Hm. Sounds like you might be too close to the mic?
The mic is built into my headphones. It still barely registers my voice. So I add lots of gain. Then I remove noise. Then I deepen it (I'm naturally a tenor, which would be great for almost any genre but the one I'm singing in. I wish I were a bass-baritone, because I am not hiring a vocalist unless I find an ideal one)
Yeah, though he seems to be more into moderately obscure contemporary horror
we talked about that a lot and he read me some cool stuff including this short story about a London councilperson who turns into this weird inert quasi-vampire thing attended by pickpocket children spirit things that foster hate and racial violence in the community
ALSO the beau might be almost done with his album?
he's paring the track list down some and wrapping up a few tracks and then he's mentioned planning on sending it to Enemies List and putting it on bandcamp
It really is, too. I am mainly familiar with her exceptionally charming essay on Clark Ashton Smith in Horror: Another 100 Best Books—incidentally where I found out about Gene Wolfe's Peace which... I will take discussion of to the book thread.
Anywho, I now have a song about death where part of the chord progression involves a parallel major sixth descending by 1/41 of an octave. It sounds weird. It's on the album.
btw here is a handy tip: when you make a loop, repeat it 4 times in the loop arranging section, make the 4th one unique, and alter it slightly in some fashion
that can help stave off anything seeming too repetitive
btw here is a handy tip: when you make a loop, repeat it 4 times in the loop arranging section, make the 4th one unique, and alter it slightly in some fashion
that can help stave off anything seeming too repetitive
early draft of "Barz for Your Sun". Advice on how to make this interestingly longer is very welcome.
so I've come to a rough idea of what I'm going to do for my next album.
I'm thinking House-ish longer tracks in the same vein as Apartment (but hopefully better), with shorter hip-hop interludes like the ones I've been posting.
I'm not sure how that'll work long term but I think it's a good structure. Tentatively calling it Solar Tape Lunar Tape and aiming for a Spring/Early Summer release
Certain parts of "Power Knot" are a bit jarring for me rhythmically speaking—like, stuff's happening and I know it fits together but it feels like it doesn't, like a musique concrète thing—but I really dig the overall aesthetic and the opening is just excellent.
I'm getting a similar vibe from the intro to "The Curtain, Pt. 2", a slight dragging of the beat relative to the underlying sounds that is consistent but disconcerting, and some peculiarity of the software would definitely explain that.
This being said, I think that, all around, your sense of texture and atmosphere is pretty strong and distinctive; I feel like I know what you're going for when I hear it and I think that you generally succeed. I just think that you might want to figure out how to tighten any loose screws before you finalise anything.
Not exactly related, but I think that it would be cool to have that track ultimately strip down to a kind of ambient, abstract thing before it moves on to whatever track you choose to follow it with.
Also, by the way, I have a 9.5-minute remix of "Really, Really Big Sky" yclept "The Sheltering Sky" stranded on the Mini that I might tweak just a pip and send you very soon. I think, honestly, that it's a good shade better than my last one, if less adventurous in terms of layering and way more beat-oriented. But trust me, it uses its length efficiently.
"Yclept" is a fancy and exceptionally archaic way of saying "so named or known as." It's the original Anglo-Saxon-derived version of the Anglo-Norman-based "entitled."
Y- as a prefix is the old past participle indicator, like ge- in German; it only survives in a few dialects in rural England, as a- in constructions like had I a-known ye. Clepe is a now obsolete verb meaning "to name," but with slightly different implications.
You know what's a baller word that people only use a little handful of ways anymore? Wend. The verb, not the (similarly ignored) ethnic group. To wend is to go somewhere directly without erring in one's path. In modern usage one may wend one's way, but simply wending with perfect focus or between obstacles seems strange, and it should not! It also provides the past tense for go, which used to be yode (and in Scotland is gaed) but somehow it became went!
Which is the opposite of to be, which is literally at least three different Anglo-Saxon verbs being used for different tenses for weird semantic reasons despite all once being full verbs—to be John is not that you are or were John at all!
You know what's a baller word that people only use a little handful of ways anymore? Wend. The verb, not the (similarly ignored) ethnic group. To wend is to go somewhere directly without erring in one's path. In modern usage one may wend one's way, but simply wending with perfect focus or between obstacles seems strange, and it should not! It also provides the past tense for go, which used to be yode (and in Scotland is gaed) but somehow it became went!
Which is the opposite of to be, which is literally at least three different Anglo-Saxon verbs being used for different tenses for weird semantic reasons despite all once being full verbs—to be John is not that you are or were John at all!
I've been a Grade-A word freak since I was tiny. It's half the reason why I'm so anal about foreign pronunciation sometimes, although I'm in no way a grammar Nazi or a prescriptivist. Some words do, I think, have a right and wrong, especially when you are trying to respect another culture or place in time, but the way that certain "wrong" word uses speak to a dialect's nature and the speaker's world can be so enlightening and, frankly, beautiful. I love Black Country Speech, Gullah, Ulster Scots, Cockney, Patois, Tok Pisin and Pittsurghese. They make English better for being their own standards, outside and inside at once.
Comments
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
(The other Jane)
Also, that demo is progressing nicely: http://vocaroo.com/i/s1jNp8ahJeXC
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
(The other Jane)
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
(The other Jane)
Confirming all of these, by the way.
Anywho, I now have a song about death where part of the chord progression involves a parallel major sixth descending by 1/41 of an octave. It sounds weird. It's on the album.
Or albums. They are both an hour long.
(The other Jane)
Still trying to write lyrics
EDIT: Working lyrics http://pastebin.com/3nzrPZu7
(the song's about environmental disaster, at least to some extent)
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
that can help stave off anything seeming too repetitive
(The other Jane)
i forgot the name sorry
I'm thinking House-ish longer tracks in the same vein as Apartment (but hopefully better), with shorter hip-hop interludes like the ones I've been posting.
(The other Jane)
(The other Jane)