Fermented Mangoes

A sketch in a subset of 19 Equal Divisions of the Octave (19-EDO), instead of the standard 12.

Pretty Penny

Pretty Penny (19-EDO)

I wondered what would happen if I attempted a 12-bar blues improvisation in a disco-funk style. This was the answer.

Venezuelan Beaver Cheese

An excerpt from a test of my recording equipment at the time. The "bass" was played on a regular six-string and pitch-shifted down an octave, but I like the result. The chord progression is what happened when I thought about what a song on the never-made album Tin Machine III might have sounded like, though of course they would have made it rock.

Fuseli

An experiment inspired by trying to shift between the Dorian and Lydian modes the way that one might more commonly shift between minor (Aeolian) and major (Ionian), done in a lo-fi style with quintuplet-grid drums. I had recently gotten into Sungazer at the time. My shorthand naming of "Dorian-to-Lydian" as "DL" is what led to the title.

The Down Low

This began as the Axis Minor chord progression (as David Bennett calls it) pulled inside-out through Negative Harmony (as Tommaso Zillio describes it). It seemed to suggest this melody, which seemed to suggest a synth style, which seemed to suggest the a e s t h e t i c nausea-inducing slow vibrato that evokes a barely-functional VHS or audio cassette player.

Karoshi

Written and recorded one morning while dog-sitting, using the FX100 I'd just gotten and the Ardour DAW I'd just downloaded, neither of which I really knew how to use properly. The night before, I had been studying a random website's breakdown of the elements of drum-and-bass rhythms, and I had taken notes, so I made a single loop that incorporated all of them, and built on top of that. The lyrics practically wrote themselves one line at a time, though I know Philadelphia specifically came from the way David Lynch spoke of the effect that city had on him.

Philadelphia

An impromptu jam to test the DigiTech FreqOut. Slow, unadorned distorted bass with a pedal point (at the especially dissonant minor ninth) over a descending chromatic line in the style of Peter Steele (Type O Negative). It uses only the middle two strings of standard E-A-D-G bass tuning, which would translate to the upper two strings of Steele's B-E-A-D tuning. (I did not, however, run it through a chorus pedal, which would more closely approximate his distinctive tone. I also could have abruptly cut it off at the

Feedback Appreciated

Headphones, solitude, and darkness recommended for full effect. Influenced by the work of Xavier Despas and Reeves Gabrels on the soundtrack for the game Omikron: The Nomad Soul. This began with me figuring out how to load and layer drum samples in Geonkick in the Ardour DAW. The tone on the guitar part is a Mosky Silver Horse overdrive (a Klone Centaur) into a HOTONE Krush (bitcrusher) into a TC Electronic Hall of Fame 2 reverb (an updated version of the pedal that Reeves has used as part of The Cure, interestingly enough).

Akatharton

Testing out the West Pest integrated with the Neutron, and testing drums in Ardour triggered by Midinous.

Bing Pong Kitsch

This is a place for me to put some of the little sketches I've made that I think are pretty decent, but that I don't intend to develop into anything more sophisticated.

Underground Cell