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Wanted to do a lil drone situation for some speedtrash, and fell into a weird scifi horror concept. Again.

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Purchased a used Pittsburgh Taiga desktop synth late last year, haven't used it much, makes some very interesting sounds but often don't find a use for them in my music.  This week I was determined, started with recording two patches from the Taiga, heard in the second half of the track.  I think the grittier distorted drums work better with it, not my usual type of drums, but I think the Taiga fit well with these ones.  Hopefully can get some more use of the Taiga in coming weeks as it really does make some very nice sounds.  Recorded some rain falling while cooking dinner out on the patio on Friday, used that for some texture at the beginning of the track, my son has been sick now for a few days, I think you hear him coughing at the start.

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Weeeeeeeeeeeeeeeee been busy and a little sick so more Dad Boy lazy speedtrash ambient. Hope you're all doing well!

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OP-XY and Ableton Live

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This week was Raga Kumarapriya which in my software was unexpectedly pentatonic (?) and difficult to do anything with. I tried that minor 7th thing which has an arcade sort of feel, I guess.

Anyway I will use this opportunity to look it up a little on Wikipedia. "Janya" means derive, so a "Janya Raga" is a derived raga... one of those created by removing notes is called "Varja"... and "Audava" means it has 5 notes. So there we go... so I asked myself, "What are Upanga ragas if they are supposedly derived from the parent but without using notes/swaras that aren't from the parent and still distinct from Varja conceptually?" It seems I had a misconception from the start and they don't have to be distinct... Varja simply refers to how notes/swaras have been removed, whereas Upanga refers to the derived scale's purity when compared to the source - to be contrasted with Bhashanga which would add foreign notes/swaras and have less purity as a derived scale. But I doubt the forced minor 7ths on each note would be Bhashanga... doing something as wacky as that eliminates all the original context entirely lmoa

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https://youtu.be/NO_bU9i0ZBc?si=augS6LvWCRsKnVmR

<3

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A little break from trance music this week for some ambient-horror, which doubles as my submission for the RMR Discord Challenge. The short composition - 3 minutes - is part of the requirements for the challenge.

The challenge this month was "found sound ambient", which, in a nutshell, meant an ambient composition incorporating "found sounds", like foley and field recordings, and either ones you recorded yourself or found elsewhere. I have been wanting to fuck with some ambient-horror for a while, so this seemed like a prime opportunity.

My house is very old, but not haunted, as far as I can tell (there is the incident of the poltergeist seemingly knocking over a 1kg glass blender jar nearly onto my feet and shattering into a thousand terrifying shards but we don't talk about that), however, it has lots of strange noises being very old and many of them come from "under the stairs". So I went about the house recording some of the sounds that seem quite haunted but are really just an old house.

This piece features a few of said recordings:

- two samples of stair-climbing, from beneath and above

- a yarn swift making a constant C# tone and rhythmic thumping

- a creaky door

- my nephew imitating a whistling tea kettle, with said tea kettle

None of these are very identifiable in the song. The mostly atonal-drone-atmospheres are made through a kind of stretching-plugin called Scaper, the knocks and steps have been generally fucked with to sound massive and booming, and the nephew has been transformed into something quite monstrous.

There are only two elements that aren't from the above recordings - five notes from a jumpscare synth lead courtesy of Dystropia, and a sub-bass drone to add just a tiny bit of tonal cohesion to the rest of the atmosphere. Everything else is these cell phone recordings I made manipulated inside Ableton.

Enjoy, if you can lol.

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emily // drum & synth programming/arrangement, vocals

jwh // synth bass, vocals, mix

round 5 of the 2026 monthly emily collab!

› the process‹ the process

once a month emily and i set up some gear to do some recording with a  & see what comes to the surface. we then go to our respective corners to layer & mix without listening to what the other is doing.

we don't listen to the other's mix until after it goes live on WB  :)

we switched things up a bit this month as we were both tired from social engagement/ heat/ the State of Things & didn't want to set up a bunch of gear. we decided to do an audio version of The Drawing Game that emily introduced me to years ago (basically someone starts a drawing, a timer is set & once it goes off you hand it to the next person and they add on to the drawing till the timer goes off, and then it goes to the next person, etc).

emily opened a new garageband project on her laptop and started a 15 minute timer while she got to work recording a foundation for our track. then it was my turn and i quickly wrote some lyrics inspired by a Sarah Kendzior book i'm reading and recorded a couple vocal tracks. then back to emily who added more vocals, and i wrapped up our hour of recording time with some synth bass.

emily then sent me the wav files of all the tracks, i finished my mix in reaper and she wrapped hers in gb.

ok!

› lyrics‹ lyrics

kiss the weeds, the flowers may never return

kiss the weeds

taste the trees, the dandelions, the dirt

taste the trees

winding down, the river has no trails

winding down

the trail is winding down

>>> if you are here first, please make sure to head over to emily's page to check out her version:

emily // the rabbit & the blue moon

thanks so much for listening!

XO,

jwh

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