Lager], but that happens when combining excitement and alcohol.
The art is a completely random idea that has nothing to do with the project name or the song titles and I’ll leave people to figure out the source of as well.
Future Songs
So far I have a few ideas, though the next one striking my fancy is something chugging and doomy, which is an area I’ve had a lot of experience with over the years. However, I want to take it somewhere new – somewhere I wouldn’t have taken it before. I’m thinking dual guitar tracks and polyrhythms and all sorts of wackiness stretched out into about a 12+ minute anthem of decimation. It should be fun!
It’s hard to say where the future will take this project, but as I’m going to devote some time every weekend to doing freeform and experimental recording and song construction for the foreseeable future, I imagine it should lead to some interesting places. Feel free to join me on the journey!
[http://www.philistineonthesidewalk.net] – the songs will always be free with donations accepted if you enjoy what you hear.
Discuss this post at [The Forum of Jason Vincion]!
Posted on January 13th, 2010. |
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