Poles Apart - Digging Through Dirt

Oh Thank Goodness. Roy rescued this one from drowning in it's own waste. track sickness. too much buildupitude.
Listen here - probably much to the dismay of Roy - but i'm excited about this one again

The irony of the name is not lost on me. It was doomed from the beginning, i suppose, to suffer from grievous overdubs only to be stripped down to what is absolutely neccessary.

We are at a point with it (as expressed by Roy in an email) where the addition of an acoustic guitar will actually benefit things (i'll claim the adverb there).

From my emailed response to him:
the "dyamic break" could be a hole that is filled by a new instrument like near the begining (at 0:53 and 1:20) or perhaps the acoustic guitar you're talking about could carry on into the beats- - it might be interesting if a part (acoustic guitar or otherwise - i won't presume to write your parts for you!) based it's rythm after the impending beats so as to hail a resounding "hell yeah!" from the listener when the beats drop to the tempo that their heads have been bobbing to. or the lyrics/words could have that 1234 punch to them.

When imagining this song lyrically, I was forcing myself to imagine diggin UP through dirt. This is also an irony not lost on me.
I think now, it might be interesting to consider digging DOWN. There can be treasure, escape (from less gangster/mob/zombie endings than UPwards), china, et al. Far better possibilities than the dead end of what landed you in such an unfortunate position as digging UP would offer.

Or this could stand as an instrumental as well. regardless, the process is once more galvanized by Roy's mix.


Close closed for now

i haven't posted in a while because i've been avoiding this particular topic

Close is in a period of extended hiatus.

Vince needs to take time to work on his own things and be a daddy to his two kids.
All of the material we had been coming up with was very difficult to maintain and remember due to a lack of interest and probably because it just wasn't that great. After we put the acoustic guitars away, theings got a little strange - forced, you know. trying really hard to achieve great songs without actually writing any.

This time away will be great (obviously for him because his kids are cute as hell) because songs need to be written and ideas need to cultivate so that we have something exciting to bring to the table.

I bid a fond - a very fond - farewell to the era of Close that is now over. We made some great songs and didn't get to record some of them better ones (Dog Bowl, Parachute). We did put together a cd - i'll probably post links to those files. no energy for the process of ripping and ftping right now.

Vince and I play really well together and i look forward to the chance to do it again.


September Song

September Song - written in September 2001. Started working on it before the 11th. finished it after. It's an instrumental.


Poles Apart - Grasping At Straws and other meditations

Roy made this one perk up. For sure.
Get your Quicktime out - it's an m4a file.

The underlying original tracks (guitar, vibes, piano, reeeeveerb) don't make an apearance until the appropriate time now. I think by bringing them in after the first verse, they make more of a statement. the dropping the 'lectric piana for the second verse, the ghosty original tracks really come home and nestel themselves up in you earballs.

Roy and I were both on the same wavelength, it seems, with the importance of the portamento synth that echos the vocal line (in actuallity it's the other way around - that synth helped write the melody) stands out and should be a little dry. Although he may have his own reaons for mixing it that way, I consider it to be the part of a conversation that the other person doesn't want to hear - the "truth hurts" bit of an evasive conversation, which you can't ignore but which seems to make sense. kind of a punctuation for the scenario that the lyrics are setting up - I am more at home with them than in the previous post, by the way - it took some time for them to grow on me because they are so different (at least in my brain) from what we'd been producing thus far. I didn't even share them last time. i shall now. look out.

I don't know if I should give a reason
I don't know if you're still friends
All I know is that the last time he was leaving
You missed the exclamation point at the end.

If you think that I'm unreasonable
you are not paying attention
Watching you is like a dydream that i can't control
half the fun is my intention
I don't know if I should give a reason
I don't know if we're still friends
All I know is that this last time I was leaving
I turned around and saw the end
All i know is that the last time I was leaving
I saw the ending of the end.

The reason is spaces are hard to fill up with a hole in you heart.

I'm totally guilty of penning a WB scenario here - one that has definite roots in teen movies of yore. Sometimes I do that. Onlooker's Low Soft Shoulder and Revolver for instance. Instead of the World Falling Apart in an environmental sense or some sort of topic like that, the World Falls Apart on the inside first. The scene that is set up in Grasping At Straws is one of fiction, like the others wherein some horrible end is coming to the through external means that are beyond our control - however, in G@S the thing that destroys the narrator is that one thread of truth behind hanging-out (think of the portamento synth here), which is the Crush and the I Love You Why Don't You Love Me Too After All I've Given You.

There is an action missing in the song - the action for which there needs to be a "reason." That's the spot where the listener is sent to retrieve their pown personal data to construct the rest of the scene. The song is only as cold and heartless as you are.