The Disquiet Junto this week asks participants to revisit and revise an earlier track.
The recording I'd made of Phillip Spelman's "Redjar Redbottle" sculpture (which sits outside Bathurst Regional Art Gallery) was still on my desktop and I'd been considering taking another run at it.
This sculpture caught my ear for it has a variety of lovely resonant tones.
Since I started remixing landscapes in 2011 with my playground recordings, I've found that it's good to return to the material and see how differently it might be developed musically.
Often I find that my first brush remixing a recording might develop into an interesting loop that's something of a creative dead end.
When I revisit the material I'm more familiar with the potential to develop harmonic progression, particularly through re-pitching parts to create a chord progression.
Coming back to this track I had a different BPM in mind. Recently I wrote a few songs for a new 64-bar challenge and one of the BPMs they suggested was 80/160.
This track is 162, although only the high-hat-esque part is approaching that speed. It almost sounds a bit Trap-like, probably needs a faster flurry and more prominence though.
The main challenge was finding samples to serve for percussion. I should remember to record a couple of muted taps for this purpose when recording resonant objects with a contact mic in future.
As usual I put gates on most of the loops, although I left one free to allow some of the environmental sounds like birds and passing cars to add context.
The gates were adjusted to provide snappy percussion parts and on the harmonic parts I added reverb to give more presence. This was a Space Echo-style effect and you can hear some faux tape pitch wobble, as well as the feedback in the break and at the end.
Love Without Violins - *Keep coming back to this song. * I like the vibe up until the key change, then I find myself kinda intrigued by Brian Eno's lyrics.