4500

Composed/remixed of field recorded bits of CTM installations, Skalar and Uncanny Valleys of a Possible Future.

A quieter, calmer side of things; in reflection of seasonal deception, wherein January momentarily pretends that it’s March.

a spicy jam I made on the train.

Today was one of those days where I really just didn’t feel like doing it. I’m still waiting on stable internet at home, so I was backlogged in posting tracks from the previous two days (they were finished on schedule, but not posted). After all that, and a late evening at work, I had to force myself to get up and actually make something. I’m glad I did, but even with the light at the end of the tunnel, some days are still tricky.

An optimistic foil to yesterday’s. This one actually felt like it could use some cohesive rhythm, but I still haven’t quite figured out the tech of incorporating rigid rhythmic elements into the rig. It’s a pretty blatant violation of the timing rule, but it felt like the right length for the work.

All puss and no party like a pimply face

I’m stabilizing a bit after moving at the beginning of the month. Having the Block Party rig set up more permanently leads me to granulating more, and playing more with guitar. This one came out a good bit longer than 45 seconds, but it has a somewhat concise trajectory for a noise drone piece.

A wandering bass cycle fades in over pantomimed foghorns. The ships navigate through the fog. The birds squawk and peck. As the day ends, so another one beings.

Beats waiting in loops hidden in improvised recordings. A return to the Block Party setup leaves me with some features to be desired in the playability of loops department. But, where tools present a wall, a good strategy is often to turn into a different direction.

A digital cape, or a misspoken escape. An attempt to simultaneously maintain routine, and to break out of it.