StaticNomad

Hello.

Yes, I don't do so much jazz, as you know. I'd like to do more. I started out as a bass player in in my teenage years and also played for a couple of years in a jazz quartet, mostly playing walking basslines.

Playing jazz for me is all about playing along with jazz grooves. If it's a jazz groove I like, I can play some decent jazz. Otherwise, my playing is more along the lines of blues, funk, rock or metal.

This track's entire foundation was that cool intro that is just leftover recycled slide guitar playing that I turned into a bassline. It's interesting how much it plays in the track (most of it). I used to enjoy just listening to that intro over and over again. Very ambient, indeed.

It turned into a jazz track when I found some suitable jazz MIDI files in the EZ Drummer Jazz expansion pack. I, of course as always, modified them a lot to get what I wanted. Yes, like a 'jazz piano trio' 0:45 - 1:52.

I listened to your Polish (?) blues track and quite liked it. I can definitely see the connection to my playing towards the end of the track. Some pretty standard blues slide playing from me there. But, in this track, I think it's quite a cool surprise.

9:41 I could have turned the ending here into a new track as I love this end section. Or made it much longer. Lots of beauty and cool grooves. There are even two basslines, starting at 10:15.

There's jazzy keys and piano quite a lot in this track but usually quite subtle. 5:04 I really like. 4:55 check that heavily delayed keyboard part.

6:41 is my favourite piano part. You can dance to that. Makes me think of old Cab Calloway sort of jazz.

6:19 guitar I also like. Took lots of editing to get that right. Very tight, controlled stuff. That was important to make it funky. And I also had to not interfere with the groove and the piano behind it.

"it's quite different from your other songs"

Yes but I think there are lots of typical elements from my style to recognise. All the jazz playing makes it different for me. Other tracks have shorter jazz moments and much more blues, electronica, funk, metal etc.

Glad you liked it. I was sure you would.

I had a listen to that Steve Mazzaro piece. Never heard of him or the Stallone film though I'm extremely familiar with Rage Against The Machine's stunning Bullet In The Head song.

The Mazzaro track is a good heavy blues track and also has other cinematic elements, as is to be expected from soundtrack music.

Perhaps the closest thing I've done to that is this unconventional blues epic. Not very close but maybe it's something along the lines of what you were thinking I might be able to do. I don't know. It gets much rockier in the second half though I have much heavier rocking in other tracks.

Thousand Ball Blues

http://www.looperman.com/tracks/detail/148075

Hi. I don't really do a lot of guitar strumming as I'm much more into riffs and textures and stuff.

I'm not entirely sure where the strumming is in this track, especially as you didn't say which bit you meant. Maybe it's in the rockier chorus sections eg at 2:14 or in the strange blues end starting at 8:45.

Oh no, feel free to nitpick as much as you like or simply pick out some aspects of the track that you liked. That would probably be more interesting to read than “Cool track Man”.

I’m interested in people’s reactions to different sections as feedback keeps me thinking and helps me improve.

Oh, and I could and do nitpick, which means there are sections I know can be improved so I will go back sometime and do just that.

Hi. Sorry for slow reply.

Lots of audio and synth parts in this were made way back around 2002. One of many projects sitting on successive hard drives waiting to be completed as I go through software updates, new gear and techniques and the eventual return to the desire to begin working on them again.

The best bass playing that you're talking about is all from all those years ago. Some fun funk there, for sure.

I actually started out as a bass player in my teenage years but became much more of a guitarist after about 5 years and that's my main skill these days. I don't play bass often though I also often go a week or two without recording (perhaps even picking up) any of my guitars.

5:10 I thought that section might be one of the weaker ones here. It's definitely quite a change from what's preceded it.

Here's a much more recent funk track containing quite a bit of bass guitar.

http://www.looperman.com/tracks/detail/160058/comment-reply/506654

And I'm trying to complete a new epic that is probably my greatest ever funk track. Lots of bass guitar in that one too. It's called Bright Side Of The Sun and is coming soonish to The Loop.

P.S. Anyone's free to make suggestions about my stuff. So much going on that I totally appreciate all the other ways that it could have been done. Or could still be done! I do occasionally go back and change things based on/inspired by people's suggestions or criticism.

