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I really wanted Duntisbourne Abbots Soulmate Devastation Technique to be better


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Thread has reminded me how much I actually do love this album.

me too and massif nuff respect to the paradinas unit for throwing his heart out on the proverbial sleeve...the first and only idm dude to really ever do that

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I find the implosion distortion section of Drum Light to be a bit much in headphones. But thanks for reminding me to revisit this album soon!

Heh, Mike & I had a brief exchange on SC regarding that portion:

 

Me: I'll never forgive you for that terrifying blast of sound 2 minutes into 'Drum Light' :p

 

Mike: oh yeah it was good that. A total mistake but as the track went on i thought i'd bring it in at the end.

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This album has its moments. But then you hear a track like Ease Up V.I.P. from a couple years prior, and it's like... hm.

 

I think one of the problems as an album is that it feels like most of the tracks are in the same key, using similar elements. But actually, I just noticed this now on the planet mu release page. http://planet.mu/discography/ZIQ190 Play track 1, skip to middle, track 2, skip to middle, track 3, skip to middle, etc.-- first 10 tracks- if not all- are in the same key and almost sound like remixes of each other. So during full album listening, subconsciously, a feeling of general blandness could be perceived, despite some standout tracks.

Edited by peace 7
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  • 11 months later...
  • 4 years later...

i had nothing better to do so i decided to give this album the brian treatment, meaning i've written down the tonality and key changes for each tune: 

1 - C jazz minor > C minor (the > symbol means there's modal mixture instead of a key change: https://en.wikipedia.org/wiki/Borrowed_chord) - Bb dorian > Bbm (m is for minor) - repeat 

2 - E mixolydian - F#m - repeat

3 - C# dorian > C# dorian b5 (mode 2 of the harmonic major scale) - repeat

4 - C?

5 - Bbm > Bb lydian dominant territory (we hear Bb lydian dominant played over Bbm) - repeat

6 - Dmaj > D lydian - repeat 

7 - G# dorian

8 - Bbm > Bb mixolydian b6 (mode 5 of jazz minor)

9 - C jazz m - F mixo - repeat

10 - F dorian b2 (mode 2 of jazz m)

11 - E mixo - B mixo - E mixo 

12 - D mixo b6

13 - F mixo (with an added #9, which gives it a bluesy sound) - non-diatonic progression (the only one on the album afaik) - Eb mixo (#9)

14 - Bm

15 - F# 

16 - Dmaj

17 - Dm 

the album makes heavy use of modal mixture as you can see.

on a personal note, i love this album. love the harmony and the atmosphere. 

all you have to do now is to try out these scales and modulations. and if you have no idea what any of this means because you're a fucking theory noob, start learning it. it's not rocket science and it can help you a lot as a musician. if an idiot like me managed to learn a thing or 2, you can do it too, trust me.

1*LWNONuXCJ0ONKdh0MOAQWQ.gif

edit: lol at toad's reaction - i expected no less

Edited by brian trageskin
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