Activity from askmeaboutLOOM
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We bring you an extremely ambient take on the Radiohead classic to finish the album. Fair warning: you...might not sleep tonight if you listen with headphones or good speakers/monitors (which, of course, is best).
From the beginning to the end; after this track we have only one track left in this absurd amalgam of noise before the whole of OK, Computer? is finished. I hope you've enjoyed this bizarre ride, which has destroyed my voice and changed forever the way I sing, seen the birth of at least one new Gyrophonic instrument, and helped me really develop my comfort and style as a producer and arranger.
Since everybody's in the midst of posting their completed tracks for this year's album challenge, I thought what better time than to post another track just finished for last years? This track and its accompanying video features the public debut of our newest homebrewed weapon of sonic destruction: The Macroharp.
Only three tracks left until we've finally finished the full album of OK Computer. The idea here is pretty simple--since we've made basically every other track super creepy, it was time to make the creepiest track on the album something completely different. Presenting rock and/or roll.
This. Is. The. Central. Scrrrrrrrrrrrrrrrrrrrutinizer. Now with the spookiest hype men you've ever heard.
The next offering in our revisit/completion to the OK Computer challenge; is it troubling to anyone else that I find this version incredibly relaxing?
It's been a while, and I figured I should come back with something wholly new (albeit about 4 months old). I've been holding out on posting this because, frankly, it's the most personal thing I've ever produced.
Last minute entry. This was supposed to be, and will eventually be, an a capella/choral twofer with Fitter Happier, but I wasn't able to finish it in time.
It's time to come clean...
If any of our previous posts for this challenge have been successfully creepy, then hopefully, this will be the stuff of nightmares...
Time for a short break from the creepy. Turns out, all that needed changing was one word, and this was actually a bit of Mississippi Delta Blues in disguise--mostly because nobody in Mississippi has ever heard of the word "drivel." Sit back on your front porch with a cool glass of lemonade for this one.
From sort of creepy to really creepy. From cover/arrangement/orchestration to abstraction. This is not your Major's Lucky.
It's probably a different film now (could still be Romeo & Juliet, but they might have to use chainsaws now). Headphones are best, for maximum crunchification.
After writing/arranging, recording, and mixing the first five sections of The Wasteland, I found myself a bit spent, and struggling with the final movement, so I took a few days off to back away from it. I finally returned to it tonight, and, renewed, even managed to squeeze an extra track from it. Thus concludes the tour. Enjoy!
The penultimate movement of The Wasteland, this one keeps it short and sweet.
For Section III (Track 4) of The Wasteland, I finally take to the microphone for narration, with my own spin. This movement is entirely a capella, and with two small exceptions, all effects were manipulated by me in realtime.
Next on order from The Wasteland comes something completely different--no effects, no text, no processing, apart from a tiny bit of compression, and track normalisation. It's one instrument, center channel. Nothing but one man, one mic, and a room. That in mind, headphones could not be more highly recommended.
The sophomore track/movement in my concept album/piece, built around The Wasteland. Finalizing the mix took a bit longer than expected, so I didn't get it in before the deadline for the challenge. Boo. Nevertheless, Expect some surprises.
Movement/track 1 of my new, MeFiMusic Challenge-inspired concept piece/album based upon The Wasteland.
MeFi Music, I'd like to introduce you to some new friends--the tank drum and waterphone. I believe you already know another companion, the musical saw--or, as I like to call it, the acoustic Theremin.
Turns out, a wall of text you can hardly pronounce and don't understand is easier to read in a single take when you sing it.
Track 3 from our new RPM Entry, we dive headfirst into the creepy-as-fuck territory. Special guest Fred on vox.
Presenting the opening volley from Demons of Gyrophonia's new album, for the 2012 RPM Challenge, Searching for Dual-Projecting Interneurons that May Contribute to Spinal Turtle Behavior. Previously.
Mvt. II of Searching for Dual-Projecting Interneurons That May Contribute to Spinal Turtle Behavior. As with the first movement, this is a studio version/dry run we made before a live performance thereof this past Saturday. Once again, the vocals are from Virginia, via Google Voice.