Hi. I totally agree that someone could make a whole track out of the first 48 seconds. I love those strings. Quite exciting and some good tension that gets released as the hi hat builds things up and then the big drumkit and bassline come in.

Maybe you remember that I said this track was one of a 3-parter, the other two being Three Miles Late and Right Place Wrong Century. All three have that same string instrument in them but they’re used differently in each track. So, the first 48 seconds here are the new set of ideas and presentation of that string instrument. I could have made it much longer but chose not to as I had so much other stuff to progress into.

I do bring the strings back at different points but I appreciate that that is completely different from doing a whole minimal string track like Steve Reich. But I don’t really make that sort of music. Maybe one day but for now I love my drums and fat grooves and guitar and big basslines.

“there's not so much of longer melodic phrasing”

I really don’t understand what that means and I’ve tried hard. But I will say that I think there’s a lot of very melodic stuff in all my tracks. Guitar parts you can sing along to and different, interesting melodies played across lots of instruments. I’m not sure what a long melodic phrase is.

So, I also don’t understand what I’m doing that’s different for you 4:00 - 4:45.

“you've made everything yourself”

Yes, that’s true of almost all my tracks. Very, very few samples in my stuff, apart from programmed acoustic drum kits but I view them just the same as synth presets. They’re building blocks that you then work with as you choose. After all, I also don’t build my own guitars. They’re kind of like a preset!

I really think this is one of my most special tracks and I’m surprised when I listen back to it just how much there is going on. Exciting throughout and I’m really pleased with pretty much all the transitions. They feel quite natural though, in some cases, that took a lot of work.
Thanks again.

Word up, Spiv.

I recommended it to you cos I suspected you’d like it. It’s also a particular favourite of a friend who listens to a lot of extreme metal but he liked the end heavier section much more than you did. He thought that was one of my finest ever live band-sounding sections. I think I have many others just as good but I can’t say if he’s heard all of them (probably not).

I’ve listened back hard and still think you can hear each instrument pretty well in those heavy bits. It is supposed to loud and a bit dirty. I will check back but maybe the problem is the string pad in there that is very bassy (but also doing a good supporting role).

“Some interesting drum styles in this one”

I was slightly surprised at how good the heavy rock kits I used a lot of the time didn’t sound that heavy as the first half is pretty chilled out but driven by those kits. There’s a certain amount of extra drums and percussion eg a timbale sound as well as the pitch swept hi hat part you get right as the drums first enter.

“I expected more potent or prominent 303 lines in this”

Sorry I couldn’t manage that. What’s there is all I decided to go with, especially as I had a load of other synth, guitar and bass parts to work with. Hard to say if it needs more 303. If you’re well into acid, no doubt that’s just what it needs. Metallers will probably want more heavy stuff introduced earlier.

“I was enjoying the guitar and bass grooves very much”

Most of those parts were played a long time ago, quite a few back in 2002. I only resurrected the project this year.

“I think your songs tend to expose a listeners deepest preferences when it comes to music”

Yes – there’s so much going on in my tracks that people will pick out what appeals most to them, which is something I get slightly familiar with after a while. I’m always happy to hear what really stood out to people. It’s sort of my job to make everything and nothing stand out ie all parts to be equally as good as each other, hard as that is to achieve.

Glad you enjoy reading the comments. I write far more than most people but it is my music so not surprising I have more to say about it than most people.

Thanks again.

A big fat funk epic called Bright Side of The Sun is coming soon.

Thanks. Glad you enjoyed listening. I also make music that is hard on the ears ie heavier...

Thanks for listening and sorry for the slow reply.

I guess pretty much all my tracks could be considered “art pieces” as they’re certainly not pop music and don’t have any obvious structures or vocals and are very detailed, lengthy and complex. They’re just my sonic explorations in long track form.

This one’s very short for me and was the last few minutes of an 11 minute track. I chopped those last few minutes off so that the track didn’t end up being 15 mins and then extended them a couple of minutes to get up to around 5 mins.

Check some of my other tracks and you’ll see what I mean about lengthy “art pieces”.

