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Sonaris Music Review: Captain Quaalude by Captain Quaalude

Speaking of original music, I got a chance to preview a new ambient/chillout album by Captain Quaalude, available on bandcamp. While this type of music may be “too experimental” in nature for enjoyment by the “common ear” – ambient and chillout music is a great source of inspiration for me personally. Quite often, the “goal” – if you will – is to combine some unusual elements in such a way that they work well together and provide for a pleasant listening experience.

The six and a half minute first track, Flight Patterns, accomplished a pleasant listening experience, but more than that, it’s essentially its own imaginary world, created using sound. The heavily distorted intro is a bit unusual, but things get interesting as the atmosphere evolves, and the track becomes progressively cleaner, as if a fog of noise is slowly clearing the way for different sounds to penetrate the veil, and shine on their own. The track ended abruptly for my taste, I felt like it could keep going for another minute or two, with more evolutions, more progression and development. It left me waiting for more.

Blizzard Shrapnel takes things into a quasi-trap dimension with a big pounding bass drum, some very interesting chords and vocal samples. Dissonant, but in a good way, there are a lot of things happening here. Abrupt transitions from percussion to acoustic guitar, the piece feels like it was made with love, love for attention deficit. I’d equate this particular piece to modern art, in a sense, because while there are some interesting, almost psychotic episodes and changes in structure, it is done in a very clever way. Soft vibes wrapped in darkness.

I’m starting to get used to how this album flows by the time Bang Bang Club starts out with a rich ambiance, vocal samples, dark hip-hop style beat on which I could see Jay Z dropping a verse. Suddenly, the whole thing transitions into a totally new piano melody, backed by clean beats and more vocal samples. Nearly halfway into the album, the vibe is clearly saddled with melancholy.

A lot of planning and fx work went into each composition, as ShortbusTripz again illustrates with intense ambiance – hard driving beat, with raw power. The thing I like the most so far, about this album, is the work that went into the transitions. While seemingly haphazard, the transitions tie all of the tracks together through a common theme.

While each track on the album is fundamentally different, they all follow the same formula. The mix could be improved on some of the productions, unless it’s done in such a way on purpose, which wouldn’t surprise me in the least. All The Way is a fitting outro. The extended vocal sample, lowfi, backed by a saxophone melody, is a fitting conclusion to this eccentric release, which ends as abruptly as it begins.

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Sonaris Music Review: Space – by Fetal Pulse AKA Pedro Costa

The cool part about my “job” is that I get to do what I want, and that means that sometimes I get to review some very original music, stuff you won’t find in the Top dance charts or on the radio, but you might hear in the background of an epic film, or in a cafe by the beach. Today I got an opportunity to review Fetal Pulse’s album Space, which features some awesome original work. If you’re into quality, deep, spacial electronic vibes, read on.

Fetal Pulse is a new experimental/ambient/downtempo electronic project by Canadian indie music producer Pedro Costa. Pedro’s previous production endeavors include some licensing music for MTV, the UFC, and the Oxygen channel, as well as a Top 10 chart placement on the Polish Alternative Rock charts in 2009.

Space is a 12-track LP which releases on Bandcamp on October 22nd, 2013.

The album kicks off with a hard-driving progressive-house style track, Blast Off, with rolling arpeggios, heavenly pads and and a strong percussive presence. Immediately I noticed some unintended-but-interesting similarities between this track and my own track, Sputnik. Albeit better mixed, and better structured, Blast Off features some similar distant space themes. The track is a strong opening for an album packed with delayed fx, intertwinging melodies and spacy vibes – all tied together by a clear common theme.

Hyper Jump takes a step into the unknown with bouncy synth sounds and a relaxing atmosphere while Deep Space takes a leap into the calm, ethereal zones of what lies behind the dark side of the moon.

Touch The Stars adds some uplifting presence to the overall moody LP, with nicely panned percussive elements and a light melody.

The chills of the spacial void took over once Habitable World warmed up and the ghostly vocal oohs cascaded off my ear drums, leaving me in a supremely relaxed disposition. Flowing pads, the plucking of a distant guitar and vocals which shift from the background to the fore, seamlessly accent this excellent track. In my opinion the grandest and most ambitious track on the album, it’s executed flawlessly. An absolutely brilliant production, start to finish.

Interstellar Club is an interesting departure from the rest of the tracks with a funky bassline, and playful melodies. It’s complimented nicely by the technotrancy Zero Gravity Dance Party, which really heats things up with timely transitions,  pumping bass and alternating melodic leads.