Quite possibly the creepiest science paper ever.
Since Demons of Gyrophonia won’t be together to record this year’s Auld Lang Syne, I figured I’d put my own spin on it by…well, combining a bunch of other people’s ideas.
And to close: you know it, you love it, we love it. That's why we did it properly. Please enjoy.
In a truly avant-garde move, the last real gyrophoniation on Anthemic is an Anthem which isn't yet officially the anthem for the Crown Dependency it's supposed to represent. Also, does anyone know how such a beautiful island come to be the namesake of the Garbage State?
Skipping the next track on the album, as it was the first to be posted here, we move to the nonsense version of the Fijian national anthem--the one in English. Mr. Prescott must have thought Fiji to be a much bigger, stronger, less who-gives-a-shit-worthy nation than it really is.
LYRICS: Well, our country's kind of shitty, But we love it anyway (We have no basis of comparison!) This is Anthemic.
I didn't know Ricardo Montalbán was a Mongol...
Changing gears a bit, we go to one of the more fascinating anthems to grace the album. Kassaman's lyrics were written by Algerian poet Mufdi Zakariah while imprisoned by French colonial forces. He wrote the verses on his cell walls using his own blood. They are, by nature, extremely violent, and (far as I know) may comprise the only national anthem which mentions machine guns directly.
Next in line comes Georgia (the country, not the awful state). Oh, Georgia...your flag is classy as hell, your language looks like squiggly doom. You're pretty awesome. I'm so sorry.
Next from Anthemic comes a much more abstract interpretation of a much more obscure anthem, from a country many more people are prone to forget exists. It's also, probably, my personal favourite track of the whole album. I'd like to think it very deftly stomps through the full spectrum of brilliance and stupidity, at any and all times.
Presenting Anthemic: a collection of abstract interpretations of various obscure, entertaining, odd, or otherwise intriguing national anthems. We start with a fairly harmless country, and a fairly harmless interpretation of a fairly harmless anthem.
So closes another chapter of the Gyrophonic discography. We end Step Outside with two tracks, which elide into each other. The second track begins around the 4'20" mark.
Hooved animals and plants high in starch or methyl cellulose may want to avert their attention now. Kindergarteners, or any other fans of library paste, do we have a track for you! from Step Outside, released 20 November 2011
Moissanite, or silicon carbide, is often used to make synthetic diamonds. Listening to this track, for me, conjures imagery of a manmade crystal cavern, with an ethereal glow, and the not-quite-drip of not-quite-water. The prelude ends and the track proper begins around 3:16.
Track #3 from last night's new, pleasantly topped release, Step Outside, we move from the realm of ambient synth and effects to acoustic improv with some warm, tasty sax in the foreground.
Track Nr. 1 from our new new new album, Step Outside, released tonight, 20 November 2011. We start with something a little familiar, and a little different.
Track 6 from our album Everything You See Here, released two weeks ago--the first of four, being released over the course of this month. Previously from this album...
In the real world, nobody voluntarily plays contrabassoon. Those who are forced to do so only play one note, and it's in long tones. This, however, is abstract, effected, avant-garde contrabassoon. This track comes from our newly released album, Everything You See Here. Don't ask about the alpaca.
Topical? Certainly! Tasteless? Probably! Pantsless? Unfortunately not. Well fought, revolutionaries. I hope these days are the turning points you so need.
A little bit Bang on a Can, or simply hacking away on instruments we don't play? You be the judge!
I like turtles!
The goal of this track is twofold: to serve as a field test of my "new" Korg MS-10, and to honour the impending departure of our esteemed string player and friend, Tommy Scheurich.
This is from a completely clean signal. No effects. Bask in the horror, and take off that bloody ring!
Long-form synthetic ambience, with subtlety that will kick you in the face. Bitrate is HORRIBLE because of the size limit, so HBR and FLAC are available. As always, headphones recommended.