Thanks again.

Thanks.

Greetings and welcome back after a while.

Yes, I'm not quite sure what that intro guitar sounds like. Probably many things! It's simple notes but I think it's all about the groove and the autowah tone. I like that and don't use it enough.

I don't actually have that many guitar intros in my stuff, especially considering how uch guitar there is in my tracks. There are certain lazy reasons for that that I won't go into now.

I'm not qute sure if you're saying that Jaco Pastorius WAS "always taught to learn the melodies to songs on the bass" ie he learned the main melodies of the song on bass so he could play them back? I only sort of do that. Maybe you're saying here that I seem to be playing other melodies in the track on the bass. Maybe though I'm terrible at learning parts and copying other melodies.

Yes, 4:50 new fat beat is supposed to be louder to give the track a lift as it kicks into that fat new kind of hip hop beat. Maybe you think it's too loud. Maybe it is. I will consider that when I go back and make finishing touches.

"guitar change about 5:50 where it gets like a disco guitar"

I never before thought of it as a disco guitar but I think you might be right. I thought of it as reggae and kind of backed it up that way with the drum groove. Even though the drum kit is partly a hard rock/metal one.

Thanks for the feedback. Some deep funk coming in the next couple of weeks.

Oh, and if you want some more funk basslines; while you were away I did a track that I actually stuck in the Funk category. I'd say it's pretty damn funky. And rocking when I switch things up halfway through. And it's only about 8 mins. Like a neat little pop song! Enjoy...

3,000 Miles Of Funk http://www.looperman.com/tracks/detail/160058

Thanks for checking it out and the thoughts.

“You might enhance it by shortening the song”

This is a complicated subject for me. I tend to make very long, epic tracks that are progressive journeys through sound and a mix of genres. Average length is probably about 10 mins and I even go up to about 17.

In the last year I have had some success in making some shorter tracks ( 4-7 mins) but I just can’t help doing the lengthier stuff. Sometimes I enjoy chopping the end off and turning it into a new track when I can see that the track is likely to be 15+ mins. But if it’s only 10-12 mins, I tend not to split it in two.

“less synths and more analog instruments in their place”

Hard to know what to say about that. There’s quite a bit of guitar and bass in the track and I have many tracks with a hell of a lot more guitar. I also have tracks with no guitar (pure electro). I like the range of synths in this one and I think the 303 stuff is a fun surprise. Maybe you don’t really like synth sounds?

If you want to hear much shorter chillout shuffle blues with more guitar try this: http://www.looperman.com/tracks/detail/155503

or heavier and with loads of guitar and much less synth try these:

http://www.looperman.com/tracks/detail/155188

and

http://www.looperman.com/tracks/detail/146806

I also have many tracks containing banjo though never in a country/bluegrass style. Check this one out:

http://www.looperman.com/tracks/detail/146210

Those should keep you going for a while.

Thanks for listening.

Hello again.

Yes, my tracks contain so many elements that it’s difficult to mention even half of them in a review. But that’s OK – you don’t have to. There are probably at least 5 or 6 different things going on in most sections though I do, of course, sometimes strip things back and make them simpler and more powerful. Hey, I like layers! I’d actually like to incorporate many more layers though it’s always important not to crowd the mix too much.

I like to think I make music containing so many elements that you can listen again and again and find new small layers and parts and understand in new ways how all the layers interact with each other.

“a little bit of a reggae-style drums”

Yes, I think you mean the timbale sound. That’s just a single hit sampled from my old Boss drum machine. I would like to use more of that kind of sound but I need more than just a single sample to work with.

I can understand why you have chosen 0:59 - 1:36 as your favourite section. I’m not sure I have a favourite section in this track but then I’m not really supposed to have one. As the composer/player/producer, I feel I have to try to make every section as good as every other. That’s the aim but it’s always very hard to do. I guess some sections can’t be quite as good as others.

“finding some some different (more realistic?) drums”

Well, I use EZ and Superior kits in most of my tracks as well various drum loops. There are no drum loops in this track though there are some sampled single shot hits eg the pitchshifted hat in the intro. I’m not sure my drums are very compressed in this track. But then I don’t really understand compression and use it as little as possible. Maybe they are compressed, I’m not sure.

