12 Days of Dronemas, Day 6 - Free today: La Tortue Diabolique!
This was one of two rather mysterious albums that came out on April 1st, 2013. La Tortue Diabolique is a “tribute” to a local bluegrass-nouveau band called Trampled By Turtles. I thought it would be fun to take one of their “fast” songs and turn it inside out into a cover/remix.
Who says drone can’t be fun?
ps: Day 6! That means we’re halfway through Dronemas already. I hope you’re enjoying it. One week to go. I hope you’ve set aside some hard-drive space. Thanks so much for spreading the word and sharing the releases with so many people. It’s been a very very busy year and I’m not sure what to expect in 2014 yet. Some things are brewing, and I hope to make live shows a priority. Anyway, thanks again.
12 Days of Dronemas, Day 5. Free today: The Drone and the Use of the Drone.
"The Drone and the Use of the Drone (Parts I, III and VII)" was improvised and recorded live in-studio on 08/30/2013. These parts were originally improvised in a live Dirty Knobs performance at Sacred Heart in Duluth, MN, at the Umbrella Cloud Festival on 08/25/2013. It contains a sample from NPR’s Morning Edition featuring Dianne Feinstein (D-CA).
The second track, “Unmanned,” is a new composition recorded in the same spirit.
This iteration of the experiment also adds a bit of time stretching into the mix, playing the results back into the room and then stretching that recording, playing it back again, etc etc. The result not only captures the resonant frequencies of the room, but also explores the space around them. This is probably the most truly experimental Dirty Knobs release to-date. It builds upon Alvin Lucier’s original “I Am Sitting In A Room” recording and includes an entirely original attempt.
It’s Day 2 of The 12 Days of Dronemas where we’re giving away a different Dirty Knobs album every day to thank you for your long suffering support.
Today’s free album is actually just one 40 minute song. It’s a remix of avant-cellist Zoe Keating’s song “Escape Artist.” This was originally done as something of a fan project, but Zoe liked it so much that she allowed it to be released.
Her looped song structures are amazing and you should really check out all of her stuff. It has faint elements of drone that I think many DK fans will like and often has a dark tinge to the edges. She also has a lot of insightful, no-nonsense things to say about the world of digital music, life as a musician and tech in general. You would do well to follow her.
“Where you come from is gone, where you thought you were going to was never there, and where you are is no good unless you can get away from it. Where is there a place for you to be? No place … Nothing outside you can give you any place … In yourself right now is all the place you’ve got.”—
I’ve had a book idea rolling around in my head for a couple years. It’s become obvious that it may never actually be written, seeing as how I’m not much of a writer. It has always been more of a visual presence in my mind, which has made me think it could easily be a film. I am dramatically less fit to make a movie than to write a novel. But films have soundtracks. This is something I can do. And so have done. BEDLAM is a soundtrack to a film that hasn’t been made based on a novel that hasn’t been written.
At its foundation, BEDLAM is about informational decay running parallel with our own sense of place and memory. It is about the struggle for permanence fighting against inevitable entropy. It is about people and places and ghosts and madness and dreams.
While I have labeled this as a soundtrack, it is far from a traditional one. The songs are not actually meant to be sound beds for visuals on-screen. Instead, they are encapsulations of the scenes (or chapters) themselves, of the characters, events, moods, actions, etc.
This has easily been my most ambitious project since the 8 hour album Field Recordings from the Edge of Hell. Where Field Recordings was essentially about creating an oppressive, expansive sense of wonder and dread, BEDLAM has, for me at least, a very specific arc to the story. Finding ways to convey these (admittedly cloudy) images and tones from my mind into sonic form has been an adventure. I’ve tried to provide hints with both the song titles and sounds within the songs, but for the most part I do hope the listener can find their own paths.
Much of BEDLAM was intentionally recorded using techniques to capture the aberrant whispers of noise and grime hiding around the sounds, smearing and stretching the borders. This breakdown of sound fits very closely to the dreamlike state of chaos and decay that much of the story lives in. Another hint.
I hope you enjoy it, and I hope you share it with others.
Today is your last chance to hear/own the special extended edition of Hallow, featuring the 66 minute and 6 second long “Sirendrum666,” two preview songs from the next album, and the album’s core songs, each over 40 minutes long. Perfect for making your Halloween just a little longer and just a little darker.
The bonus tracks will soon be laid to rest, perhaps forever. Be sure to enjoy them and share them while there’s still time!