StaticNomad

Hi. Glad you enjoyed and found it beautiful. I don't mind criticism but it needs to be specific. You didn't really say why the guitar at 4:00 is not needed.

I'm going to guess you're saying that you just don't like it and therefore you would prefer it not be in the track. I like it for a few reasons. The beat has only just come back in and I needed to make the track bigger and more powerful. I think this guitar part does that well. Also, there has been very little guitar in the track up to that point so I feel it's an interesting, unexpected thing to introduce. I love to do that sort of thing in my music.

I could have gone for a big, screaming lead guitar solo but I what I played (a very long time ago) is a lot more tight and controlled. And then after it, there is a short harp solo, which is another big contrast.

So, feel free to tell me why you think that guitar is not needed. I guess it's not but it sounds good so that's why I kept it. Maybe you just don't like that style of guitar playing?

Hello, hello.

"For an older recording, it sounds pretty good"

As I've written elsewhere, this sounds way better than other stuff I was doing back in 2001. Not necessarily better ideas or playing - just a cleaner, more powerful sound that still sounds good on crap laptop speakers with no bass. I'm actually still trying to figure out quite why it all sounds so good.

But one definite criticism I have is of that main drum loop (the first one you hear, out of which I could make 10,000 tracks). It's a bit too bright and loud in the mix. But I guess that's OK - not everything has to be perfect (whatever that exactly is) and this gives the track a bit of crunch and a bit of an edge.

Because of the slightly odd, eclectic and lazy way I work with my instruments and parts, my stuff always retains some rough edges and character rather than all being too clean and smooth. That's probably a good thing though I do work hard to get everything as neat as I can. But some of the roughness is in the playing, layering and effecting. I do like some little rough edges and a bit of grit. But no too much - I'm certainly no lo-fi kind of guy.

"The Middle Eastern sounding parts fit well with the rest of the song"

Yes - it's a hardly a full-on Middle Eastern track but I never do that as I don't know how. It's just one of the many flavours I add to my stuff when it manages to come out as I'm fiddling about on instruments and with synth sounds.

Thanks for checking it out. As already said - it may well be my best ever track though I'm more than happy for other people to have alternate favourites (I have a lot of stuff).

Sorry. I don't allow any of my music to be downloaded. Not yet - it's not yet finished and mastered properly. I don't want to let people have lower quality versions.

I'm putting together about 8 albums of my material and will probably let at least the first one be downloaded for free. I will announce this one Looperman. This track is very powerful so will probably be the first track on my first proper album.

How did you find this track on Looperman? Perhaps you just looked through the 'rock' section?

Hi again.

"I've learned to be more precise in comments on your tracks because you have very deep knowledge"

I suppose so. It's more that I love a broad range of music and am a real obsessive about it so have a lot to say about it and the making of it. And I tend to express that quite a bit on this site - unlike the majority of one or two line track reviews and replies. Who knows, maybe I'm wasting my time a bit. I like to think not.

Anyway, yes the crispness and definition of the track really does still surprise me. I have a lot to learn about why this sounds quite as good as it does. Let me explain as I'm really not trying to just say how great I am.

I've just listened back to this on crap laptop speakers. The awful ones that are built into the slim body of the average consumer laptop. And the track still sounds great!

Normally, when I do that with one of my tracks, the bass is so non-existent that a huge part of the track is missing. Maybe it's because the bass isn't that low on this one so those crap speakers are able to handle reproducing those more mid range frequencies. But the track still does have some pretty good low end so I'm not sure why it manages to sound decent through awful speakers.

Yes, 3:26 is that cool lead Korg Z1 synth sound. With the tambura underneath. You can also hear it around 1:16.

It's exciting at 3:37 when the beat comes back in with that powerful orchestral sort of cymbal (the build I think you referred to).

I did listen to the whole Marghat track and liked it. But I didn't see too much of a connection to this track though there is a definite connection to the music I make in general. It's much more Indian sort of rock band stuff though not too psychedelic. This track doesn't really have much rock in it, despite that big guitar part towards the end. And it's all electronic drum grooves and loops. No acoustic drum kit and very tightly sequenced so not like a band.