I do like acoustic drums but also many other types of electronic sound. I only care about things sounding right in the track so don’t mind mixing different types of acoustic kits with processed electronic drum sounds.

“the beautiful background pad from about 4:00 is keeping my attention”

Yes, I have two pads around that section playing the same thing. Lovely, evolving sounds. I know of Robert Rich, who mostly (I think) does big ambient music.

Glad you enjoyed listening again.

Thanks.

Love The Mayhem is now a possible album title.

Probably for a collection of some of my heavier rather than chillout/jazz/funk tracks.

Yo. You did as you said and have indeed checked out my Opioid. Next you'll have to check out my haemorrhoid. Just a joke (horrible word to have to spell, had to look it up to be sure).

Good point abut the cicada sounds. That synth part does indeed sound like that. I have actual cicada recordings from my garden in Kazakhstan from about 2001 that were stuck in a track I never finished. If I could open up the old project files, I'd finish it ( a whole load of old ones are in that same "frozen" state).

Yeah, I used to be well into slap bass as a teenager but don't care so much for it these days* and hardly dare try doing it because it would wreck thumb and fingers (gotta practise that to toughen the slapping hand up).

The Coolest Frog At The Bonfire is a potential track title (though I also have the still unused The Frog Has Landed) and a good description of that 3:25 lead. Notice how it fades into the background as the spacey pads take over.

You no liking record scratches. You will if you become a cool "west-side" baggy pant dubstep DJ.
6:23 new tornado beast is quite powerful. Notice how I use metal drumkits with dance music elements throughout the track to make things more badass.

Yeah, it's surprisingly cool how much of a change adding distortion made to that recycled bassline. I bet most people wouldn't know it was recycled or even a bassline. They'll just hear it as guitar.

Yes, 8:40 the lead crazy synth is rising up to take us out to the transition. Gotta make it big and ballsy. I'm pleased with all that distorted, delayed synth work (7:47-8:50) that sounds kind of like metal shredding.

Yes, this one actually fits on the site! The site has influenced me to make stuff that's under 11 mins as I can fit 10:55 at 128K.

I still might make the final end delayed guitar outro drone on for longer (maybe 15 secs) with some more massive delay.

Regarding sounds you don't like (record scratch): maybe one way to see it is that because I use so many sounds, it's inevitable that some people won't like some though I guess some people will like all of them all. Others may hate all of them. But they can go eat a bowl of dicks.

I'm currently working on a cool electro funk track as well as a triplet/shuffle badass mean motor scooter slide blues grunge one.

* But you've gotta see Stanley Clarke play slap on an acoustic double bass. Badass aggressive shit that I saw live in New Orleans last year.

Thanks for checking out my funky strength.

Regarding it being self-indulgent - that's a topic I could write a great deal about. Technically, everything I do is self-indulgent as it's just me exploring sounds and riffs in long format structures with no commercial aim, no proper song, no choruses or verses or whatever and it's not pumping dance music so not something you can just dance to and get lost in.

Maybe you just mean it's very long. Maybe you don't really like long stuff. I do and have many tracks quite a bit longer - even up to 17 mins (10 mins is about my average). I have been trying hard to cut them down in the last year, with some definite success. I've uploaded a good few shorter ones this year (eg Rainbowcatcher) but also this 4 min chillout blues piece http://www.looperman.com/tracks/detail/155503 or this far out pure electro sort of dance track http://www.looperman.com/tracks/detail/156638

Maybe my stuff's like a much more modern Pink Floyd or Yes or Ozric Tentacles. Hard to say as it takes in so many styles and I like to think every track is markedly different from every other.

I'd say the only Level 42 bass bit is the short slap part (damn, Mark King was/is really into that!) but maybe some other basslines too as I haven't listened to them in many years and was never really into them anyway.
You want more snap and pop from the kicks and snares? OK, I'll have a think about that. You may be right.

And I think you want more sub bass. Again, could be good though I sometimes find if I have too much, it muddies the low end. I like lots of low end but I sometimes fail to get it to sound good so I hold back on it. If you want some fat low end sub bass, try this grooving epic as I believe it qualifies: http://www.looperman.com/tracks/detail/154691

Thanks for the suggestions.

