the first four tracks +1 +3 +6

A rough cut and mix of the material from the first half hour:

+1 / 31.07.2019

+3 / 11.8.2019

+6 / 18.8.2019

20 thoughts on “the first four tracks +1 +3 +6

  1. Starting to take some notes on the tracks directly on the post. I will write about the tracks that could make it to a final edit and mix.

    – Track 02
    It has an interesting intro quality. Evolving into a more busy landscape, with voices, and other sounds.

    • whirling, a chord from the depths of mars mechanics enters, whirling on, smacking mud triggers dissonant multitone dimensions striving for redemption. shortwave radio voices do not penetrate with their commentary, mars mechanics remain temporary winners. fluttering ultrashortwave voices find their way into the gaps of the vibrations and dissolve into the engine noise of the sports cars.

      yes. lets take this one.

  2. – track 03
    i suggest starting the track from 1:03. starting at that point, the track has a sort of joyful theme, with a synth sound that appears after a short noisy intro. the synth sound changes in soft variations, until 4:00, where new sounds come in more aggressive collage. I think we could end the track at 4:00, and leave it just focused on the synth theme.

    • full ACK

      Out with the chain saw. Soundwise a repetition that brings nothing new (see track2).

      In 30 seconds a thoughtful little children’s melody develops from an industrial atmosphere, broken by little bleeps and ploings. Gentle silence spreads – until start waresque airplanes float from there and take the little children’s melody with them.

      And at 4:06 the chainsaw is already annoying again. Cut.

  3. -track 04
    I see potential for cutting 2 tracks from this one. The first one, an abstract track that goes from 00:00 and the sounds of botella papel and radio theater to 5:00.
    From 5:30, that track incorporates a beat pattern that is mixed nicely with other synth sounds. This can be the other track, a more rhythmic song, that goes until 8:54 with a comic end with a radio sample. The radio sample comes from Olympica estereo, a national radio station of tropical music, famous by the use of several phrases and sound effects.

    • full ACK

      Industrial hall ambience. Long-drawn-out shouts. Whistling machines. Who is this? And what is spoken?

      Whistling machine sounds, hissing. A slow machine patter develops, always enriched by colourful metal sounds. A comet flies with a long tail. An engine starts. A metal hose swirls through the air and produces a rhythmic whistling. The rattling of a machine. 5:03 cut.

      Second track: 5:33 the simple beat sets in, accompanied by longing atonal string / organ sounds. Blade Runner reference. The sound sneaks all the way back and disappears, leaving space – which suddenly ends in the middle of Colombia. One of my favourites of the two sets!

  4. – track 05
    a tour of force through sounds and textures, and even musics. i suggest starting a little bit late, around 01:13. The beginning comes with some repeated synth sound that is the main character over a collage of textures. as it evolves the collage becomes more complex and rich. Around 3:00, there is a transition to other sounds, including some seconds of Guaneña, a typical sound from the region of Nariño, south of Colombia. Sounds continue to change, and processed voices enter the mix. We could end the track around 5:40.
    At 6:10-ish there is a sort of new beginning. Not sure if we want to make this a new track, or just discarded. I sort of like what goes from 6:10- to 7:44, but thing is a different track. Very short.

    • Start a little later (1.33). A dialogue between two bass voices, into which a drum set then mixes, enthusiastically greeted by synthetic sounds, small reminiscences of peach in the finish, the drums then become even more pronounced, a pipe sample mixes in briefly, scraps of records, the drums disappear, leaving a voice from a distance that withdraws into the choir in a cathedral. The bass synthesizer fizzes one last time – 5:43. CUT.

      The new beginning at 6:10 also caught my attention – maybe we can take a look at how the material continues – and maybe when editing, just add the beginning to the end and repeat it, so that it gets a chorus/song structure: A – B – A ?

      … sometimes I think about how legitimate such deep interventions in the existing material are; but I think it’s not about having played something perfectly and then separating it from the overall recording. It’s about expression and emotion. And then “any means necessary” is allowed in order to achieve the desired result.

  5. – track 06
    a collage journey, beginning with alarms, and transition to some melodic patterns. I like the sort of song that emerges around 03:00, and how it progresses into the end.

    • Big steps, the siren of the dwarf police wails, the knife is sharpened. Death breath of the monster, the dwarf police circles the gigantic feet of the monster. The jester enters the scene, the monster holds his ground. The jester runs out the back left, but comes back and can seduce the monster into a dance. The dwarf policemen hold hands and circle around the dancing couple. The monster seems tamed.

      I like it 🙂

  6. – track 07
    dynamic and with big changes. includes samples from the voice of Jorge Eliecer Gaitan, a popular leader who was killed, and which murder was the trigger of the Bogotazo.

    • Speaking, metallic distortions, noise, static whirring is in the room. Spatial folds are turned by the grinder. Something is trying to peel itself out of these clusters. Breathless respiratory arrest: a voice remains temporarily, but is then caught up again by the spatial folds.

  7. – track 10
    Blurry track. Gaitan voice appears at the beginning. It is difficult to understand since another noise is layered on the top. The track progresses very fast into auto horns sounds and synth sounds. It is a short track. With a condense idea.

    • Maybe we add the ending of track 9 (around 3:30), which is approx. 2 minutes before track 10 begins – this would result in a longer and more diverse track. Track 8 and 9 are a kind of repetition of already existing stuff – so we can leave them out.

  8. – track 11
    i suggest moving the start point to 01:35. It seems the track there has a softer intro. there is a disruption of radio ads around 3:00, that blend well with other synth transitions.

    • Stuttering beginning, in the background a tenor dumbles, the stuttering sorts itself out, subsides, the tenor mutates into a contra-tenor and disappears. 1:35 – Cut and let the beginning out, as you suggested.

      A distant bass synth line peels out of a primeval noise with all kinds of noise components. A fast spoken advertisement comes in – and leaves the bass synth fragmented with some noise components. Slow and tidy, with lots of space, another quality of this session opens up.

  9. -track 13
    long track. nice synth high frequency sounds and melodies. hi pitched tunes. The first theme evolves into a completely different one, although the high pitched synth sounds continue to be protagonists.

    • A small children’s song melody meets a wide variety of electronic sounds – hissing, chattering, metallic noises, confused synth-blowers … the child stops in a large interplanetary air-conditioning system and then leaves the room to listen to a speech (Gaitan again?). This scene slowly dissolves into a mechanical sound backdrop and then spills back into the children’s melody – which suddenly appears in the middle of a busy street.

    • An electronic version of the previous idea. Soundwise perhaps too close to it? Maybe bring this track at a later time as a variation?

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