And my track isn't really very Indian. I only guess at Eastern genres anyway. I have no idea what I'm doing!

I checked your profile but could only see that you're from Arlington and have the one influence of AR Rahman. Let me know sometime what your link is to Indian music. Hey, maybe you are Indian, or of Indian descent.

Not really sure why I called this Circular Motion. Titles are always a problem for me and I have to come up with something. My proper artist name is actually Endless Rotary, which is closely related to the idea of circular motion - it's what an endless rotary control does.

Yes, intro bass is very powerful and is heard at various other points in the track.

Thanks. It might even be the best track I've ever made.

I don't like to single one out as I have lots with different qualities but this has something very special about it.

Yo.

Yeah, that recent 5 min dance track was me being very disciplined and intentionally keeping it short. The extension of that track I am working on right now. Oh, what a surprise - it's a lengthy epic! Just about to go record some massive, heavy screaming lead solos as well as some gentle, chillout ones but though I'd reply first to you.

I have a bunch of tracks on this site under or around 7 mins. Here's one with quite a bit of vibe and menace and sax and d'n'b and hip hop and jazz and banjo and metal etc that may well interest you:

Way Beyond Wrong

http://www.looperman.com/tracks/detail/145971

It really does contain 'banj metal'!

I thought Circular Motion might be your kind of thing as it also has a bit of menace. And a good industrial type of clanging drum hit eg on 0:42).

Yes, not my intricate acoustic drum parts that I've only been able to do since getting Superior Drummer a few years ago. Actually, I did intricate acoustic drum stuff before then but the much improved kits and excellent MIDI performances in such software has taken things to a new level for me.

But I like this type of drum track too. A real simplicity that seems cleaner and more powerful than perhaps some of my busier acoustic drum stuff.

Regarding bass, check on 1:17 for a while as there are two synth basslines, with opposite panning. I should do that more often.

Ys, you are correct in thinking you're familiar with menacing bass.

"I saw that you made this one ten years ago"

It's more like about 12 or 13 now. I was only a young man with not much music production experience though a fair bit of bass and guitar playing behind me. Real synth newcomer at the time but, as already said, it may well be my best synth work. Not quite beginner's luck but definitely better than much of the other stuff I was doing around that time.

Only minimal amounts of guitar here and there but that's fine.

Even some bass guitar, coming in during the metal/rock solo towards the end. That should probably be fatter but it really doesn't matter.

Good to hear from you. Keep driving those valves...

"You bring something unique to the table every time"

Yes - that's always my aim. Got to give everything distinctive character. It's OK to reuse the same sounds and instruments but, for me, they need to be combined in new ways. And every new track is a fun opportunity to use a synth sound I haven't yet used (I have thousands I've never used).

I'd like to get more varied guitar sounds into my stuff so really need to get round to getting a quality software amp/effects package such as Amplitube or Guitar Rig.

Thanks for checking it out. I like to think anyone into far out and/or electronic music would get into this.

I think I'm going to put it as the first track on my alternative, far out hip hop-leaning album when it's ready. But it would be a suitable track 1 on most of my albums.

Special stuff that I'm sometimes amazed I actually created.

Hi. This has such a huge sound and the instruments all fit together so neatly that I have trouble sometimes believing I made it. And especially all the way back in 2001. Perhaps some sort of inspired out of body experience music making.

I honestly think Simon Posford and similar people would love it, maybe even wish he'd made it. I'll enjoy listening to it for the rest of my life and doubt it'll sound dated in 50 years.

"only 5 mins....blimey - was there a power cut?"

I think I've gradually made longer tracks over the years as my production skills have improved and new tricks have been added. More ways of making cool sounds means I make more of them and then the tracks grow and grow!

"that kick back in at 3.30 is like a sledgehammer."

It's a very moving moment when that beat kicks back in as a big cymbal is introduced for the first time. Sounds a bit orchestral and that moment makes me feel amazing and like the heavens are opening up or something. Real hands in the air stuff though not in a simplistic rave way. More like the sky is parting and God is finally coming down to say hello.

