Litkicks Message Board Archive

after watching Naked Lunch as much as I did last week,

Posted to Utterances




the phrase "I'll expect a full report" takes on a whole new meaning

This one track on there, "The Animal," I just read over it a couple times then grabbed the guitar and channeled something out of the air that fit in tonality (this is also exactly what I did with "Rhapsody in Sepia"). It turned out to fit not only in tonality but in content. The changes within this music pulled from nowhere matched the changes in the poem; all I had to do was stretch out some pauses. I added some bells as an imbellishment, threw some effects on the voice to make it stand out more and to reflect the character's mental state, and Bam it was perfect. I'm hoping to accomplish this a few more times on this record. It simplifies things a great deal.

The other approach I've been using is to compose something with my midi sequencer (or, in one case, acoustic guitar) that I loop and then throw improv guitar on top.

Then there was the one where I made a drum loop out of percussive sounds from objects in my room (to capitalize on the rhythm that Jordan had in his delivery), then put simultaneous guitar lines that are somewhere between Rage Against the Machine and Captain Beefheart. It's ironic because it goes to a poem called "For the Masses" (depicting an artist's frustration with his audience preferring that he be in pain, pay his dues so-to-speak, so that they can have the art to consume; then it shifts to contemplating the Reason for his pain)

Been using distorted guitar sounds. And pulling on Tom Morello (Rage Against the Machine's guitarist) and "Edge" Evans (U2) for influence. You can hear a little bit of Edge in the solo in "Wintersong" but most of that is just my own thinking; trying to approximate a winter wind with music



after watching Naked Lunch as much as I did last week,

Posted to Utterances




the phrase "I'll expect a full report" takes on a whole new meaning

This one track on there, "The Animal," I just read over it a couple times then grabbed the guitar and channeled something out of the air that fit in tonality (this is also exactly what I did with "Rhapsody in Sepia"). It turned out to fit not only in tonality but in content. The changes within this music pulled from nowhere matched the changes in the poem; all I had to do was stretch out some pauses. I added some bells as an imbellishment, threw some effects on the voice to make it stand out more and to reflect the character's mental state, and Bam it was perfect. I'm hoping to accomplish this a few more times on this record. It simplifies things a great deal.

The other approach I've been using is to compose something with my midi sequencer (or, in one case, acoustic guitar) that I loop and then throw improv guitar on top.

Then there was the one where I made a drum loop out of percussive sounds from objects in my room (to capitalize on the rhythm that Jordan had in his delivery), then put simultaneous guitar lines that are somewhere between Rage Against the Machine and Captain Beefheart. It's ironic because it goes to a poem called "For the Masses" (depicting an artist's frustration with his audience preferring that he be in pain, pay his dues so-to-speak, so that they can have the art to consume; then it shifts to contemplating the Reason for his pain)

Been using distorted guitar sounds. And pulling on Tom Morello (Rage Against the Machine's guitarist) and "Edge" Evans (U2) for influence. You can hear a little bit of Edge in the solo in "Wintersong" but most of that is just my own thinking; trying to approximate a winter wind with music