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Originally Posted by teh b0lly!!1
i've listened to number two, then number one, then three (i figured that's the correct sequence).
number two i had a distaste for. i can't quite say why. i didn't like hearing distorted stock synth presets. it felt like it followed the same process of your other works, but the essence was missing. it didn't evoke any pictures, at least not for me. it was just there, absent. take that to mean what you want.
then i listened to number one. i really like it and think it's too short. but then i zoom out, and i actually love that it's short, cause you thought (i'm assuming) it's not to be long lived, and preferred to go with a bolder statement. the reverbration followed by pitch manipulation of various sorts created a beautifully unique instrument there. it's a voice, something that you'd made that is literally an instrument in and of itself. sometimes it sounds like a human voice, sometimes like a faded gregorian choir, sometimes like music played through a chamber, sometimes like a vibrating string that you can't tell if it was plucked or bowed.
then came my fav - number three. i loved straight off that you control your medium and mastered it so low. it's immediately much softer than the other two, like a whisper. it feels like communication, like getting the proper context from you even before you set out to begin making your statement. it sounds like standing in the prairie wind to me. sounds like iceland. i think it's one of your best works to date, for sure, and certainly an immediate fav for me. this is music that is so beautifully subtle and mild, and imo it's truly experimental and uncharted territory. one of the very last ones left - because everybody in this generation are about making seductive music, trying to appear attractive, make unforgettable impressions. this song is the dazzlingly beautiful and naive country girl in a room full of coke-snorting models.
it's just so soft and gentle and lulling, i love it. as i said about the other piece, it's way too short - but unlike the other one where i found it to be a good choice, here i think it definitely is not. this piece needs to be much longer. like, 12-13 minutes.
just take your time building your moods. you have such a gift for sound crafting and image evoking; let it play out. allow it to resonate. let the first part go on more, let me feel the wind and see the details. then start slowly bringing in the bells. the joint juncture there with both of them at the same time paints such a beautiful picture. then that's another few minutes. etc
not that i'm here to teach you how to make your own art - BUT, i think some of what bothered me about that first piece i didn't like (well, no.2, but who's counting) was that i felt it was kinda melodic in a way that felt unnatural to me. like it's deliberate, aimed at someone. from your recent pieces, i've been getting a bit of a feeling like you're more self conscious about not boring people. you careen through the scenes more quickly, as if to get to the point more quickly.
never do that. i'm here cause i like your brain, and i wanna see where it goes untethered. don't mind me, i'm just sitting around that corner listening. thank you for the music.
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well, what a pleasant surprise. thanks for giving these a thoughtful listen and for composing such a detailed response. i know this kind of stuff tends to asks a fair amount of time and concentration from listeners; you're very generous in having done so here.
it's a pleasure to hear what kind of impressions these made, for better or for worse. you're certainly on point having noted the fear of boring a listener creep in -- my getting hasty with transitions and layering, not letting sections linger, and such. worrying about a listener's willingness to stick around has definitely been an obstacle. but i'm glad to hear you prefer them more drawn out, because, well, so do i.
i've been treading water in terms of process as well, using the same old approaches and such. frustrating, because while a piece might be ok, it doesn't feel fresh from a creative standpoint. time itself has been a huge impediment lately, as well. not being able to give pieces the mining they require in order to hit upon something exciting.
so, consequently, the pieces are a reflection of all of the above "issues."
yuck, why is it such an impulse to blurt out all of one's inhibitions?
thanks for your kind and constructive words. and i'm glad you liked #3. that's my favorite, too. iceland? coke-snorting models? prairie wind? i'll take it, gladly.