theburglar
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Everything posted by theburglar
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I totally understand. I’ll post here if viable options come up :)
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Thanks!! That makes me super happy. I listened to the whole thing on wax for the first time the other day. Made me excited for the tracks again.
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Nice, seems like tracks that take a long time to make are the ones that grow on people slowly- i like that. Happy new year everyone!
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It's only on volumes and world building as far as I'm aware!
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*spits coffee all over the framed and signed world building cd on my mantelpiece*
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Some were actually given away, but they were also broken
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Thanks! Haha yeah the hum is pretty noticeable. I re-recorded every single channel through my bedroom mic with a bass amp and had to spend most of the production time EQ-ing and noise gating to keep the hum to a minimum and not phasing at intersecting frequencies. Uncertainty pond was inspired by Millais "Ophelia" painting What is the lineage between these tracks and the tracks from the Bridgeland sessions? I’m hearing similar vibes... I think there was some overlap with the recording sessions, using similar synths and patches though bridgeland had a lot less emphasis on detail and iteration. Both bridgeland and world building came about after i got rid of some cumbersome analogues so the sound is a bit more digital.
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Let me know if you don't get one. Pretty sure Sam will see this as well.
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Thanks! Haha yeah the hum is pretty noticeable. I re-recorded every single channel through my bedroom mic with a bass amp and had to spend most of the production time EQ-ing and noise gating to keep the hum to a minimum and not phasing at intersecting frequencies. Uncertainty pond was inspired by Millais "Ophelia" painting
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No trackermatte planned or being worked at currently. It's a frame of mind sort of thing. Trackermatte is a lot of (only) computer work and that's not inspiring atm. It's easier to combine RS stuff with other non-music aspects of life as I can take little synths with me and work from anywhere. There are some collabs in progress, however. Not sure how and when they might materialize, but it's good and with awesome people :)
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Nice! Hope it looks really good. Haven't got my copies yet! :))
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Strange poet was one if the last tracks I did for the album and I had gotten pretty deep into reworking, analyzing and detailing by then. The intro is me striking a cast iron pan. I was going to use the individual sounds to complement some other percussive noises but ended up trying out different doppler effect treatments on the whole thing in Adobe Audition and Cecilia5. There's more room/time for playing with space, depth and texture in tracks with little to no percussion and that one is a good example. Many layers of voices, field recordings and digital and analogue synths basically. That is my voice in the track and I just mixed out much of the processing near the end to bring it to the front. Robin Harwood is amazing at identifying and isolation the different ranges of sounds to make everything crystal clear. We also had the same idea as to what the overall texture of the album would be, as I had in mind something that would sound vaguely like Isao Tomita. Yes I must have made that in 2012. It was the first Rolando track.
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Cheers :) Many bottles of Omnipollo Fatamorgana were emptied in the making of this record. Highly recommended!
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Do you think you'll approach your next album/release with the same process? I find it kind of awkward to include 2 year old tracks on my releases, and generally my approach to composing changes somewhat quickly. Just wondering if you're already off on another idea, or trying to remain with a bit of continuity for the future. Good question! I also have a big problem with including older tracks on new releases unless it's a good fit. At the time of release even newer tracks are pretty old to me so I've moved on since, at my own pace. Finishing tracks takes a long time nowadays as methods change and develop. I'm getting more picky and patient with stuff. I'm probably going to continue on the same path for a while if it yields interesting results. I'm interested in stripping away as much of the conventions and habits as possible and see what I can replace them with. Hopefully it'll take me someplace weird and interesting.
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Thanks! :) very happy to have you
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The artwork is an approximation of what I had in mind as I continually listened back. The idea was that the artwork and the title would emulate the feeling of finding a new unheard record in a dream. So simple and strange is pretty much what I had in mind. I don't think I've used that flutey sound before (might be completely wrong there), don't remember what I used but like many of the sounds on this it's probably a hardware synth (guessing blofeld) combined with a vst synth.
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I take it you did some thorough multi sampling to get that expressivity? Or do you record whole performances and use them later? Haha yes I do a ridiculous amount of multi sampling :) Both individual notes and whole performances. I try to use different media to record onto to tint the layers differently. My studio isn't set up like a studio anymore, it's more of a workshop environment where I bring out different bits of gear and work with them separately for a couple of weeks at a time, switching up sequencers and working on patches. Final product is always insane patchwork and pretty counter-intuitive, but i like the sort-of-rough edges around a track built up like that.
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What would you say the general “theme” behind World Building is? It took a long time to make and I went through different phases of perceived themes. I started reading Jeff VanderMeers Southern Reach trilogy and was really inspired by that (and Umberto Ecos "Baudolino" which I haven't finished). There's a lot of Sally Mann in there as well, mostly because our house is full of her pics of people and rotting flora/fauna. I've started playing around with stripping back elements that are usually found within the genre and adding detail in other areas that I identify as my own to see where I end up. That's the theme of this one I'd say.
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Yeah, already told a few friends about the new album. You have a great grip on micro pitch/blue notes, and an original twist to harmony/melody in general, lush as hell! Love your dynamic bass tones, what's your favourite FM synth? I had a TX7, really loved that one and still use what I recorded from it. Recently bought the volca FM, mainly because of its size but I use it for everything FM at the moment. Usually layered with something warmer!
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Big thanks to anyone who's bought/listened! If you like it - spread the word. If there's any questions or comments I'll be online here all day.
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I would say it does. There's the volumes collection but I don't really count that as an album. I'm not really a fan of going to the archives for tracks either. If someone asks me to make an album I sit down and make something new (with a few exceptions).
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No, another little siren blessed me with its voice for that one :)
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Robin Harwood at The Engine Installation did the mastering. He's a wizard genius, not kidding.
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Much appreciated :) I want this on vinyl as well.. badly. We'll see what happens! Only digital / digipak for now.
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Thanks for the thread :) I'm super excited. Worked on this for two long years. Saintly patience from Love Love :D
