I really should write more.
I saw ze White Stripes on sunday at dear lake park with Bailey and Fab. I insisted on arriving an hour before the gates opened, cuz what kind of moron pays like sixty bucks to stare at a crowd of backs? We talked to the people in line with us-- a family of four from Washington. After a while we could hear really loud thunder. And then there was rain. Rain rain rain rain rain rain rain rain rain rain....The worst rain I've ever been in for an extended period of time. With vast amounts of hail. The gates opened like forty minutes late, and then we initiated our plan of attack: get right to the front. And we did. The opening band carried on the tradition of the White Stripes having lame opening bands, and they were so professional that they didn't even tell us their name. The 'Stripes came on at eight. Meg was wearing a beret and a black and white scarf, carrying two baguettes. Nearly the whole time they played, it was like being on a boat on a very angry sea, as Fab said. At one point, some guy flew right over my head. Anyways, they opened with Dead leaves and the dirty ground, When I hear my name and Icky Thump. The entire time, I was trying to beam the vibes into them (Rockinitis-style) to get them to play Black math, and it worked. They finished their regular set with it. Other highlights of same were Jolene (the Dolly Parton cover), Catch hell blues, Effect and cause and Hotel Yorba. In their encore they played Seven nation army, naturally, Screwdriver, and the best performance of the night by far, We're going to be friends. Aside from the fact that it was the only song during which I wasn't being smashed up, it was just sweet to hear everyone singing it. They also played their Burt Bacharach cover, I just don't know what to do with myself and ended the night with the Leadbelly (Huddie Ledbetter is a way cooler name, isn't it?) tune Bo Weevil. We ran into Sarrah and her unknown friend afterwards, not even knowing she was there. Lucky us, we got a ride home with her Fahzsa.
I had my final formal lesson with Colin on tuesday. Next tuesday, I will begin a band camp of sorts in New Westminster for three weeks. It takes place from nine a.m. til noon every weekday. One of those hours is all jazz-related, but I'll still show up for the rest of each day.
Some truly excellent news, now. I recently got the old 1986 sony walkman working again. If it hadn't stopped working in the first place, Occupant would have more songs than Robert Pollard and Daniel Johnston combined by now, due to its convenience.
June 28, 2007
June 14, 2007
MooddooM
Well, I'll tell you all about the recording front this past little while, because unusually, there has been a recording front lately.
I'll just tell you first off that none of these compositions will be appearing here any time soon, so don't get too excited. The first came together from a number of unlikely sources. When I'm trying to sleep, sometimes something will pop into my head. Sometimes music, sometimes something else that I feel inclined to write down for some reason, such as the sentence, "Move it, you fascinating sky." Anyhow, one day something in 3/4 with two guitars popped into my head. I got up and figured it out, wrote it down and forgot about it. A week or two later, I was thinking about generic fucked up circus music in 3/4 and I went to the forte. I figured out this little thing involving really not-so-chord-ish chords that I've since learned are called 'tone clusters'. I realised that the guitar parts would fit over it! Then, I guess not long after, I was listening to the sweet hard-partying sounds of Greed by Swans and enjoying the rhythmic, repetitive nature of it. As soon as it was over, I quickly wrote a sax part and recorded the whole thing. Why isn't it ready? a. I didn't use a click track, which means I will need to retake the whole thing. b. It needs development. Repetition without development, in this case anyway, would bore your brain out. In a live context, however, I'm sure you would find it appealing.
The second is basically two tracks of bass feedback at two different pitches. It's five minutes long. I guess I need to play something over it, but even if I don't, it's pretty soothing.
The third is quite similar to the first. It has a two-note bassline and mid-range forte chords, first executed in a staccato manner, then a sustained manner. A dreamy guitar clothes what we'll call the middle section. And over all this....an electric drill. Maybe I'll find a way of fusing all three pieces together.
O'brien and I took a trip to the anime store at metrotown the other day. There was a hell of a lot of stuff there, despite how small it was. I will be returning soon!
I'll just tell you first off that none of these compositions will be appearing here any time soon, so don't get too excited. The first came together from a number of unlikely sources. When I'm trying to sleep, sometimes something will pop into my head. Sometimes music, sometimes something else that I feel inclined to write down for some reason, such as the sentence, "Move it, you fascinating sky." Anyhow, one day something in 3/4 with two guitars popped into my head. I got up and figured it out, wrote it down and forgot about it. A week or two later, I was thinking about generic fucked up circus music in 3/4 and I went to the forte. I figured out this little thing involving really not-so-chord-ish chords that I've since learned are called 'tone clusters'. I realised that the guitar parts would fit over it! Then, I guess not long after, I was listening to the sweet hard-partying sounds of Greed by Swans and enjoying the rhythmic, repetitive nature of it. As soon as it was over, I quickly wrote a sax part and recorded the whole thing. Why isn't it ready? a. I didn't use a click track, which means I will need to retake the whole thing. b. It needs development. Repetition without development, in this case anyway, would bore your brain out. In a live context, however, I'm sure you would find it appealing.
The second is basically two tracks of bass feedback at two different pitches. It's five minutes long. I guess I need to play something over it, but even if I don't, it's pretty soothing.
The third is quite similar to the first. It has a two-note bassline and mid-range forte chords, first executed in a staccato manner, then a sustained manner. A dreamy guitar clothes what we'll call the middle section. And over all this....an electric drill. Maybe I'll find a way of fusing all three pieces together.
O'brien and I took a trip to the anime store at metrotown the other day. There was a hell of a lot of stuff there, despite how small it was. I will be returning soon!
Subscribe to:
Posts (Atom)
