An experimental recording of myself playing the guitar improvisation loosely based on a pre-written arpeggio theme. Improvising sequences are also emphasised with digital delay effects including its ‘hold’ function, operated by an attached foot pedal. Since this was more about an experimental performance and recording, the resulted work has never been properly mixed and been forgotten until the time of making this video. Meanwhile, the theme gave a basis for another composition called Winter Love Illusion, soon after this recording, where the arpeggio was played by the piano with additional melodies topped on.
I wrote this
tune in 1989 simply to show my personal homage to Don’t Answer Me by The Alan Person’s Project and Be My Baby by the Ronettes and their
producer Phil Spector. The audio quality of the initial demo was not good and
it had extended experimental piece in its ending.
When the tune
was picked up for my personal recording scheme, which I dubbed as The Soft Core
Project, in 1996, I tried to redo the tune with its core elements only.
For making this
video, I added the sound effect of the wave sound captured in a local beach at
that time in the intro and its replay in the middle and a brief piece of the
experimental sound from the initial demo at the outro.
A brief but crazy composition I wrote when I was yet young. This was not written to be an amusement for ears, but rather a mathematical experiment resulted in the form of a piece of music. When I brought this to my band – The Intellectual Gnomes - to play, one of the mates revealed his honest account as I explained the theory behind the composition, saying, ‘it’s like a puzzle’.
Except for an unsuccessful attempt to perform live by the band above mentioned, I have never even thought of trying to play it again any longer.
I have little things
to talk about this tune. A typical tune I wrote back in the days with little considerations
for the quality of the work. If it sounds cool, it only owes to the quality of
the performance shared with my band mates. More precisely, I simply don’t like
this tune personally.
An eight-minute-long instrumental tune I wrote in early autumn in 1991, which consists of only a couple of chords. Initially, it was started as an experimental recording of a built-in tone I found in my digital synthesizer, which provides the programmed beat in a fixed rhythm with the tone of Timpani, while you are holding any key. I first recorded this rhythm section in stereo, into my multitrack recorder, and later added some sound effects by making use of various pedals designed for the electric guitar.
Creation of this tune coincided with a voluntary holiday I took for about a couple of weeks from a horrible labour work and I spent one of those days for visiting an art gallery to see an exhibition of Salvador Dali with one of my lady friends at that time. There was also another day I spent for a night out that involved another lady friend during that period and when the holiday came close to its end, I wrote the musical elements of this tune and recorded each instrument on top of the experimental rhythmic tracks. I also wrote lyrics for filling the sequence before the piano solo starts, which was filled with impressions taken from some incidents relating to my lady friends and Dali’s clock themed artworks.
In this video edition, the audio track was remixed from the original master and my voice parts are all carefully removed, so that I could bury my silly words that belong to the long gone past.
The bridging piece in the middle, where the repetition of the same brief motif played with raising the key one after another, was originally written as a part of utterly different song called I Want You in early 1990. The song was well written but had a couple of problems; it was too complicated and too long to be a pop tune and the main body of the song was too resemble to Fox on the Run, the world famous pop classic by The Sweet.
All the rest parts of this tune were written in 1993, mainly by making use of the digital sequencer.
Apart from the recording session, the band Culotte rarely played this tune. At least, there is one remaining recording from a rehearsal session, which sounds quite differently from this official version.
Rather an
experimental tune I wrote in autumn 1992. Part 1 was all about writing simple
phrases on the repetition of same chord progression, layer by layer,
mostly reflecting influence I received from Brian Eno’s solo materials in his
relatively early years. Part 2 was a thing written for improvising solo guitar,
which has little – or nothing – in common with the other Part. The title was
given being coincided with my personal situation, where I welcomed back my ex after
a brief interval in our relationship.
The main riff of this tune was written while I was playing the bass guitar randomly. The guitar solo section in the middle and the intro were later added and the first demo recording was made at the end of 1988.
Since then, this tune was never played until 1996 when I decided to redo some of my past materials under a new scheme I dubbed as The Soft Core Project. The audio track of this video is taken from the latter version.The title of the track had little to do with the album cover I'm holding in one of the pictures featured in this video, but probably when I started writing the tune based on the bass riff, I was aiming at making some Bolan Boogie-ish thing.
