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MAROONED available as... duration:
68'30" 1.
Tripping Into The Negative Zone
Recorded
2 March 2001 at Tachyon Studio. Alan Freeman: synths, guitar, voice, loops, bowed objects. Tripping Into The Negative Zone Our hapless space adventurer has yet again got himself
into a spot of bother. Working as a design consultant on a new hush-hush
science project, one day (after indulging in too many space mushrooms) he
falls asleep on the job, only to find himself locked in upon awakening.
Amongst the labyrinth of passages he searches for an exit. Opening one door
he encounters a few Centaurs playing a game of poker. Despite Ernest's best
attempts to fit in, these aliens still think he looks deliriously funny. Or,
was it the mushrooms? In another room, he discovers some weird electronic
gadgetry, whirring and writhing. He turns a dial, and realises he's somehow
been transported to a terminus, ringed by portals. "I didn't want to
come here" he mutters to himself, "I wonder how I get back?".
He pokes his head through one portal and sees a planet dominated by machines,
and through another he sees a world in chaos on the brink of destruction. The
last portal he comes to is all rusted, he tries to read the notice on the
door handle, which says something like "Dx N?t Eml#r". He forces
the handle downwards, and as the door disintegrates Ernest plummets headfirst
through the portal. To be continued? Lord Of The Flies, aka "The Air
Duet" An experiment that came about after trying out some of the
more radical possibilities of the Alesis Air-FX, in particular the bizarre
"Lord Of The Flies" which changes the properties of almost any
sound into that of a buzzing insect. The results are a strangely ethereal and
powerful piece of musique concrete, with a cold unnerving classical feel. Arcanic Lost, aka "Meditation In F" Originally, this was a particularly chaotic and dense
section of this Endgame session. Jim Tetlow's 4 track to stereo mixdown resulted
in a work that was quite spectacular if a bit overlong and not that cohesive.
In mixing it down further for this CD release, I decided to reshape the work,
giving it a new compositional form, playing with EQ, adding dynamics and
extra reverb, vastly expanding the scope of the "rhythmic" section,
etc. The results feel somewhat like 1950's WDR electronics at the start,
growing to an "Industrial" peak, ending with what sounds like a
Buddhist monk chanting amidst a fuzzed wall of electronic gabble! Versions... |
MAROONED
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