Month: October 2023

In this week of class we were each put into groups and given an individual artist to research and examine. The options were as follows – Nazar, Burial, KMRU and Elianne Radigue. Our task was to create an 8-10 minute presentation on our chosen artist (which was KMRU) and present it to the class.

Our blog task this week is to analyse how artists utilise synthesis and samples in music production, how they compose these compostions and bring them to life. First I am going to talk about sampling, I have gone with the track ‘Jazz (We’ve Got) by the east coast hip hop group a Tribe Called Quest.

The song is a celebration of jazz culture and its influence on the east-coast hip-hop scene. Prominently featured throughout the song are samples that embody the spirit of jazz, both in instrumentation and rhythm. One of the central elements is the sample of Don’t Change Your Love” by Five Stairsteps which provides the backbone of the track. The catchy drum loop and the jazz-infused rhythm from the song set the groove for “Jazz (We’ve Got)” and give it a laid-back feel.

The production techniques employed in manipulating these samples highlight the group’s creativity and their knack for creating a unique sonic landscape.

When talking about synthesis in music I have chosen the song ‘Chamber Of Reflection’ by Mac DeMarco. The main focus of this song is the reverb heavy synthesizer and its catchy chord progression, which is interpolated from Japanese artist Shigeo Sekito’s song “The Word II.” The iconic opening riff which plays throughout the song is a re-recorded looped sample picked from this.

The synths play a huge role in establishing the song’s overall mood. They create a lush ambient backdrop for Mac’s vocals to casually glide over, sending goosebumps down your arms. The song features several elements to create this desired effect, including pads drenched in reverd and delay, arpeggiated melody lines, and modulated textures. Subtle pitch bends and filter sweeps combined with echoes work to add intrigue and depth to the music.

His use of synths are integral to creating an emotional peice and captivating the listener to stay around until the track ends.

When asked about the synths on his latest single he responded ”As for the synths, when you play guitar for six or seven years you get kind of bored, so it’s a way to mix things up. I don’t really know what I’m doing anyway, so it’s all just fun for me”.

Giles, S.C., Robin (2014). On the Record: ‘Passing Out Pieces’ with Mac DeMarco. [online] The Georgetown Voice. Available at: https://georgetownvoice.com/2014/03/06/record-passing-pieces-mac-demarco/ [Accessed 27 Oct. 2023].

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In this week of class we delved into the technology of music production and how studio recordings became more and more hi-tech and gained quality as the equipment used advanced throughout the years. In particular we looked at the progression of analogue to digital recording and the beginning of full stereo sound.

One of the earliest techniques for studio recording was the use of wax cylinders. In the studio, performers would gather around a microphone or horn as a phonograph engraved their sounds onto rotating wax.These cylinders allowed immediate playback for review or duplication, but their fragile nature and limited sound quality posed challenges.

Some of these challenges included being unable to mix or modify post-recording and being fully mono. The inability to mix the track after recording meant the performers had to rely on their instincts to position themselves in the live room so they were heard, and to move around when there was a solo for example. You can see this in the photo above.

With the invention and introduction of tape recording into recording studios the ability to record additional tracks and overdub instruments gave producers and artists alike much more creative freedom in the production process. On top of this tape recordings were much easier to store and contained quite a lot more audio data.

One of our main points of talking was Pink Floyd’s ”The Dark SIde Of The Moon”. This concept album pushed the boundaries of studio recording in several ways. The album’s production set a new standard for creative studio work, showcasing the potential of sound engineering as an art form in itself with the tape editing, samples and dozens of layered guitar riffs and vocals.

In our third friday class of the term, we looked into how songs can drastically change from their demos to the fully fledged studio recording. We looked at a select few tracks and were asked to discuss their sound, instrumentation and overall audio spectrum. For our blog this week we were tasked with choosing any song of our choice and completing an analysis.

I have decided to go with the song ‘Orange Peeler’ by the American slowcore band Horse Jumper Of Love, who I recently saw in concert. I chose this song because even though it only has 3 main instruments, the sound that is created is absolutely massive.

The song starts out with this heavy reverb drenched chord progression from the guitar player that sounds almost synth like before the laid back vocals come in as if he is telling us a story, quoting a girl in his lyrics singing “She said ‘Baby, don’t be so down on yourself. At least not tonight please”. Following on from the first verse the instrumentation stays the exact came but the tone is completely changed. Instead of this reverb heavy synth guitar we are instead greeted with a very overdriven sound before the instrumental outro of the track.

What I adore about this song is the switch up tone wise hits you right in the face and brings the energy of the song way up. Comparing this with the demo version which does not have this, you can really hear the difference in what it accomplishes for the song.

With the over 2 and a half minute outro to this song, they ramp up the distortion with multiple overdubbed guitars all playing the same thing creating this wall of noise that sounds like it’s coming at you from all angles. Accompanied with the post-punk esque drums and low rumbling bass line it really makes you feel like you are in a room right next to them.

I have linked each version of the track, including an epic nine minute live version (linked below) with some crazy sample loops and even fatter sounding fuzzed out guitars than the original studio recording. What I love most about this version is Dimitri’s use of his pog 2 octave pedal in combination with a roland space echo creating these huge soundscapes that encompass all of your ears hearing frequencies.

During the second Friday class of the term, we were assigned the task of delving into a selection of popular mainstream songs and dissecting them to figure out the overall structure within each track. Following on from this we were asked to choose any song we liked and write about it in our blog. I have gone with the song ‘Blue Hawaiian’ by the American Indie Rock band ‘Pavement’.

The tune opens with a mellow keyboard riff before the hypnotic drum groove comes in followed by the lazy monotone vocals which give the song a heavy slacker vibe, accompanied by the catchy driving bass line that sticks in your head on repeat. The first verse is quite laid back instruments wise, with the jangly open tuned guitar not even coming into the song until the pre-chorus around 40 seconds in. The gradual buildup from the first verse to the pre-chorus and the introduction of the guitar adds an element of anticipation and engagement for the listener.

Following on from the pre-chorus the energy amps up for the first chorus, bringing in some distorted lead melody riffs and ending with almost opposite feeling transition back into another grooving short instrumental before returning to the verse section. The next pre-chorus section comes in with different lyrics and a louder vibe including samples and lead guitar to add a sense of progression.

After the final chorus comes the solo / instrumental outro. What I love about the solo in this song is that it is almost completely atonal and even out of tune at certain points. This emphasises the lo-fi slacker rock vibe of the tune, as if it sounds bad on purpose. And with that the song fades out with the same verse groove we are used to.