A bitch is a bitch

i'm working on my guitar playing skills some more before i put out more stuff. maoz and cover band have been demanding more time than i'd like to be giving to them, but very soon i'll have a bunch of raw vocal demos wit lite backing rhythm sections.

is there a new version of "every time you go" i could put backup vocals to?
all i can figure out for "letting go" is a spoken word thing. and i don't want to do that. suggestions?
if "not a dj" were less dissonant (how dare i speak such blasphemy) i think it could be catchy.
and if someone could send me less digital sounding instrumentation on "ear" i could put that together better.
if rachel could add something to the new "joy" song to give it more depth, i'd like to work on that.

i havent done anything with everytime you go in the past week or so, i think rachel was gonna start pulling it in some direction

the dissonance and mechanized weirdness were what i liked about "not a dj" i think the arrangement just needs to open up a bit, bring stuff in and out of the mix more, maybe a longer structure, i dunno

i haven't touched ear really since that first thing i did, i dont really know what it needs

i concur with rachel doing something to joy, its too monochromatic

i'll bug rachel about trying different instrumentation on "ear" and then i'll work on the structure to get it ready for more work.

i love the mechanization and weirdness, always, but the dissonance appears too much in rachel's stuff. it's great if there's a solid melody that it can lurk behind, which maybe there's one that can fit i haven't found yet. i think i can find that for "letting go", just needs lots of practice, but i think dj should be cleaned a little bit.

is there a chord progression recorded you wanted me to toy with? my memory sucks. i'm working on that too, with other types of drugs. yey getting older.

and both of ya'll should give me some contemporary listening material. what good music is being made now?

demo vox uploaded to the main me directory, shitty takes but just a general idea of where my part wants to go. one sort of floaty stretched out part and a singy rappy other part. hard to tell what goes where so only one part, i figure james knows where all the cycles begin and end. i'm drunk beyond the empire of words right now so pardon sloppiness in singing/this post, i'll rerecord as soon as i get some feedback and sober up. also- to james, please give recommendations for good cheap condenser mics to pick up as im shopping around for them this weekend so i can finally record all of my weird instruments i have lying around if any of you want them (toy piano, real piano, autoharp, violin, maracas, maybe cello, maybe trumpet and if the clarinet comes around this summer maybe that)

i discussed this with james but for "every time you go" i wanted to make a female/male counterpoint with the lyrics, with the male being a sort of idealistic crooning love thing and with the female part being a jaded WHATEVA YO LIFE SUCKS thing, kind of like the black eyed peas' "shut up" which you should all hear for fun and profit

here are the lyrics i have so far. if this is too much straying from the tone of the piece please give feedback and editing will occur

floaty part:

(i don't need you
i don't believe you
time to leave soon)

talky sing muttered part:

we got in our hands in our pockets with nothing new to say
chain smoking nights after ten hour days
it's life's cruel joke to always turn this way
nothing gold can stay

i really like "letting go" pretty much as is but cleaned up. thats my favorite thing about rachels stuff. i always go for something seemingly simple and groovy, but when i write around rachel i cant tell which way is up which leads me to do things i wouldnt normally do. i want to have some songs mixed in that are just weird dense walls of shit.

i barely listen to anything when it comes out, most of what ive been exploring recently is stuff that i've just overlooked from the past

recent listenings:
dalek - "abandoned language" and "from filthy tounges...." (shoegaze/hiphop, on patton's label so you know its good)
shrinebuilder (ex- melvins/sleep/neurosis/saint vitus)
greymachine - "disconnected" (ex- godflesh/isis)
kayo dot - "blue lambency downward" (avant garde/progressive/cinematic)
toby driver - "in the library l l loft" (lead writer for kayo)
the locust - "safety second, body last" (fucking nuts)
daughters
various unexplored corners of the melvins discography
relistening to NIN occasionally, in a different way
michio kurihara - "sunset notes" (older guy thats been playing 3rd guitar for boris the past few tours and appeared on their mellower "rainbow", really good 90% instrumental psychadelic 1969ish-sounding)
revisiting the white album in a new light
shellac - "at action park", "terraform", and "excellent italian greyhound" (progressive post-punk from steve albini)
oxbow - "an evil heat" (jazz/post-punk/avant)

this band vampire woman i've been recording recently has been exuding a good bit of influence on me, ill send you their shit when it gets done in a few weeks, i dont want you to hear unfinished mixes and write them off as another hard-to-follow noise/hardcore band. they're very expressive if you give them 5 minutes.

started looking up microtonal music recently havent listened to any full albums or whatnot

i guess im still getting over courtney being here and not listening to whatever i want all the time, that and im working on music a lot more so when im not working i want to rest my ears, and working with all these grindcore bands has kinda pulled me into their realm rather than me actively seeking out new music.

the last popular new thing i was really impressed with was probably "in rainbows" but i didnt pick that up til 6-9 months ago

my friend came across this thing the other day called "fractal music", its just like computer generated music, but it never repeats, it just goes on seemingly forever according to some algorhythm or something, ill have to find the site, sounds like really good video game scores

something in conversation or wikipedia stumblings reminded me of Pierre Schaeffer the other day. one of the first avant garde tape-loop manipulators and shit, all pretty raw stuff but really cool for the time, you can tell it influenced throbbing gristle and einstrunde neubaten (however the fuck you spell it) and that generation of industrial, probably the late beatles and shit too. need to revisit him

right now the condensers i have are a pair of Nady SCM900s which were $50 a piece, i use them for vox/acoustic guitar/overheads/room mics/pianos if i were to record them/djembe....anything really. i also picked up a pair of samson c02's at a pawn shop this past year, 50 for the pair, those are the ones that came with freds drum mics, i use them less but theyre good for overheads/rooms/vox/whatever.