Cool, man. I try to make as many parts as possible stand out, if you know what I mean. That's why stuff tends to get so extended: if I come up with something good, I want it to come to the fore rather than just be buried.

I try not to crowd the mix (unless it's as an intense effect) so for everything to be heard, I find I have to just have more sections and then let different parts take over.

I can totally see why the funk (basslines) here would stand out for anyone. I guess club/dance/acid music types would find the 303 parts stand out for them.

I'm not really sure what stands out for me in the track. But I'm not really supposed to have favourite parts. What I mean is that I try to make everything equally awesome so if it's not then it needs to be removed. Or I tend to find a way to eventually make it awesome, sometimes after a lot of thought away from the studio. That's why I do indeed have to put a lot of effort into what I do.

It's not simple working with so many parts and trying to make music that doesn't really fit into any genre and which has the ability to surprise me.

I still do that all the time. I never really know what I'm going to get with all the experimentation that I do. And that's why my tracks sort of have no easily definable structure. They just keep going, with all sorts of peaks and troughs and chilled bits and heavy bits and slow bits and fast bits and funky bits and so on.

Thanks for your thoughts.

Oh, and if you want a bit more funk, I recently did a track that I actually stuck in the Funk category. Unsurprisingly, I'd say it's pretty damn funky. And rocking when I switch things up halfway through. And it's only about 8 mins! Enjoy...

3,000 Miles Of Funk http://www.looperman.com/tracks/detail/160058

Yo, yo, yo. Glad you got down with the dopeness.

Yes, it’s a funny little guitar intro that I have no memory of playing and you don’t know what you’re going to get until the bass and drums properly enter. And then there are some fun, funk basslines.

“You pack so much into each of your tracks its unbelievable”

I know – sometimes I think if I cut them down a lot more, they would be more memorable as there’s just too much to remember (even for me, seriously). But then you’ve always got the fun of coming back to one of mine and being transported through so many different terrains and moods and sounds. I find I can sort of rediscover many of my longer tracks when I listen to them again after not having done so for many months.

“I really love that vox effect on the synth there at 3:25”

Yeah, my oldish Korg Z1 synth there. Should use that sort of sound a bit more, perhaps. Very exciting sort of instantly arresting sound that grabs you though it can easily become a bit cheesy if you don’t get it right.

“bitchen bass throughout”

Yes – I think it’s an unusual mix of funk bass guitar and synth bass. I think people tend to stick to one or the other in a single track but I’d say that this has distinctive basslines from both.

“also really dig those spacey sounding pads starting there around 4:15.”

Yes, it’s two pads and they’re playing a melody I find quite moving. And very far out. Pure ambient groove there. You could remove the bass and drums and it would still work fine. But I’m a bass and drums/groove obsessive so I like to keep them pumping.

“Theres never any boring rides with you my friend”

I find I have to keep myself interested throughout whilst making the track and don’t dare bring a part or section back unless I present it in a new way. That way, the track is constantly moving. The trick is making the transitions feel natural. Or at least desirable.

Thanks for your thoughts and congrats on your bitchin’ new slice of spooky dubsteppery.

Hello again.

Yes, the lead around 3:14 is my old Korg Z1 synthesizer – the only hardware synth I have ever owned (or used properly). I haven’t used its internal sounds for many years (almost all my synth stuff is Reason devices) but that part (and quite a few others) was recorded maybe around 2002. I can’t remember.

It was good fun playing that part and controlling the cutoff frequency using the Z1’s X-Y pad with my left hand. Great lead sound I should use again.

I only played a couple of tracks to one of the Ozric Tentacles many years ago (the flute player) and the tracks weren’t very good so I’d love to play them some of my more recent, much better music. I’m convinced the Ozrics would like them.

Yes, around 4:00 we get 2 evolving pad sounds that make the track more mysterious and give the feel that it is building to something. Which, of course, it is.

Your comments are very useful. You are easily one of the best reviewers on the site and have contributed a lot in a short time being here (as well as lots of quickly made skilful music).