The system I had then was Cubase and Reason (same as now, though obviously the much more recent versions of both sequencers) running together though I'd only recently got Reason. Actually, I didn't even manage to run them together as one a that point so made loads of loops in Reason, brought them in to Cubase and mixed them with the guitar parts and quite a bit of Korg Z1 parts.

No EQ used and no mastering either. Almost every sound seems so clean that nothing needs to be boosted.

But note the subtle guitar parts back in the mix that probably benefit from being dull and not EQ'd (eg squeals at 1:39, 1:46).

But there's a massive metal-like guitar fill at 2:14!

Not sure if the track is drier than usual. Still various delay and reverb used. A real head scratcher why this is so damn powerful. Wish I could make something else like it now.

Don't really want to extend this. 5:33 isn't long but it feels just about the right length. Maybe someone someday will want to do a banging extended trance remix of this. Especially if it becomes an alternative psychedelic classic.

I think the way it gets brought back down at the end to those choir voices and that essential bassline makes it feel like a proper, epic trip that is neatly bookended.

Good to hear your thoughts on this one, as always.

Yo, yo, yo. Not, I'm not of Middle Eastern descent - just badass descent.

Actually, I was born in Cairo, Egypt and so, coincidentally, was one grandfather but neither are us is Egyptian (very English, instead). I did live for a few years in a Middle Eastern country but didn't study the music in any way. I know very little about scales and completely guess at how to make Eastern scales.

It's a real fluke. All I do is start playing more semitone stuff and then do a bit more a few frets up and that seems to make some sort of Middle Eastern scale or mode.

Korg bassline?

I do have a Korg Z1 but that main killer, intro delayed bass is a monsynth patch I made in Reason years ago. I have used it in loads of tracks - most prominently in Into The Out There (it drives the whole track) and The Fatness.

3:24 lead synth playing actually is my Korg Z1. Amazing sound but I haven't used any of the Z1's internal sounds in years (95% of my synth work is Reason synths).

Also at 3:24 we get the tambura sound but that's also from Reason.

Hard to believe I made this in 2001. Most of my stuff was nowhere near as good as this as I had a lot of production skills to refine and didn't even use EQ back then. Also didn't have all my excellent acoustic drum software (had to wait years to get that). This is all drum loops and one shot hits but they work really well.

"who else does this kind of stuff?"

Someone commented on another site on this track and introduced me to an excellent group I'd never even heard of. They're called Anubian Lights, and a great album is Let Not The Flame Die Out.

Here is an excellent example of their stuff:

Anubian Lights - One Eye to the Sky

http://www.youtube.com/watch?v=Ue0CMZAdr-A

Ah yes - me and all my unreleased albums. I keep saying I'm working on about 8-10 of them (probably more) but don't want to part with them until they're as good as I can get them and nicely mastered.

Had this track on this site for ages, only just featured it cos got nothing else to upload right now but am working on an amazing new one that might be ready in a week.

"Somebody's got to light a fire under you and Tumbleweed"

I don't know if that means we should collaborate or that somebody should burn our asses (if we don't release an album in the next few months).

Yeah, guess it is a bit of a soundtrack piece, with the sparseness in the first minute or so and the choice voices (which is a synth) and shimmering pads and stuff. The banjo is kind of the guide navigating us through that section.

The main section definitely has some bounce and I worked really hard to layer those drums (multiple kits) and keep them interesting and powerful all the time.

There's country trainbeat, reggae, funk, hard rock and more in those drum styles.

The other track is much more rocking and psychedelic but kicks off with some bouncy reggae. If you want to hear it, here it is:

Things That Should Always Be

http://www.looperman.com/tracks/detail/152434

Thanks for checking this one out.

Thanks for checking back in and commenting again.

I think the featured tracks section should partly be about people doing updates and commenters giving their views again on any improvements. Sometimes the changes might be no good.

I like commenting on people's updates and have done it with your stuff.

Definitely a good idea to split the 18 min track in two. Unsurprisingly, I've added about 1 min to one, 2 mins to the other after the split.

I'm fairly happy with this though there are some problems with some of the guitar sounds but that's just how I recorded them and don't think I can make them much better.