the important thing to consider is condensers take phantom power, meaning they have to be powered via 48V that runs through the mic cable. to get access this illusive power you either need an interface/board with it built in or some external phantom power unit (not sure how much one would be). also condensers are a lot more sensitive to being fucked with. they generally dont like getting tossed around as much, being exposed to loud shit close up (drum heads/guitar cabs/anything you wouldnt put your ear next to). you can get real cheap like radioshack-esque ones that run off batteries (called "electret"), i dont really have any experience with those tho

another important thing youll see a lot more on condensers is switchable polar patterns. i wish someone explained this to me before i started buying them. http://en.wikipedia.org/wiki/Microphone#Microphone_polar_patterns
dynamics are usually just cardioid or hypercardioid cause theyre usually up close to the source. the 3 really fucking handy ones to have are omni/figure-8/cardioid. if you can find one that will do all three of those (nady scm1000) itll be worth the extra money once you figure out how to use it. cardioid is great for directionalness (lead vocals, smaller acoustic guitar sound), omni is great for big sounding things (room mics, gang vocals, open acoustic guitar, piani), figure 8 is funny one that comes up in weird places, they can be really good for stereo imaging if you have 2 or if you have a cardioid and figure-8 mic together. (more of a feature for opener sounding things like overheads/rooms/piano/ensembles) the switches will look like this (http://cachepe.zzounds.com/media/quality,85/brand,zzounds/c3_final-e015a23b0c47c0935289d49d84426728.jpg)

they also come in 2 main types: large (http://upload.wikimedia.org/wikipedia/commons/thumb/1/11/Microphone_U87.jpg/170px-Microphone_U87.jpg) and small (http://upload.wikimedia.org/wikipedia/en/thumb/6/65/AKG_C451B.jpg/220px-AKG_C451B.jpg) diaphragm. large will pick up more low end usually, but you cant always judge a mic by its appearance

along with switchable polar patterns youll also see filters and pads more on condensers (http://www.inta-audio.com/images/products/zoom/1251299886-39592700.jpg) the left switch is a high-pass filter, the lines represent an EQ chart, you can take off the low end say if your vocalist is all up in the mic's business. if you have it near something really loud a condenser could easily be sensitive enough to overdrive your preamp, hence the right switch is a pad, meaning the mic is 10dB quieter with that on.

new kaki king album drops in a week, pretty pumped about that

its supposed to sound more like a live 3-piece ensemble, i guess a happy medium between her first 2 acoustic albums and her 3rd and 4th shoegaze/jazz ones

on the complete other end of everything also check out "khanate" and "salome" (the doom band not the iranian politcal rapper)

khanate makes burzum sound like a merry-go-round

salome is like painfully slow doom with a hot-ass singer, their drummer sometimes keeps time with mimed 16th notes to the ride cause its just that fucking slow, but its still intense

fred i will fight you nothing is dissonant stop listening to things wrong

i will fihgt you to dead

alsoif we stick with physical video for a title (i feel i tmay not be evocatdive enough) the obvious titls for an ep is "sex tape" which is pretty much what physical video could mean if literally but that could be weir dconsidering we all banged. or awesome

yeah, i just used you to bang fred by proxy

yeah i agree with rachel tho, its not so much dissonant as it is clustered and unstructured. i think what you're referring to is the lack of a place to repeat some memorable line

i have faith that if we continue with physical video (which i will fight to the ends of the earth to keep as the name) we'll all do enough drugs at some point together that we'll all three wake up naked and then carry on without any memory of it.

dissonant doesn't mean bad, i just means sounding unstable and like pain and grief shit. i like rachel's "marco polo" stuff more, so consider this me poking with a pointed stick towards that.
but it really isn't the unstructured thing, it's just very difficult to pick the note to sing in between the other notes on those. and more structure and changes would be sweet, and would make me shut up.

"and where the fuck is YOUR new music fred!"

hey, fuck off minds of yous and me, soon you'll have enough songs to fill a norwegian forest (the cat, not a forest).

Oxbow is fantastic.

also, listen to hawkwind. where hippie meets punk.

best you are el ever

https://ihatecoleslaw.forumotion.com/suck-a-cheetah-s-dick-f1/a-bitch-is-a-bitch-t3.htm

alright so i took a couple things from this thread and did the exact opposite:

1) can't redo vocal parts until get new equipment/retinker with the eq on the presets on my shitty recording thing, because even the so-called dry signal thing on there is gay for various reasons that are annoying and the end (these should all happen within the week though)

2) fred said to avoid density and dissonance

3) james said to avoid fake instruments

so i made some dense dissonant fake instrumental stuff. i have no idea what you guys can do with it and i don't know why either, hence uploading for dead ends. maybe you can sample parts of it or chop it up for weird noises or whatever. they're "chorale.mp3" and "dissonance.mp3" in the /racheltown folder

they kinda sound like theyre different parts of the same song, i noticed that with some other stuff you made, i forget what