Last but certainly not least, Re-entry is an atmospheric outro with a nice mix of melodic and fx elements, tying the album together in one short, sweet goodbye.

Overall I found the album an enjoyable, and relaxing, listening experience. Whether for music licensing, ambiance aficionados or the casual listener, everyone can find something to like about this charming indie release. While admittedly a bit raw in parts, the album – much like space itself – attempts to capture every piece and facet of sound and combine them into an auditory journey while making no excuses, which is does well. I suggest you check out this eclectic and original album, and see for yourself. In the meantime, I’ll be kicking back with Habitable World on repeat.

Cover image by: Sweetie187
www.flickr.com/photos/58782395@N03/

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Sonaris Music Review: Free To Relax EP by Brandon Shaffer

Received a music review request today, from an emerging producer named Brandon Shaffer, out of New York – a place close to my heart. The EP, called Free To Relax, is a mix of ambient vibes, chill atmospheres, and distant beats and is available, independently, via Bandcamp.

While the mix could use some clarity, and the beats could use a bit more of the ambiance flare which is bestowed upon the other elements of any given track, it’s the creativity which shines on this release.

Something about this EP is very raw, but in a good way. It reminds me of the inspirations I felt when I first started writing music, having many ideas and trying to do something with them. Brandon manages to do this well. From the sweet chords of the Minimal Piano piece, to the melancholic atmosphere of Dark Cavern, to the funky vibe of Science & Spaceships, I enjoyed the variety of sound and the progressive structure of the pieces. Emotional Wreck surprises with a slathering of sounds, which all work well together, completing a pleasant listening experience. The release, to me, is a soundtrack to a dark, gritty, urban film.

While it may not be “polished” – what the release does offer is some fresh, untamed creativity from an unbridled talent, something of which I think we all feel we could use more.

Visit Brandon’s Soundcloud and Twitter for more.

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What’s Up With the Music in GTA V?

In a big way, the Grand Theft Auto series – since GTA III – has been a lot about music, to me. A lot of my best memories are tied to playing the game and listening to the radio. Whether it was flying through the streets on the Infernus (sp?) jamming to Rise FM in GTA III (“Time has no meaning anymore!”) with trance and dance music, or driving through the country on a tractor in San Andreas while learning to appreciate classic Country music, or the wild synthy sounds of 80’s pop blaring in my Cheetah – music was always a huge part of what I enjoyed about the series.

It wasn’t even that the games had music I liked, which they did to some extent, but rather the music was clearly chosen very carefully, for each channel on the radio. To me, San Andreas had one of the best varieties of music available; from country, to rock, to rap to electronic, all the bases were covered. While I didn’t feel that the music in GTA IV was quite to my taste, it was still pretty relevant to the game – even featuring an Eastern European channel, for the atmosphere. So, why is it that the music in GTA V sounds so… I don’t know… generic?

Did Rockstar Games lose a brilliant music director? Did they lack time to carefully pick out some amazing tunes for one of their more ambitious titles? Was is cheaper to just pay a major label or two a blanket fee to use their songs?

I suppose any of the above might be true, or maybe music isn’t meant to be a focus point in this game? It seems like even the trailer for GTA V didn’t feature any wildly iconic, theme-setting song with which to associate the game. Is it Rockstar’s way of telling us that, perhaps, music is playing a smaller role in our modern society, producing less legendary sound and more uniform, cookie-cutter formula-driven fare – or is this a stretch?

Indeed, it feels like Rockstar didn’t try to go for that underground, indie sound which could be found so easily, even by spending a few hours on Soundcloud – at probably a much lower cost than licensing music from a major label. This time around, GTA wasn’t a place I found new artists I want to check out, or that new catchy song – in a genre I normally might brush off. I feel like I have been exposed to less new, fresh music content by GTA V than ever before in a GTA series. Judging by some of the discussions I’ve had with my peers, and comments I’ve read on reddit, it seems I am not the only one. Perhaps Rockstar can add the option to send in original music via the Rockstar Social Club, for consideration to be added to the radio as an update or free DLC?

In any case, GTA V, in my rather humble opinion already seems like the pinnacle of accomplishment in the series, through an amazing storyline, smooth-as-silk gameplay – Rockstar definitely crossed the t’s and dotten the i’s in this installment in the Grand Theft Auto series.  Maybe it’s not about the music in this one, maybe the music took a step back to let the rest of the game really shine… which is does – brilliantly.