"Still can see the first image this shared some time ago."

Yeah, I think it's quite an evocative piece and paints quite a chilled, far out picture in the first minute. But I have to get grooving so I do. I think there is also some of this in the intro:

"Hovering outside the body through thought"

Cool. Don't forget to warm yourself up again after the unreal chilling.

But it's not all chilling in this one. Some good funky rocking too, especially with the overdriven guitars on 5:34.

Yes, lots to read here, as is always the case with my tracks, with me doing most of the lengthy writing.

It's partly me just jotting down my thoughts about the track and I may go off and write stuff in replies that more brief commenters didn't really want to know (I may be doing that right now).

Yes, groove is my motivation and instrument playing driving force. If I'm not grooving, I'm a bit lost - unless it's long, legato, slow soundscape ambient stuff.

"if people don't listen to the whole thing, it's their loss."

I think it all hangs together and when I've listened to it a good few times in the past few days, I've generally been happy to let it play and listen to all or most of it.

I do very lengthy music (this is about mid range length) so probably not for people only interested in brief, immediate stuff. It's psychedelic, tripping, reflecting music.

I also incorporate a lot of blues and have a whole album of alternative blues stuff.

After your recent blues upload, with excellent guitar, I think you might be interested in a few of my blues uploads on here.

So, check out:

Knee Deep In The Cosmic Overwhelm
Pre-Birth Blues
Thousand Ball Blues
Six Of One
A Shackle For The Free.
Zero Per Cent Proof

All quite different and incorporating various types of blues plus other electro and drum elements.

Thanks for your thoughts...

Hi. I guess you missed this track first time round, when it was 18 mins long. Now it's half the length and better all round.

Second half you have heard and liked and is called Things That Should Always Be, the one with the 2 min reggae intro.

The title sounds a bit sad but it's actually a shortened version of a great concept captured in the phrase 'things that have never happened happen all the time'.

Maybe I should just call the track that but I felt it was a little too long.

I hope you noticed the female vocal (it's a synth) has some fun pitch bend on it.

No, bass part really is bass guitar! Hard to tell in my songs (as I have about 5 different methods for making bass) but it doesn't matter for listeners, only for musicians/producers.

Slides probably have a stereo widening effect on them but it's all my own chopped up playing.

Initial drums not one of my favourites (gets much better later on) but I agree that it's quite sparse and not overdone. Have to give the banjo and bass some space!

Yes, banjo sound really creates the mood here but I also think it's very melodic and emotive. Banjo only has short sustain but I play it with delay so like to let the notes ring out.

I'm mostly a groove instrument player so I just do simple stuff around the beat and then let notes ring out while I think up what to do next. Combine legato and staccato and you have groove and good variety - that's how I see things.

Bass at 1:50 goes into the main bass loop and where it starts to become a grooving song. Still just one bass guitar!

Middle section is what I see as the main, insistent, repeated riff, which starts on 4:40 though I spend a couple of minutes building up to that.

I love the guitars there (just chopped up playing, never played that riff as you hear it).

"there is no special "theme" catching the listener's hear"

I disagree and hear it as a riff I can sing (even though I can't sing).

5:34 I love it when it goes heavy and I then add some different chopped up guitar notes for variety.

Then, 5:58 we drop down into some killer new riffs (with little bits of high guitar squeal).

Towards the end, we move into some jazz to take the song down (6:58) with violin and female vocal doing long notes.

Then return to start, with some parts identical to intro. Nice banjo conclusion. Then big, ambient fadeout, with the dulcimer having the final say with one last, low note.

I did not know the phrase 'fil rouge' but looked it up and now understand it. You could also maybe say 'motif'.

"It's almost 10 minutes but they flow in a very natural way."

Good as I make it in a very unnatural way! So much editing to do but I love doing and if I didn't do it, there wouldn't be as much creativity in my work. Editing is my special compositional technique. I do more cutting up and sampling (of myself) than any hip hop producer.

Thanks for your thoughts. More music coming soon.

Sure, send your coordinates and I'll send my space courier by on the way back to me.

