I started writing for this record two and a half years ago. I started recording for it since August.
But I think I will always remember this past weekend as when this thing really started to be made.
Even though it won’t be out until 2018 at the soonest, Wall Street will always be a 2015 album to me. So much of it was dreamed up and written that year. So much was inspired by how I felt during that time.
It’s interesting to record and execute on an album inspired by feelings that are far behind you.
I will be recording tonight for the first time in a couple of months. This time attempting to begin Song Four.
Terrified, but excited.
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).