The EP trilogy will continue with “The Second Station” ep set for a release later this year and conclude with a final EP hopefully by December.
Download the album now:
“The Fuzz” by Callum Connah is an interesting chilled instrumental Hip Hop piece based around a nice piano riff. I also get hints of Jazz in the mix. Here is an exmapleof instrumental jazz hip hop from Youtuber “TheOfficialTone”
After listening to some sections of the album i can hear clear influences, first being the classic sub bass sound found in fair amount of hip hop orientated genres, also the mix of synthesised and organic sounds, especially with samples of real instruments chopped up in the background of a song.
To remix the piece i have a few ideas. First i can drastically stray from the hip hop/jazz elements of the original and craft a completely different tune using the stems provided. If i do so the remix would be influenced mainly by The Orb. This piece would probably end up quite ambient.
Secondly, (and the likely avenue i will take) is to create a remix with hip hop elements sticking close to the original but choping it up, creating an alternate version of sorts. Keeping the original vibe of the piece is my goal.
The remix i have created coincided with my second idea of sticking close to the orginal. I sampled the original drums to create and instrument to do the intro drums with. Bass guitar was also recorded over one section as chopping up the bass i had prooved to be somewhat tricky, plus i feel the clean bass sound still fits in with the original tone.
After creating the main remix i used that as a basis to create library versions of my mix. Copying the whole song in Abletons arrangement window along and then trimming, chopping and rearraning the piece to create a few lirbrary versions of varying size and also a Sting version, all of which can be heard above.
After meeting again with Callum to showcase the remix and library versions he said that he loved the remix and like how i was able to create something new that refelcted his original creation well, keeping the correct elements in and adding new ones where nessacary . The only thing he pointed out to me was that it needed slight mastering as the overall level of the track was low, something i subsequentaly went on to do as a final stage of creation.
As 2017 draws to a close i finish an EP of ambient music i have been working on last half of December.
Winter Also is a return to my early ambient improvisation style but includes some more abstract sound sources as appose to just vst instruments with lots of reverb on. The EP is my 6th in the Nebulae Music/HAMG Electronic series of releases, back tracking to my first album “Summit” as being the “First” HAMGEL release (obviously i made it before HAMGEL, but it fits with the catalogue).
a notable sound source used on the EP is on “December Sleet” where i decided to use wineglasses to get sustained drones, more on that in a later post.
I got the idea for the EP last day of semester when i recorded some improvised synth pad at the college. I began with the Nord Lead then added some Juno 106 along with a VST organ. Afterwards extra vst layers, guitar and the wine glasses were recorded at home.
Hope to work on another EP and album over next year, more of the rock stuff to come along with hopefully some gigs aswell 😉
See you all in the new year!
It’s taken a while to actually get this project finished and i am hoping that you all enjoy the music. Subsequently the album will be available on Spotify, Apple Music and various other online stores from 7th November, and CD copies of the album will eventually be available soon aswell from upcoming gigs.
So start the record, sit back and enjoy the ride that is “Recluses Handbook”
Composed, Performed and Produced by Joseph Bagwell with
James Bracey – Drums (2,3,5,8-10), co-Production
Charlie Moss – Bass Guitar (2,3,5,8), Backing Vocals (2,10)
Christelle Lamb – Backing Vocals (2,10)
Molly Bernardin – Backing Vocals (2)
Callum Connah – Keyboards (8), co-Production (8)
With Thanks to Seth Markes, Grant Laurenson and Adam Midderigh
Back Photo by Leanne Cushnie
Artwork by Phoebe Ann Lewis
Recorded and Produced at Northbrook MET and my house.
This second week i’d like to introduce you to the music i will be making over this project.
For my 20 minute ep i am making exactly that, a 20 minute (approx.) medley of electronic music. The suite will consist of 6 parts each flowing from one to the other until the end. Ladies and Gentlemen… here is an introduction to “For the Sake of Patience”
I got inspiration for this piece from three sources here. The first being Force Majeure by Tangerine Dream.