I always offer that service to people who check out my tracks and then get so high and far out (literally) that they need returning to Mother Earth. I feel almost entirely responsible for sending them out there so feel I have a duty of care.

No, certainly no band, live or otherwise, here. Just one guy jamming away and editing those jams down and making multiple tracks on the same project timeline from all the playing and edits and additional synths and drum programming and stuff.

It was an 18.5 min track but I felt it was too long, especially as there are killer riffs that it took 15 mins to get to. I've been trying to do shorter tracks so now this one is 9:40 and the other 11:52 so neat little pop singles after that edit. Guaranteed hit singles and international magazine cover status when they're released.

What a surprise that after the edit I added more to each half. I can spin endless stuff out of some riffs and sections if I revisit after a while away, which is partly why I make such long tracks. Ideas that are months and years apart.

Here's the second half, with its new bouncy reggae 2 min intro.

Enjoy and thanks for checking it and this track out

Things That Should Always Be

http://www.looperman.com/tracks/detail/152434

"I appreciate a good review and it's refreshing to see someone contribute like that..for me it's not a competition"

Sorry if I made it seem like a competitive thiang. Not my intention. Once you hit that 'post reply' button, it's gone! I was trying to say that Maffin's words kind of set a new standard in commenting, though you've done loads of good ones too, no doubt.

"I can think of no one who sounds like you in the states."

I agree and probably it's because of all the additional instrumentation aside from guitar. Not many people into delta blues seem to like combining it with psychedelic, electronic stuff. Most people into it seem quite traditional and conservative.

I'm not sure my actual blues guitar playing is unlike anyone else (in the US or elsewhere). That seems unlikely as I'm just not that good and don't play very often. I do play live solo delta blues stuff at open mic type events (but it bores me so don't really do it anymore) but all my recorded tracks add so much more as I love all the electro stuff too.

My resonator guitar is not a good enough quality one to present in a track naked and uneffected. And I think solo delta blues stuff is pretty boring unless you're a real virtuoso. Or have vocals. I'll do some sparser delta blues one day.

The most interesting delta blues guy I know of is Harry Manx, who inspired me to play banjo. Stunning slide player who is unique because he also plays a mohan veena, a rare instrument that is a cross between guitar and sitar, all played with a bar (slide). I want one but you can't buy them in the UK.

Stunning singer too and I'm going to see him live in a few weeks in London.

Wax Audio kick arse/ass. He loves Judas Priest (the Gaga one is good) and Iron Maiden though I'm not into either of them.

Blue Jump is one of my favourites of his. I'm a big Tears For Fears fan. Shout is one of the greatest pop songs ever!

Take care, Non-Bald Faux G.

Yo. I was actually going to send you a PM drawing your attention to Maffin's wonderful review. Not good because he likes the track but because of how he expresses it and the empathy with issues I struggle with when making it and others.

And he even asked for it to be longer - first time anyone's done that.

You now have to think when commenting on my stuff "Is that review as good as Maffin's Low Key Love review?" If not, you need to make it better, which doesn't necessarily mean adding more Latin!

Anyway, the track:

6:07 bass sounds a little different cos of the cool, tom-driven jazz drum groove I drop into. That inspired the swinging guitar there.

And then that high, tinkly piano, which is one of my very favourite things in this.

Yes, bit like an upright and with some playing that makes me think of old, cool, winging jazz like Cab Calloway or someone. I don't actually listen to any of that but was reminded of it the other day when re-watching The Mask feat. Jim Carrey.

There are two pianos in this, with the second coming on 7:04.

This title is, unintentionally, a triple entendre. There's meaning 1, about my more subtle, less ostentatious love for someone, number 2 could be about Norse God Loki and 3 suits the track really well - love for a low musical key (low D). Coincidence that the track is all based around a low key bass part. So, it's a perfect title, though my only intended meaning was number 1.

I'm not sure what the British blend is that I bring to Americana Appalachian blues. Don't know if any of my music sound 'British' (maybe you only say it cos you know I'm English).

I try not to sound like anyone else and not to think too much about other music I like when making my own. I think only about the sounds and where I can take them to make something I've never heard and which I haven't yet heard as I'm always inventing genres in my head.

