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Sunday, 26 June 2005
Sweden, day 16 ::
We spent Saturday on Don’t Know I Know, which is an extended ambient piece with layered improvised tracks in the first half. The second half is based on a repeating phrase which builds as multiple parts enter, come to the foreground and then become part of the mix. The trick with this one is to use some more organic and alive sounds than were in the demo, while either recreating or keeping some of the demo’s magic.
Did quite a number of overdubs in the afternoon: piano (later processed through a Leslie), tack piano, cembalo, pump organ. Bounced the overdubs from 16-track tape into the computer and began a long process of deciding what to keep.
Dinner at a wonderful restaurant way out in the country. Asked for a glass of wine, was given the bottle, wondered if I was committed to drinking it all (answer: only if you pour yourself a second glass), wanted a little more, and indeed became committed to drinking it all. Not wanting to be wasteful, I did.
Back at the studio, the Artiste patiently laid on the couch while the world seemed to rotate around him more viscerally than usual, and made occasional comments while Christoffer continued to outline a mix. Brought in Helena’s vocal track in places.
Filled some wine glasses with varying amounts of water, tuned and recorded them (which seemed a highly appropriate overdub to be doing considering my condition and how I’d gotten there).
C overdubbed himself singing over a crucial transition, and Taurus bass pedals at the end. Lots of discussion about the piano solo from my demo; without it, to me, it felt like all of the other parts were building to a certain level of intensity, but not reaching a climax. The compromise may be to keep the piano but have it more woven into the mix than as a foreground element. That would be fine with me. The piece seems to want its intensity to be restrained, more implied than stated. It seems we’re getting close to be doing done with it now.
Somewhere along the way I’d noticed that sometimes Christoffer would give very little musical direction before recording a take, and would keep recording even after the end of a composed part. I’d gotten the impression that he’d always worked this way, but he told me that he’d picked up that this was how many of my tracks were constructed, that the idea was to play and experiment a lot, and be prepared to capture good things when they happen. I have corrupted him!
References:
Pictures from the studio (13 July 2005)
| << Day 15: Midsummer's Eve | 2005 > June | Sweden, day 17 >> |