Doing production work with Pinscape today. About to record some of Andrew’s guitar parts. He’s got some great sounds for these songs.
Drone # 5
It’s been a few months since the last update, so let’s begin catching you all up.
I’m currently in the pre-production phase for the debut Pinscape album. They have a wonderful mix of IDM, downtempo, ambient and shoegaze elements going on. I’m quite excited to wrap up the pre-production and get to recording guitars and vocals.
I decided a couple months ago to invest my tax return on a Eurorack modular synth setup. It’s something that I’ve been quite interested in, ever since I started working for Malekko Heavy Industry a couple of years ago. I’ve filled about 2/3 of a 6U case, filled with Circuit Abbey, The Harvestman, Intellijel, Koma Elektronik, Malekko, Pittsburgh Modular and WMD modules. I’m looking to get some Make Noise products up in the rig here soon, as well as Antimatter Audio’s Brain Seed. That should completely fill up the case, and I’ll be set for quite some time. My approach to building my modular has essentially been to build a really burly mono synth of my own choosing, and to have some good processing options for external audio. While I understand why so many get into modular synths for the experimental side of things, it will take me a while to get there.
Over the past month I’ve been recording an ambient album with my friend Tim Gray of Ethernet. We’ve recorded 5 songs so far and are looking to record one or two more this coming saturday, which will give us a full-length debut release. We recently dubbed this project, High Light. It’s a blend of both analog and digital synthesis, and we’re going in a direction that’s a little old school. Artists like Jean Michel Jarre, Kitaro and Brian Eno come to mind. If you loved the song, “A Reason For Enigmas” then you are in for a treat! The picture that I’ve included in this post is that of my recording setup for High Light. I’m using my Polysix for polyphonic stuff, and using my Kontrol49 into my modular for monophonic parts, as well as using field recordings and processing them through my modular rig and also running some parts through some guitar effects.
After wrapping up the recordings for the debut High Light album, I’ll be finishing the Wave Effect EP due for release this spring on Bandcamp. Will be working on the Pinscape album for another month or so, and hopefully by the time that’s finished I’ll begin working with my good friend Tanner Volz on his next Anklebiter album. I won’t be in the production chair for this one, I’ll be working as a collaborator from the ground up. Whether or not the material we record ends up being for Jatun, Anklebiter, or some new proejct… I’m looking forward to recording with Tanner as I respect his work immensely.
And no, this isn’t some April Fools joke!
I made nearly 2 banks of patches today with the newly restored Korg Polysix, most of them being pads & weird noises. Here’s a few of sounds stacked up in a 12 second loop…
It took a bit to get around to it, but here’s some footage of Cloud City Cars & Jatun performing at the 2012 Dark Arts Festival at Holocene.
Released today on Bandcamp, The Mass of Portland. My new full-length ambient album.
Originally composed as an exclusive for the website Experimental Portland, The Mass of Portland was a bit too big for them to handle, so I decided to release it on Bandcamp.
1 full-length album served up as 1 song, 47:18 long. 16 tracks comprised of guitars, analog & digital synths, homebrew programs on the Nintendo DS, iOS apps, vinyl record samples, field recordings and tape loops. All tracks were recorded in one take from beginning to end. I recorded most of the album in one day, and then finished the rest over the course of the weekend.
This free / pay-what-you-want release is downloadable on Bandcamp : http://jatun.bandcamp.com/album/the-mass-of-portland