I can't do all of the stuff I make up as I don't play enough of the instruments and probably don't have the ability. So, I just do what I can, which is still quite a lot.

So much blues bores me but I'm so influenced by the sound of the slide and genuinely think I put it into musical contexts that other people haven't before eg in this track. There's not much slide bass at all, apart from Mark Sandman though his band Morphine didn't actually play jazz. And they had no piano and didn't kick into psychedelic slide rock.

I'm also trying to make some of the music I wish other people had.

I bet you like a good mashup as that's a glimpse at what two or more good artists could have made if they had got together.

Wax Audio is my fave mashup guy. He has 3 great free albums, containing wittily-titled gems such as this:

Golden Teardrops

http://www.youtube.com/watch?v=3GtzaV3Tkk0

Interview with the guy

http://jesterjaymusic.blogspot.co.uk/2013/10/interview-with-tom-campagnoni-wax-audio.html

Hello. I was going to take this off featured tracks last night but kept it for another day so got two more interesting reviews, from yourself and Maffin.

I appreciate all sorts of comments. Don't have to be technical - can be more philosophical, more about the moods and emotions conjured up. Just as long as it's more than "Sweet track, bro" or similar.

Fans can be critics too (thanks again for being my fan) and, even when a piece of music is really well made, it can be fascinating to hear how other people feel about it. That's separate to "please tell me how I can improve this track". I made it so how I feel about is a bit biased. And its hard to separate what I know about how it was made from how it now sounds.

You know I like to give lots of detail in reviews but I feel it's what the site should be about. Helping each other in different ways. If I like something, I usually have lots to say about it.

Maybe I don't need your help as such, but your feelings on my stuff (even if you don't like it, that's fine) is always worth considering and making sense of. You may well have encouraged me to go check out more Robin Trower.

Yes, good point about the intro bass - it's loose and out of time at certain points. That's why I had to chop it up and lose the out of time bits in order to use it as the bassline during a lot of the track. It does sound a bit like a laid back warm up. You'll hear it's even playing at the start of the end rock out section though it then gets replaced by a couple of other basslines.

The blues rock here is hopefully a bit of a surprise and an unusual change from the jazz. I don't know much about Trower though did watch him plus band doing a song back in the day quite recently so bit of a coincidence there.

Yeah, his tone was cool though his playing was a bit samey and boring. I'm sure he's got better stuff.

The two blues rock sections that you get before the end rockout sound like they might be the chorus if this were an actual song with vocals. And then it's fun to drop back down into the swing jazz and that essential bassline.

All the best and see you around on some other tracks (mine and yours).

Such a great review that's a real challenge to answer! You display such empathy and really hear it as I hear it and understand some of the issues I struggle with (how long it should be, are there enough lead parts etc).

It does feel like no computer was used though there certainly was and it's as much cut-up sample stuff as any hip hop track.

Main bassline is allowed to play as it was recorded for the first 45 seconds, then it's chopped in all sorts of ways to make new riffs. Lots of work doing the crossfades between each cutup part.

Piano doesn't stand out to me but you and Crucethus have both remarked on it. That's why detailed feedback is great as people notice things I take for granted or wouldn't choose as highlights.

Drums: not sure which ones you're talking about.

3:45 we get hip hop drums. They're not quantised.

All other acoustic drums have no quantise. I have many EZ Drummer expansion packs so take advantage of the performances. I mostly used MIDI files from Jazz pack (though not for rock breaks and end section). Lots of parts copied to timeline, layered and blendedplus bits that interfere with groove removed.

Don't know Logic 16C quantise. Think I've kept the original drum timing.

"Let the tempo and pattern drift"

Nearly all my tracks are fixed sequencer tempo though no1 seems to notice or complain. I'd like to change this but may need Ableton to get job done.

Yes, instrument playing is loose and lazy (but tightened up through editing - not quantise just the take I use). But loose and lazy can be cool and provide some real humanity.

"a living liquid bed" = awesome phrase. I did wonder about not having enough cool leads but maybe there are enough and this is as much about enjoying groove+atmosphere as hearing tunes and melodies. I think that main bassline provides groove, melody and bass.

