Robert (gurdonark) wrote,
Robert
gurdonark

salt keeping flavor in sound


Work requires a great deal of time and attention now, which is always the case, but sometimes sufficiently the case as to merit this brief type of note to myself and this journal.

I learned that my song "Blue-eyed Grass", having already won a "Best Mood" weekly award at garageband.com in the "ambient music" section, has also won a "track of the day" feature on an upcoming day. The actual blue-eyed grass here has departed, a Spring friend in a Fall dormancy. When I go to nearby Glendover Park, I see extremely tiny daisies where the blue-eyed grass lived in May. The "best mood" award appears to stem from the fact that reviewers write consistently that the song has a "creepy" feel to it, which, I suppose, justifies the "eerie prairie" notion at the heart of the album title.

My sound, based on my skill set, seems to be more about melodic noise and "dark" ambience, rather than the "light" ambience and space music I myself prefer. But I dislike the pop-theoretical baggage that comes with "dark ambience". I do not believe that merely because something does not follow western melodic structures (or even, to finesse a bit, does not follow pre-20th-Century structures, but instead uses "modernist" notions) that it must be titled "Guillotine of the Death Dolls". I have a half-formed (and half-baked) theory which I call a theory of compassionate noise. It runs something along the lines of "noise can be a liberation and an act of love". I've tried to put that into effect in my new remix at ccmixter.org, which I called "Dharasana Salt Works". I remixed three other artists to create a soundscape which imagined what it was like to participate in that portion of the 1930 salt march in which non-violent protesters braved injury to try to symbolically "take over" a salt works. I'm pleased with the result, about which the mixter folks have been very kind. Although adding a "story" to instrumental music is a (time honoured but) fundamentally silly thing, it still justifies my position that complex minor melodies and soundscapes need not be about doom and gloom, but can express compassion in a good cause. I have in mind that someday I'd like to do an album called "Salt March", and name each song after a town along the path of the 1930 Salt March. I need to find a virtual sitar to sample. My Musedit software has a sitar midi voice, but it's on a western scale.

I've been listening to a very interesting ambient work I intend to review by an artist called Solyaris. He does a persistent sound effect with sequenced sound going up in pitch ethereally which is quite familiar and yet quite interesting. I would like to learn hwo to do that effect, provided that I could do it on freeware without undue trouble learning how to create it. One of his song cycles envisions the passing into an afterlife, but then the second CD begins with a song refreshingly titled "Frogs Fall Out of the Sky". I'm told they do, actually, but I've never seen it happen.

I got an e mail from an internet radio fellow to whom I'd suggested a play of "Mind the Gap" off the first CD.
The fellow expressed interest, but, being from the UK, had to ask just what "an electric football field" was and did. I think he assumed it was an open electrical circuit, with wires. With the help of google images and the search term "electric football", I was able to show him instead the child's game that made the sounds in the song.

I noticed I had a number of CDs of last Christmas' "Gurdonark's Unfortunate Awfully Kazoo Christmas" CD in a box, so I put some on eBay for 99 cents. Two sold, in the wake of suitably silly copy, so I ran another ad, varying the ad copy and reducing the bid to a penny, in an effort to move more CDs to new homes.

The next week will be quite hectic indeed.
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