Environment Module 1.a
This particular module contains the lyrics to songs 7, 8, 9, 10,
and 11 on ASPoLaMIMfMM...
 |
| |
 |
| |
 |
| Truest Heart… Truest Heart, I'm forever guilty and forever shall be… In love with you.. I always knew that you would be the one that I would love. Evermore, hand in hand with you my love, by my side. Truest Heart, I'm forever guilty of being in love with you! From the start I always knew it would be your heart, it's just a fact of life. The sun will rise, and the sun will set for three billion more years but "we" will last forever! Truest Heart, I'm forever guilty and forever shall be… In Love with you… without end. In Love with you… forever! Others may talk, and say vile things like we should not be together, but that does not matter anymore! Laughing through the pain, hand in hand with you my love, laughing through the tears... Truest Heart, I'm forever guilty and forever shall be… In love with you…your smile saved me so many days, your warmth was sanctuary! As the years keep moving on, you will always be the one I cherish most. Truest Heart, I'm forever guilty and forever shall be… In Love with you… without end. In Love with you…forever! |
I truly enjoy listening to the orchestral arrangement of the
varying silicone-based timbres.
The opening analog bass line is a “noble achievement,” in that I
was able to realize a “classic” analog timbre with my own design.
It’s one of my favorite “timbres” that I’ve ever engineered. I
simply “adore” the attack, as well as the harmonic resonance, it’
s just so analog!
Another timbre I designed is a shimmering digital “GlassWave”
that anchors the melody.
The “SpacEpianO” timbre shows off my humble “piano play’n
chops,” while it pans itself in circular motions, as the strings offer
a classical sense of rhythm.
I recorded the vocals at the end of a 6-hour recording session
at Nir Averbach’s Muzikhead productions in Santa Monica.
I whisper most of it through a hoarse throat. I was cooked when I
did the vocals.
I think it adds a “haunting sensation” as the 808 analog drum kit
kicks in with a simple snare.
I had a bass line; however, I muted it, I just didn’t like the feel.
The base line diminishes the “haunting sensation.”
Lyrically, it’s rather self evident as to the subject of this song.
| Curious as to what the music sounds like as you read the lyrics? Click on this text field to go to CDbaby for a free listen to The Phylum Chordata's particular organization of pitches, tones, frequencies, and lyrics... |
| Click on the CDbaby icon anywhere within the site to go to CDBaby |
I picture one of the guests, who is locked within the castle, in Poe’s Masque of the Red Death, sitting alone in one of the rooms
off of one of the grand halls contemplating his fate.
As he drinks a cup of wine he understands that his fate is ultimately, death. A death which is near, and a death which is tangible.
However, before he dies he simply wishes to be in love one last time. He knows with whom he wishes to be in love, she too is
locked within this luxurious tomb, yet due to circumstances he is unable realize his dream.
The starting point for this song is the opening 4 measure Latin/Industrial percussion pattern. I was able to program the filter to
open in such a way, which offers a rather unique augmentation of the percussive tonal quality. I then programmed a GothicSep-
hop 808-drum kit to give it an irregular impression of hip-hop in a 19th century crypt.
The bass has a “rubbery elastic” characteristic that I think is cool and I used a “SepianOrgan” timbre which has a dark blues
flavor for padding.
For the chorus I used the upper register of the bass patch that I used in Truest Heart for the “strings,” and you know how I feel
about that particular timbre.
Vocally, I was not able to use my Logic rig at the time due to varying circumstances; however, Dominic Sanzone at Lindell
Productions was able to program his effects at his studio to give a “surreal and otherworldly sense of a repentant demon”
quality for which I was looking.
Lyrically, this is one of my favorite songs.
Dreams of fire…It's desire's fault!
Primordial motivation of an impure thought?
The devil's dream is destruction of Reason!
An angel's nightmare…resurrection of fools!
Primordial desires…
An angel retracts its wings away
Primordial desires for god's truest grace…love!!!
White light of truth turns to and gray!
Primordial desires for god's truest grace…love!!!
Indulgence of thought…conveys convoluted virtue.
Crystal illusions in and gray.
An angel falls! Its wings detached!
Slow comes enlightenment in charcoal and gray.
Primordial desires…
An angel retracts its wings away
Primordial desires for god's truest grace…love!!!
White light of truth turns to charcoal and gray!
Primordial desires for god's truest grace…love!!!
The devil's dream is destruction of Reason!
An angel's nightmare…resurrection of fools!
I had an idea to make an “electroGothTronic industrial
SEPtecK” 80’s new wave song. This meant I wanted to use the
structure of 80’s music, with the musical and percussive hook
characteristics of the 80’s, and the sense of “creativity,” which
in my humble opinion, was the hallmark of 80’s new wave
music.
Although it’s all subjective, to me 80’s new wave is about
several components; however, the first being the bass line.
New wave bass lines, most of the time, had melody like
qualities. I went for a standard Prophet-like bass, played a
variation of sixteenth notes, and then programmed with “hard”
quantization to get that 80’s new wave sense.