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An Essay on Ludwig van Beethoven’s Moonlight Sonata (First Movement)

Where does one begin, when describing the legendary sound of the first movement of Beethoven’s Moonlight Sonata, Piano Sonata No. 14, or Sonata quasi una fantasia? Surely one of the most recognizable pieces of Classical music, it’s transcended generations, ages and critics to remain one of the foremost beautiful, universally recognized pieces of music.

From the mighty blow of the first chord of the first movement, the journey begins on a troubling, nerve-wracking note, building and twisting. At times it tricks me as though it’s letting go, but it’s an illusion. The winding arpeggios suck me in, the supporting chords hammering away at my brain through the air, filling every nerve ending, overpowering the senses.

Many cry listening to the Moonlight Sonata, I can only imagine because of the depth to which it pierces the soul with builds which peak, leaving me thirsting for more, but then bring me back down to earth. I listen to this piece quite often when in a somber mood, it just happens naturally. Grey skies, the rain, wind blowing across a field at night, a chilly beach without swimmers, a lonely leaf spinning to the ground as it streaks across the autumn sky. For me, the Moonlight Sonata is a sobering reminder of the ups and downs of life, and that everything is finite, with a beginning and an end.

At times, within the six or so minute period from beginning to end, it can become difficult or easy to breathe, the chest feels heavy then light, thoughts rush through the brain at magnificent speeds.

When the heart aches, I turn to the Moonlight Sonata for the somber comfort. The piece grounds me, helps me deconstruct complex issues into smaller, manageable ones, with each stroke of the keys. The melody carries me into the future, leaving behind moments of regret and pain, infusing them into the way I perceive this piece, over time. And thus, over time it becomes increasingly difficult to sit through this piece, parts of my life attached to every measure. But, at the same time, I am drawn to it, as if it is my favorite release. Sometimes I listen to it over and over again, hanging on every note, every progression, sometimes I listen to it as I fall asleep, and sometimes it’s playing in my head when I wake up in the morning.

The Moonlight Sonata, to me, often serves as a reminder of something constant, everpresent in a constantly changing world where every day is different, people and places come and go, but in the Sonata I can always find an escape into a place inside or myself which never changes. Just like putting down words on paper, it sometimes just feels good to hear that familiar sound which is organic to my mind.

If you’re somehow not yet overly familiar with the piece in question, you may listen to it on YouTube.

At one point I even attempted to re-imagine it, but fell far short of my own expectations, the monstrosity of that result lies here, on my Soundcloud; an endlessly ongoing project, which perhaps I will have enough skill and finesse to finish one day.

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Sketching: How I Make Electronic Music

This is not a how-to, step-by-step guide to writing music but more me jotting down some stuff I had in mind today.

While listening to Zoeken’s relaxing track Rebirth today, I sort of started getting lost in thought. The way the track begins, and for the first few seconds, is a lot like the way a lot of my music begins – a few instruments I throw together one on top of the other. I’ve sort of found a way to auto-inspire myself, if you will, by “letting go” – not going for a particular melody or even genre (like I used to do, when I was starting out) but by basically doing what is the musical equivalent of sketching something on a piece of paper.

Sometimes I start by writing a melody, sometimes by making a beat, sometimes – albeit more rarely now – by sketching out a rough bassline. Even if I have an idea in mind, perhaps I’m aiming to create a sound or dynamic similar to someone else, or going for a specific sounds of a particular decade – I usually start by tossing a few things out there and see if they sound good.

It’s not uncommon for me to start at 130 bpm and wind up with something in the 110 or even 75 range, and the opposite is true, as well. I try not to limit or restrict my creative process too much. The only guideline I generally try to use is: not too much dissonance, and everything should sound “good” – or appealing to me.

I don’t finish every project I start; not even close. Many projects I work on wind up being dreams that might come true someday, or short demo loops and a few which I release for public consumption.

Lately, I’ve been focusing a lot on getting my musical elements to sound exactly as I want them to. When the mix is right, there is room for some interesting combinations of sound which might otherwise not work. I work to make sure there are no conflicts between instruments, and that – much like a room full of furniture – each instrument has its own place.

Sometimes I visualize a crowd, perhaps in a club, listening to a track on which I’m working – or maybe myself listening to it in my car. Visualization sometimes helps me pick the “right” dynamic for any given piece, and set the mood, so to speak.

I throw a bunch of stuff together and then start altering notes, editing chords, adding and removing melodies/percussion and fx, and applying effects and EQ to my project as I work on it. For some time now I’ve been trying different mixing and mastering techniques to see if some new life can be given to older styles of production.

That’s all for now!