This piece combines elements of rock music and electronic music. With flowing rhythms and great musician ship, you are drawn into the action. Tangerine Dream are certainly an influence on me and have been for a while. There was a long 30 minute ambient piece i recorded inspired by their album “Zeit” from 1972.
The second artist who has been a big influence on this work is Jean Michel Jarre. His most recent album “Oxygene 3” and some tracks from his album “Electronica 2”.
Part 5 of the suite is highly inspired by Mike Oldfield and is even based around a sample from his “Incantations Part 2” from 10:40. I used a loop of the African percussion as a backing then build the part around that. The sampled loop will be replaced with my own drum loop which i will write based on the pattern shown here:
I did also drawn influences from Kraftwerk, Robert Miles, Pink Floyd and the Orb for this one aswell. Check out this playlist of all the inspiration tracks.
For the Sake of Patience (medley) (22:47)
Band: Klvoool Band breakdown: Caleb Morganfield (Drums, Backing Vocal), Joseph Bagwell (Guitar, Keyboard, Bass, Vocal)
Produced by Joseph Bagwell with help from Caleb Morganfield and Callum Connah Genre: Techno, Trance, Progressive Rock, Electronic, Ambient, Experimental, New Age.
Now For some Progress…
Over last week i managed to track vocals and re amp one of the lead guitars.
I achieved this by setting up an amp and mikes in the voice over booth and over the dante rednet systems i recorded the re amping from Prog A. Microphones that were used were the AKG C414 condenser and Sennheiser MD441-U dynamic. Both possessing a 20hz-20khz pick up range i knew there would be no problem in getting a nice sound.
The microphones were placed together in front of the speaker cone on the guitar amp i was using, with the MD441 placed above the C414.
Sing it Loud!
Next thing i have completed is the vocals for Part 3. These were co-engineered by Callum Connah. We used the MD441 again but this time paired up with the Neumann TLM103 condenser, i chose this microphone because i knew it was very good for getting crisp clear vocal recordings.
The MD441 i ran through my Presonus TubePre pre amp unit and gave a slight amount of drive and plenty of Gain. I did this to give the dynamic microphone a slight warm distortion to it.
After setting this up i decided to run the TLM103 through the Neve 8801 pre-amp / strip in the TLA control room. This was done to create a unique contrasting audio file that will be compatible with the 441 recording.
After nice vocal takes were done we decided to send the vocal tracks to a reverb to allow the vocals to have a trail rather than dead air in between lines.
The reverb effect will be added subtlety to the final mix.
Where from here?
Next week i hope to mix in the new vocals and guitar re amping. I also want to start just getting a basic mix overall for the piece and look into any guitar parts that may need redoing.
After months of anticipation, one of my favorite bands has released a new album. Midas are a symphonic rock band based in Japan who started their career in 1992 with their debut album “Beyond the Clear Air” released in 1988. Their first album is something i have talked about in an embarrassing video review on the internet *wink wink* .
Their newest release was a surprise to me. They originally had a website i would visit frequently to try and see whats happening with them, even though the articles are in Japanese you do get a sense and understanding of what happened from accompanying photos. Unfortunately the website seems to have been down for the past few months. However a week or so ago i did a search on them to see if there was any news on them or a new website, and sure enough i found something great!
Their new album “Eternal voyage”
The albums opens with the intense instrumental “Air brewer”. an exciting, dramatic and all round musically talented piece that introduces a new style for Midas. Friends i have played the track to make reference to metal and rock bands for the playing style mixed with folk, the reasoning can be heard around 3 minutes in where the section is started by a driven bass guitar, really cool. The continues with a synth solo and ends with a classic Midas violin solo from Eigo Utoh.