"you open so many routes through the forest".

Another killer phrase. It's hard to "pay off" all my routes and one reason I take so long on tracks is scratching my head trying to work out how much longer I should go on for, how many different forms a riff should appear in etc.

You seem to want the track to be longer! The last minute section is too short and should probably be extended by a minute.

I don't do 30 min tracks cos I suspect no one would want to listen to all of each one.

It might be annoying if you were thinking of some killer riffs on 25 mins but then had to sit through so much other stuff just to hear them!

"'more' is definitely more with you!"

Yes, stuff is changing all the time. There are no sections that are a simple repeat of a previous one. Stuff is only returned to to do more: pack more riffs in, vary the groove, apply new effects etc.

I also want to keep going but have to end some time!

This track was part of another featuring actual sax. You'll hear some shared instruments, hip hop drums etc. It's much shorter than this and has even got banj-metal in it!

http://www.looperman.com/tracks/detail/145971

Hi. I'm not sure what you were sceptical about - you didn't say.

Was it maybe what I wrote in the track description?

A few people have doubted my track descriptions before but then listened and said that the track did contain everything I had described (it's not easy describing a long, complicated track in not very many words).

Or were you sceptical about the intro section (the bassline, which is actually detuned guitar)?

That bassline is the foundation of the whole track and plays most of the time (except for the rock sections) and I really like hearing it out on its own like that, which is why I put it at the start. The timing of it is not perfect but that gives it quite a loose feel.

Anyway, thanks for checking it out and I'm glad you got into it. I have lots of other mad, far out trips uploaded to this site.

OK. I will check the studio reels out.

Hi. I've heard some Pretty Lights music before.

But I don't remember it sounding anything like this track. Maybe there is just one section in here that reminds you of a Pretty Lights song.

Which Pretty Lights song were you thinking of?

I don't know what the 12 tone concept really is. Don't think I've even heard of it.

I do know that I like micro tones and guess I use them quite a bit through all the slide playing I do (remember the bassline in this is mostly slide and then there's slide guitar in the rocking section).

Yes, rocking section in this is fun though probably the end needs to be extended by about a minute as it's getting into a cool funk jam and then ends. I like to build things up to go heavy just to show how things can progress. But I don't do it just for the sake of it - only if it works.

Thanks again for your thoughts.

Yes, I like to think of this as intelligent music - I certainly have to put a great deal of thought into making it. Most of my playing I just do in quite a loose, natural, feel-based way, rather than planning it out in any intelligent way.

So, I'm nothing like a classical composer who has to actually work out all the notes and then write them down. I just roughly know the key I'm playing in and then jam out different solos and riffs.

The real intelligence is in the editing and arranging and I have had many times when I really get stuck and cannot work out what to do next. It hurts my brain! Then I leave it for a while and try to relax about how it's going, come back with a fresh viewpoint and get what I need done. I just work on lots of other tracks until I feel like coming back to any particular one.

The smoothness is also all in the detailed editing - constantly going back and trimming and removing little parts that interfere with the groove or things that jump out as being a little bit too loud.

Yes, using jazzy loops can be great fun and various people have done this over the years - there's a whole genre of jazzy hip hop featuring artists such as Madlib. Then there's uptempo dance music based around jazzy drum loops. One good artist for that is Dzihan & Kamien, who have a couple of really good albums. Then there's the cutup sample artist Amon Tobin who uses a lot of jazz drums in his strange, more extreme stuff.

But I don't use any loops here. It's all programmed acoustic EZ Drummer drumkits (plus some single shot hits for the hip hop drums) using jazz and metal kits.

Programmed drums give you so much flexibility over the track and allow you to do all sorts of complex rolls and fills - much more musical and interesting than just manipulating loops. I still use drum loops but I'm not dependent on them and generally mix them up with acoustic programmed drums.

If you'd like to hear some of my tracks based more on drum loops, try these three very different ones: Tiny Little Pieces, Thing Big Feel Small and Restless In Peace.

Thanks again and good luck with your jazzy loops.