I’ve had a very interesting
email, really appreciative of the “Mother Russia” sample from the new Simfonica
“Song Of The Volcanoes” album but saying, and I quote, “I’m still trying to
figure out what I could hear on the track”.
I’ve explained to her that on
that particular piece, there’s 12-string, bass, keyboards, programmed percussion
and voice; but in a sense that’s all a bit academic. It’s the mixing, editing
and processing that defines the genre, thus rendering the actual
instrumentation virtually unrecognisable.
Whilst I’m happy to go with
The Sunday Supplement’s “Kathedral Kosmische” tag (thanks Mark!), the technique
is well-recognised from way back, though obviously it’s made easier in the
digital age. It has its origins in the Musique Concrète movement of the late 1930s.
OK, I’ve added an additional
twist – what I’ve called “cue rhythms” – but in general these are sounds, and
this is a music, that should wash over and around you.
My wife calls it “testing”; I
think she’s being kind! But one thing’s certainly true; over-analysis of it can
do weird things to your head!
Just sharing the thought…
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