After this we spring into “a Trip for Five Seasons” which opens with a chippy cheerful synth riff, this opening highly reminds me of two tracks from their second album “Midas II”. The pieces in question are “La Festa” and “The Night Sky Lies Without a Word”, the latter of which was re recorded and released on their previous album “Eternal Voyage”. The second section of this song contains English lyrics which is good, i unfortunately can’t speak or read Japanese haha. The lyrics seem to cover themes of just carrying on and not worrying about the past, continue on and follow the seasons. a good message there. For those of you who may be confused about why it is “Five seasons” and not for (which was totally not me haha), in Japan they have an extra season between Spring and Summer called the Rainy Season. I think you can guess what it’s like from the name…
“a View of Sierra De Cobre” opens with a cool 80’s sounding synth bass line and merges with another one of Eigo Utohs classic quite mysterious sounding Violin solos. Listening just now i was thinking. I’ve listened to Midas for a while and they are one band that made me go into making music myself, i never really realized how much of an influence they have been really. Meanwhile back to the review. The song is actually one i have heard from a you tube video which upon a search or two i cannot seem to find. although the introductory violin solo was not there, it was a live video of them playing a year or two back and it was this song, or at least an early version. When i watched the video i knew they’d be releasing a new album. This is probably actually my favorite track because of it, i dunno. But it this song specifically just does stand.
From this we lead to my second favorite track “Long Lonesome Road”, an epic instrumental piece that builds up from the ground, like a cowboy walking off into the sunset, something like that. It grows from a duel violin/synth leading and then trails into an organ solo by Eisho Lynn. Eigo Utoh and drummer Masaru Henmi get their own awesome solos. The Piece is finished up with another violin solo then re emerges to the duet with synth and Violin.
are Penultimate track is “Blood on the Sands” which is dedicated to composer Ennio Morricone who composed for films such as “The Good, The Bad and The Ugly” and “a Fistful of Dollars”, Both Clint Eastwood westerns which runs with the cowboy analogy. Reading the lyrics in the CD booklet just now i noticed a typo i think. The lyrics read “Feelig High” which i imagine is supposed to be “Feeling High”. I can only imagine this song now to be like a showdown between three cowboys or something .
The album itself apparently has a concept, as on the credits of the CD it is listed on there. If it does then i’d imagine it to based around westerns and cowboys as that is certainly the vibe i’m getting.
Time Robber is a sad sounding piece, almost like it’s about a failed love. Although i feel i like “Destiny Warriors” from their previous album better, it’s still a nice closer, and has almost a sing along chorus because half the lyrics for the chorus are in English which is nice, the ones in question and i quote from the CD booklet “Time Robber she said, Time Loser He said”. You can probably get from these lyrics why i get the impression of a love song from this one. It also contains one last beautiful and dramatic violin solos before the song it’self concludes almost cinematically and bringing the “Eternal Voyage” to a close.
All in all my view may be biased but i have to give this album a 4/5. It’s got some really great instrumental work, interesting concepts and does a brilliant job at doing something i feel you should always do with your music and that is blend the old with the new. If you change your style completely you risk alienating older fans where as having the blend allows you to keep your old fans whilst still progressing and being fresh.
Here is the first of a series of logs to document the production process of a 20 minute track. The piece entitled “For the Sake of Patience” is to be handed in as a degree assignment but will also be released along with a second track in an EP a the end of the project when the track is finalized.
At the early stages i wasn’t sure what i wanted the piece to be. I knew i wanted it to be Electronic, but i didn’t know what styles and genres i would incorporate into the project. I also wanted to incorporate some rock influences into the piece by having some live drums in places and also guitar and bass guitar.
After doing all this, i had a solid piece of music to work on. Next step will be recording live drums for the appropriate sections and also Vocals, the latter of which will be recorded next week.
As I am not far from finishing my first album “Recluses Handbook” I decided to release a single from the album. “Weightless” is a sad song and a happy song at the same time. The Band and I all enjoy playing this one live and hope you enjoy listening to it.
The B-Side “Recluses Lament” is an ambient piece recorded under Nebulae Music. I decided to release this with “Weightless” as i felt it had a similar contrasting mix of feelings.
Hope you enjoy both the single and b-side, links down below and more to come in the future…