Some musicians approach their work a bit like design. Rather than taking risks with their sound, they consistently try to create something that is widely accessible and enjoyable.
I think this is totally fine. It’s not how I do things, but I’m glad that some do.
Moving on to Song Four in April, hoping to power through at a song per month, revisiting Song One later. Though I actually feel really good about where I left off with Song One. But it’ll be refreshing to move forward with different material, for sure.
It’s crazy… Most of these songs date back two years. I wrote a bunch of them while I was doing Album for Children.
But a lot of them are half written with two years worth of ideas piling up.
instead of 5 to 14th, do 5 to 42nd, song four at GC, walk to BP, song five there, take F to lower east side.
After floundering for all of December, January, and February, (really since August, too) I have completely revamped my recording timeline, and I expect to stick to this one. Solid plan for moving forward after a failed eight month attempt at making The Birds. Now… Let’s start in the middle.
And then her eyebrow fell out!
by dawn: out the window, the birds are singing.
Though I’m constantly worried that Album Nº4 won’t be as good as Claye, I feel that it has the potential to be something far more special than Claye or Readers & Reporters. Even with the huge roadblocks of the past seven months, I still feel like this record can be timelessly beautiful in a way that the past two are not.
That is, if I do a good fucking job executing on the ideas.
Thought this through some more…
1. I think starting with that free piano + sax going up the octaves could be a good way to introduce the album, then stop and go to silence/room sound for a moment before starting back up with the simple 3/4 arrangement from late January, which I liked.
2. Cutting out Verse 2 is a bad idea. I’m trying to shorten the song, but lyrically everything there is needed or else it loses emotion.
3. The whole song should not be free time. That’s just kind of a mess and makes it lose the suspense that the 3/4 (and other versions) had.
4. Introducing the record with free first before establishing rhythm could be really cool though. It should give breathing room for the atmosphere/room sounds to come through so that the entire thing isn’t just a wall of sound (my problem, as “wall of sound” is my comfort zone).
Yet another failed attempt at recording Song One—this time at the Brooklyn Conservatory of Music, using their piano rooms. I feel totally stuck, but I’m reminded of November 2013, when I was seriously considering giving up on Claye. The record was out ten months later. I’m so glad I didn’t give up.
I won’t give up on this, but I need a new game plan for how to move forward. I’ve been stuck on Song One for seven months now. I need to do something to push it along. Tried outlining a new schedule tonight, but it’s still a mess. I’ve been up for 18 hours now and working for the majority of that time, so it’s time to call it a night.
when you’re on the line
let no one pass you by
Just rediscovered Song Two demos from early 2015 and completely changed my plan for the song back to it. Somehow it had evolved over time from an surreal, emotion piece with a bunch of piano arpeggios to some sort of tribal shit. Glad I figured out that the original direction is the way to go before recording.
It’s funny how much I’ve overthought and over-planned this record over the past three years to the point where I’m just now re-realizing the original vision, arrangement-wise.
using changing instrumentation and style as the album moves forward in an attempt to instill nostalgia in the listener…