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Naviarhaiku 168 – Stilness



It was interesting that once I knew the footage that I wanted to use to accompany the audible response to the haiku this week, I started writing to suit that visual instead.

Then it didn't take very long to settle on a fistful of notes across a handful of instruments.

This is my fiftieth video for Naviar Records projects.

Smoked



Remix of this track from late 2015

Disquiet Junto 0272 Exoplanetary Intervals



Remarkably, six of the planets form the longest known chain where each orbits at a resonant frequency of it’s neighbor. From the slowest, the planets orbit at: 1x, 4/3x 2x, 3x, 5x, 8x. If you think of those as vibrating strings, they form a chord or scale: the slowest planet is the root, then fourth, octave, octave and fifth, two octaves and major third, three octaves.


When I first considered the notes I started with G on my 21-fret bass, which seemed to fall short. So I considered B on a five-string bass.

My idea was to improvise a few loops at different points on the fretboard and then set them running, preferably at varying lengths. In the end it got too hard.

There were different parts that worked, so I edited out the parts that didn't work and whittled the overlapping takes down. In the end I could hear some pleasing parts but lost interest in whittling the results further.

Recording layers of bass often ends up sounding muddy. So I choose a bright-sounding bass, then suffered the sound of fingers rubbing along the strings. In the recording above I used my UAD effects, particularly their de-esser.

After writing the above I went back and started playing with the recording in Live again, ending up with the version below. It was exported using VSTs, such as Valhalla and Ohmforce effects with Ozone mastering.

Initially I selected six loops as I'd initially planned and these were stereo panned. For variation I added sections where I was playing the loop as well as looped recordings but in the end there were five parts that were largely long takes.

Two parts are panned hard left and right, two more are at nine and three o'clock, while the last part has two reverbs and sits across both channels. One bass take has been reversed but, aside from a delay effect, all the parts are playing at their original pitches -- which almost covers both extremes of my five-string Warwick Rockbass.

Adam Curtis on documentary music

The thing I find about a lot of factual films these days — it’s as true in America as it is in Britain — is that the use of music tends to be either very clich├ęd or very boring. It’s as if the editor or the director doesn’t get out enough. They choose music which is completely predictable — if they’re making a film about bankers, they’ll put Pink Floyd’s “Money” over it. Your heart sinks. Whereas I like the idea that you choose music that feels not appropriate literally, but emotionally to what you’re trying to say.

Part of the function of journalism if you’re using music and images is to create an emotional platform from which you can draw people into the argument that you’re trying to put forward. It’s not a manipulation. It’s just: “Let me tell you a story.” As you tell a story, you draw people in. Music is so important in that.

Disquiet Junto 0271 Prison Sky



The Junto this week returns to the plight of Syrian prisoner Bassel Khartabil. Wednesday will make five years of detention and also a year since he's been heard from.

The project takes Bassel's description of seeing square sky while "dreaming of the moment I can see sky with no walls and bars" as a cue to music.

I took the chord progression onto the ukulele that I've been playing this week and added lyrics:

square of blue sky
I can pair with it
more in my mind
a bigger square of it
multiplied
many times into
a blue sky
in my mind
think to times
when my blue sky
was free

The chord progression is the same one added to the drums recorded earlier for the Junto duet. It sounds gnarly to add this recording of my singing to either Lapping the Bowl or Crushin'.

Actually, you'll notice the video at top is a mash with Lapping the Bowl. Below is the vocal and ukulele version, which seems a bit naked and embarrassing.

The pitch-y singing and weird timing in places make this more of an experiment. So I've replaced the version below with one repitched up nine tones and used the MIDI recording of the same drum takes to drive a few VSTs.

Naviarhaiku 165 – commercial break



The haiku shared by Naviar Records this week seems to hark back to another era as I haven't bothered to tune in a television in over a decade.

This track came together quickly from a chord progression I started strumming on the ukulele last weekend. A day or two ago I found another riff that seemed to go with it, then remembered the drums I'd recorded for the Disquiet Junto.