“sometimes your replies are far much better reviews on your own stuff than the actual comment”

I agree. I try to write things that might be interesting to people who are really into what I do and would like to know more. Also, I use replies to express my feelings as I think it’s important to try to make sense of what you do.

One person once commented on one of my tracks: ”I'm enjoying the music and reading the comments and your answers - it's like a little booklet of musical knowledge combined for both ears and eyes.” http://www.looperman.com/tracks/detail/147824

Yes, music is a lot about feel and being in the moment and going with the groove but there’s so much more to it than that. Sometimes you have to really think in a very organisational, strategic, sort of business world planning kind of way if you want to get better and do things you haven’t done before. So, analysing what I have done and can still do can help a lot.

You improvement suggestions are good. I only know two scales (major and minor) though I never consciously use either (or any modes, I don’t know any). I just feel all the notes and use zero music theory.

“Use odd meters”

Yes. I’ve still never done a 3/4 track so really must do that sometime. But I use triplet and shuffle grooves quite often. I have some EZ MIDI drum files of drumming in 6/8, 7/8, even 11/8 (!) so should try to use those sometime.

I also need to learn more instruments. Cello would be cool though I would want an electric cello (so I can put it through effects and don’t have to record it on microphone) but they are very expensive.

I should also learn a really unusual instrument as that would appeal to my unconventional character. More work with vocals would also add a lot to my music (and mean I don’t have to play so many riffs). So much progress to make!

Thanks again for your useful thoughts.

Sorry for slow reply to your fine and touching review. I'm sure I've got at least 20 tracks I prefer to this but it has grown on me since uploading. You're welcome to it as your favourite of mine. Probably 303 stuff that really sets it apart for you.

Guitar intro is optimistic (good adjective).

"1:37 starts a bass that P-Funk would be jealous of"

Maybe. I think it's the bass slides that really makes that bassline cool. Played many years ago probably to a different drum groove. The track is a combination of old setup sounds (eg Korg Z1, shit Yamaha drum machine, Rebirth 303 loops) and my newer sounds and software.

"2:34 has a nice drum roll"

I like that. Must do it a bit more.

Slap bass is something I used to play quite a bit in teenage years but no longer as I ain't in practice so it batters fingers and thumb. I started out as a bass player so used to be much better at it. But it's cool here and a nice little, brief surprise.

3:25 killer Korg Z1 lead sound. Simple notes but good movement with left hand on its X-Y pad. Some scratchy glitch FX added afterwards eg 3:53, 5:33.

The main drum kits I use in the track are hard rock/metal kits, which I find surprising as it's not a heavy track till the last few mins.

"4:51 with the aceed effects, was not expecting that"

No one ever expects the aceed. Aceed's chief weapon is surprise. Surprise and modulation. And squelch. Aceed's chief weapons are surprise, modulation and squelch.

5:42 reggae guitar. Had to add drum hits to mask the cutup nature of that guitar part. Otherwise would have sounded choppy. Couldn't manage to replay the part as I did it years ago.

6:31 good point about bird synth. It sounds just like that. 6:41 I just add distortion+reverb to make same part bigger and better.

6:51 Korg Z1 string pad. Very rich and bassy.

7:29 no guitar! Just the earlier (eg the previous bar) cool slidey bass guitar part with added plugin distortion. Saved me bothering to play a new part.

Then no guitar until pumping riffs at 8:26. The lead work is all Z1 synth soloing + massive delay n distortion starting 7:47 . Hard synth rock! 8:21 very cool.

8:45 transition OK, not great. Guitar solo to lead us into chill ending. New chill guitar 9:43. Very happy with jazzy drums behind it.

Glad I could be unpredictable for you in this one. 'Tis my aim with every track.

I look forward to taking delivery of your 72 virgins (old will do). Will look out for a large truck delivery from Canada. Damn, better go out and buy 72 beds now. Or maybe only 36 (they can share).

P.S. My return present to you is a new exceptional synth supergroup album you will love and must get. Details here. http://www.soundonsound.com/sos/may14/articles/node.htm

Hello again.