The next component of “good” new wave is the percussion. I
was really pleased how the various percussion from the
standard fare of 80’s hand claps to the more modern
scratches, and the Oingo Boingo-like (think Grey Matter)
Xylophone-esque percussion patterns all worked for this
particular song. Understand those patterns were played and
are not loops.
What is then needed in new wave is the quirky timbre
component. Notice during the chorus the sweeping distorted
frequencies timbre that I believe fulfill my 80’s new wave
quirkiness prerequisite.
Lyrically, the song deals with a girl I used to walk with from
high school (freshman year). She had an older sister that was
a senior and when I would go over this girl’s house I would
hear all the “new” Human League, Depeche Mode, Oingo
Boingo, The Cure, DEVO, etc… That was a good time to be
coming of age and all of that…
So, the song deals with the convergence of my “musical,
emotional, and physical” awareness altering my perceptions of
my early adolescence.
It was a new wave love song…back in 1983.
Walking home from school
I was holding your books
I had a crush on you
as we talked about the new wave sound.
New ways of expressing percussion
I became aware…
of so many new ideas…
The timbre and the sound
was unique and profoundly altered vision…
which coincided with initial perception of my first love
as we talked of the new wave sound.
It was a new wave love song…back in 1983.
Odd expressions of a musical sense
led to awareness of a young man's inhibition.
My expression, in real-time, was an odd sensation
as I told you how I felt for the first time!
The timbre and the sound
was unique and profoundly altered vision…
which coincided with initial perception of my first love
as we talked of the new wave sound.
It was a new wave love song…back in 1983.
Style and culture of "coolness" will change…
however, in one's life some things will remain.
Visions and emotions of my first love…
visions realized and inspired by sound!
The timbre and the sound
was unique and profoundly altered vision…
which coincided with initial perception of my first love
as we talked of the new wave sound.
It was a new wave love song…back in 1983.
Robot under the October moon falls in love for the first time…
I was never one who had many friends.
I kept to myself, and I liked to read alone.
When I was a younger man I had a
reputation for being "kinda" rigid!
Switch on/Switch off was my view
no room to compromise just my
true conviction!
Knew what I wanted and I got it.
I never really cared…
what others thought of me..!
Then one day it happened
It wasn't planned,
but it happened…nonetheless.
Cataclysmic changes occur in my mind!
Data's entered, but can't be processed!
Robot under the October moon falls in love for the first time.
I never experienced the beauty of a beach at night,
alone with her
Change of season is in the air…
The moon was full and the stars did shine forever!
Emotions never comprehended
pervade as my soul is born!
One day it happened
It wasn't planned,
but it happened…nonetheless.
Cataclysmic changes occur in my mind!
Data's entered, but can't be processed!
watch others interact. It wasn’t that I had a social phobia, it was that I had nothing of any consequence to share with
others. So, I could go to a party after a football game, back in the high school days, and just sit in the family room and say
nothing to anyone, and I would be content. I would look at the books that were lying about the room or placed within the
bookshelf. Then inevitably, someone would ask, “How come you’re not talking?” I would then say, “I’ve got nothing to say.”
Which I guess could then be taken as being somewhat aloof of “put off-ish.” It wasn’t that at all. I just had nothing to add to
the conversation. I should have said, “Although, I respect your presence and being, I have nothing of any true significance
to share as to augment the overall quality of this particular conversation, so I wish to sit contently, quietly, and read.” I wish
I knew then what I knew now. Anyway, so I’ve had to deal with other’s perception of me being somewhat robot-like.
However, as I progressed through my teen years, I made advances in being more “open” with
others…blah…blah…blah… Musically, I decided to go for a “flat out” techno sounding…well…sound. I layered two
basses on top of each other. I used the bass from Edgar Allen Poe’s PhantazmiK Glass of Primordial Desires…for the
tonal quality and I used bass II for its filter quality. Upon combining and layering the two, one gets a “cool” timbre. I then
used a standard “techno” bass progression of ascending eighth and sixteenth notes. My favorite part of the song, in an
auditory sense, is the mini-solo after the second chorus. This is where my “WanaBtekNO Lead” timbre actually goes out
of tune, just like a true pre-MIDI analog synth, for one note, all the while my bass II filter opens and closes over the length
of this “mini-solo.” It’s a fun song, I tried several different things with Logic’s effects, such as the “vocal whirl” I put on the
vocal track as it ends the second chorus (…it cant be processed) and the song enters the mini-solo.
Everlastingly, my love.
Everlastingly, my love.
Every now and then the truth is so clear!
You are my truest love!
Everlastingly, my love!
with the lower register strings. I believe the orchestral aspect was covered by the upper register of the strings, in fact listen to the upper register
as the filter feeds the amp and the volume increases over the various 8 measure sequences. Ethereally, I believe the various synth textures
covers that specific concern. Lastly, the bass and drum kit fulfill my earthy wish. Musically, I wanted to symbolize the fact that there have been
“x” amount of people born over the centuries and there shall be “x” amount of people born after we both pass. However, she and I are together
by this maternal bond now, in our present state of existence, and I simply wanted to celebrate that fact with this particular musical and lyrical
composition.