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About the album 05/02/2007

Posted by lmd64 in album, asciinoid, electronic music.

I thought I’d post a little brief note about the tracks on the album, and where their inspiration came from, just to show that some thought was put into the tracks, and their names weren’t just picked by randomly throwing magnetic letters at a fridge door.

A homage to the first couple of computers I used to own, the VIC-20 and the Commodore 64, the games and other programs pretty much always came on a tape cassette (them clunky mechanical things that albums used to be sold on, way back in the day), and the text ‘Loading…‘ used to flash onscreen as the tape slowly but surely loaded the contents of the tape into memory. I whiled away many a happy hour pootling about on the old C64, hence the album starts with the sound of a tape being slotted into a deck, the play button being pressed, and a computerised C64-sampled voice intoning “Loading… Loading…” etc.
What? So I’m a nerd, whatevah.

Acid Vd Techno
Neither an acid track or a techno track, this is a surprisingly big track with a huge fat monster grungy bassline that stomps all over the dancefloor, crushing all handbags in its path. The name comes (pretty obviously) from the pleasingly simple sing-along lyrics. Massive. It’s a case of battling vocoder action, with ‘acid’ being a strong contender, but ‘techno’ getting the final word in.

For this track, I got the glitchy samples from a guy in Berkley, SF, who’d uploaded them to a Creative Commons audio sample website, freesound.iua.upf.edu. I called the track Hi-Gloss as a reference to the “speaking in tongues” effect of the cut-up vocal samples, otherwise known as glossolalia, sounds a little like someone with Tourettes on a bad mobile phone connection, and also because it’s a lovely shiny, shimmery track.

Hip Hop Don’t Shop
I’m not a fan of hiphop, or at least it’s current guise of swaggering round with your underpants hanging out wit yo bitchez and ho’s, wit da bling and da gunz, etc.
This track is tongue in cheek, lyrically anyway. A Popbitch mailout supplied the words, they’re the top ten products/brandnames mentioned in all the hiphop tracks released in 2006. Hennessey, Cristal, Chevrolet, how street. I aimed the sound of the track towards the old school funky style of hiphop, myself, keeping it real! Word.

Standing on Talbot St one gorgeous sunny day, I chanced to look up, and saw one of them manned gliders, the kind from The Thomas Crown Affair, all sleek and glinting in the sun. A lovely moment. It flew the whole way up to the Spire along the street (well, a few hundred feet up, to be sure), and I reckoned this track would be ideal for the pilot to be listening to on his (highly expensive and diamanté encrusted, I don’t doubt) walkman.

It’s funky, in a cool, clinical, electrical-outlet kind of way, cold as outer space and slick as a well-greased groove. Call it ‘Pee-Hunk’ or ‘Funk’, either works for me (I generally favour the former). Watch out for a dancefloor re-edit of this track in the near future.

Disco, pure and simple, a big lush bassline and sparkling string flourishes, and piercing synth stabs, one of my favourite tracks on the album, always puts a smile on my face. Camp, yet funky at the same time.

Final Girl
A dark and menacing track with a evil searing and pulsing bassline and a creepy voiceover, growling out a litany of girls’ names. Sounds like an alternative theme tune to the Terminator, crossed with a roll call from an all-girl school, whose headmaster has a penchant for torture and S&M. The names, incidentally enough, are the names of the last surviving girls to, um, survive in a plethora of horror movie slasher flicks across the years, the ones that turned on their tormentors with the nearest available handy meathook.

This is one of the harder techno tracks on the album, with a thundering bassline that keeps getting bigger as the track progresses, with a reversed electric piano sounding vaguely flute-like weaving its way in and around the rock-hard drums. The track feels almost tribal to me, so I gave it the type of name that’s normally found on a Native American panpipes album.

Oscillator Drift
The fastest track on the album (I’m told 138 BPM is the perfect BPM for dance electro music), this has a growling synth drone that gets to a blisteringly nasty snarl by the time the italo-disco style bass kicks in, not a track for quiet coffee mornings. Originally I had the many elements in the track slightly detuned, as was a common and unwanted effect of old analogue synthesizers, but it sounded too off key. The name, however, stuck.

Seven Nation Army
Finally, rounding off the album, it’s an electro/rock cover version of The White Stripes‘ best known tune, probably one of the most covered tracks in recent times, you can’t not but love the bassline. Vocoders ahoy!

So that’s the lot. Geeky, freaky, and sometimes a little cheeky. But mostly geeky.



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