Auch diese Woche gibt es ein instrumentales Stück. Wie so oft, bekam es erst einen Titel, als ich die Datei abschließend gespeichert habe. Eine andere Idee, die ich diese Woche nicht in ein ganzes Lied umsetzen konnte, lautete übrigens “Hier kommt die Kartoffelfrau”.
This song happened after I listened to the pre-Creedence Clearwater Revival recordings of Tommy Fogerty and the Blue Velvets. I wrote an instrumental song with lots of reverb on the lead guitar; after all, my vocals don’t suit the early 60s pop music style. The video has a different lead guitar track as I re-recorded it while filming. The title has no particular meaning. I just liked it.
PS: Since I installed a podcasting plugin, there are additional (albeit broken) links at the end of each old 52-second song post. Please ignore them.
This is one of those tunes that would never see the light of day if I weren’t forcing myself to post a song every week this year. I put this one together while I was in Norway (under the influence of Wobbler and Änglagard). It’s all digital instruments, 100% programmed, blatantly defying the traditional prog approach. Am I satisfied with the “song”? Nope. The one thing that “rescued” the track was actually the title. I know where the second part will be headed (conceptually) and I hope it will make the dilettantism at least a tiny bit ironic. Anyway, I found it terribly difficult to fit all the different moods into just 52 seconds. No wonder there’s so few single-length progressive rock tracks out there.
This is indeed a fugue! The second and the third voice play pretty much the same melody as the first voice. I had to transpose a couple of notes to make it sound smoother, plus the ending is what it is. And I might have made a mistake at one point. Once I had finished the MIDI version, I thought it would be fun to play the whole thing on guitar and melodica for the video. It wasn’t fun, but the outcome sound rather nice in my opinion.
This is me experimenting with my new travel MIDI keyboard. It’s a filler if you ask me. Not an unpleasant one, mind you. It might provide a short, quiet intermission. I don’t know. The title was attached as an afterthought given the character of the harmony and the science fiction books I recently read. Hopefully I can add a video, soon. Again, it’s not going to be anything fancy.
This instrumental had the working title “Week #4”. Very creative, I know. Even after recording (and filming) the tune it lacked a title. So I forced “A Walk in the Wilderness” upon it. Go figure.
This song is a homage to Johnny and the Hurricanes. I first heard the band when I was a little kid, long before I began obsessing over music the way I do these days. Maybe my memory is playing tricks on me so I won’t go into details. Let it suffice to say that the music was fun. I discovered other interesting music, eventually. Still, hearing some old beat instrumentals always makes me smile. Here is my primitive take on the genre. I kept the instrumentation simple. Lead guitar, rhythm guitar, keyboard, bass (programmed), and drums (programmed as well, but shhh). I’m very happy with the way the tune turned out. Let’s dance!
This instrumental piece was recorded using the keyboard of my computer. I did correct and modify a few notes here and there. But the main parts were recorded late at night in Cambridge, England, after I had experimented with synthesizer sounds and the idea of writing an instrumental with harmonic layers rather than clear melodies. Or something like that.
This little tune was written and recorded at an unlikely location: the camping ground of this year’s Headbangers Open Air. I had planned to record more tracks back home. But once I had come up with the melody I liked the sparse sound of the glockenspiel. I recorded the song with my digicam inside the car. I had to close the windows because the first band of the day was already on stage, thrashing away. It got quite hot. So for me it’s surprising how the track sounds nothing like the circumstances under which it came into being.