"..You are writing a whole book in on song"

Yes, I agree. Lots of reasons for why I make such detailed, lengthy tracks but one of the main ones is fearing that things will get boring at any point (though I try not to overload the mix). I tend to address this sort of point quite a lot in my track replies.

Crucethus recently mentioned that my track reviews are often like a novel so it's interesting you should say a similar thing. I have a lot to say musically and a lot to say about music so I think they're connected.

But not everyone who has a lot to say about music comes out with such long, epic tracks. And I guess there are people who write lengthy epics who don't have that much to say about music (or just choose not to).

Yes, I like the basslines in this. Check the riff on 7:28 as it's one of the major basslines used at various points in this stuck through a software amp so that it now sounds like a big, distorted guitar riff.

Sorry I can't let you use any of my basslines in your stuff. But maybe you can come up with something related of your own that will specifically fit whatever it is you're working on.

Thanks for your words.

OK, here's another link to a track I made a long time ago. Production is not as good as in Circular Motion.

http://www.looperman.com/tracks/detail/103946

I have to keep removing a track every time I want to upload a new one (50 track maximum) and I do have a new one to upload so will probably remove Not For Fear Of Folds in about 12 hours.

Enjoy!

Hi. Yes, I know what you mean about this track sounding better than some of my more recent productions. That is a difficult and painful thing for me to admit and it’s something that has bothered me for many years. Yes, I think lots of stuff I have done since is very good yet this track just has some sort of special, mystical ingredient that makes it special.

I’m not sure if my more recent music is overproduced. Yes, I do use a lot of effects but I try to use them only ever in an appropriate way. Maybe I need to think a lot harder about that and try to keep things simpler. But it’s so hard to know, isn’t it?

I guess this track does has some sort of connection with 'sufi whirling dervishes' but in a much more modern electronic style rather than a more traditional, acoustic Middle Eastern style.

I will try much harder to work out why this track is so good and see if I can learn from it. If I were able to open up the original files, maybe I could try doing a remix of it as that would be fun (though probably also quite difficult).

Thanks again for your considered thoughts.

Hi again. I’m sure you’re the only person on here who comments on all the tracks I recommend to you.

“I cant say it starts at any point”

I don’t really know what that means. It starts at the start – with that opening synth bassline.

I agree that the track could be much longer. But I have so many very long tracks that it’s good to have some shorter ones. I made this about 13 years ago when I hadn’t developed as many production techniques and didn’t have so much equipment or software.

Now I find it easy to make very long tracks and have to try to stop them from being even longer. Thanks for listening to what might be my greatest ever track (it’s hard to say).

Hello.

This track was going to be the first 4 mins of a much longer deep shuffle blues epic. But I changed my mind and decided it would be better to keep this as a short track and then use the other material I had already composed for the other epic track.

Together they would probably be about 15 mins and I'm trying hard these days to do some shorter tracks (but I find it difficult). Here is the longer one, which is also a deep exploration of chillout shuffle blues (but it gets much more rocking than RAOHK):

There Goes Gravity http://www.looperman.com/tracks/detail/156081.

I think the bass in RAOHK is probably best during the solo (from 1:57).

"I like also intro and the vintage synths"

I don't know if that pad intro synth is vintage but someone else said the same so I guess it is. I use it for the intro of another track I'm still working on.

"Very interesting guitar soloing - lots of little motifs played but very expressive"

Yes - my actual live playing is not as good as you hear. I carefully edit and join together the best bits of guitar solo jamming so try to find all the best little motifs and join them together in a fluent, expressive way. This is probably my best chillout guitar solo. 3:02-3:14 is my favourite section.

"structure of this composition, I mean there's no really versus/chorus"

Yes, it is strange - like many of my tracks. There are a couple of minutes of moving around different riffs and sounds and then it's a 2 min solo (so, half of the track) and then the end. No verse or chorus or bridge or middle 8 but not just a blues jam.

"a resonance of the sitar over guitar"

Yes, I think it's very unusual. Never heard anyone try that with blues before. Not much sitar in blues music! Now check out the sitar and tambura in There Goes Gravity. Lots more guitar riffs and soloing in that track.

Thanks for your very accurate and detailed review.