…was on TV yesterday. I find insights into how people work creatively like this to be truly fascinating. Michael effectively had a studio machine at his home with a team of workers to create ‘demos’ which would then be passed to Quincy Jones’ team to create the final tracks.
One phrase idea that stood out for me was the notion of creating a ‘sonic fantasy’. Definitely a goal.
This discussion rang true for a lot of my creative life and I think anyone who is remotely creative in any part of their lives could find something they could relate to from one or several of the professional ‘creatives’ who formed the discussion panel. For some time I’ve tried to introduce a discipline to my work and happily there’s some discussion of the importance of persistence in any artistic endeavour but also of the less definite aspects of ‘creating’.
I’ve posted yet another old remix I put together up on my soundcloud page. This is a mix of the brilliant ‘Positive Light’ (basically Marc Mitchell) mix of Marillion’s ‘Face 1004′ which is taken from the ‘Tales from the Engine Room’ album. I fell in love with this track, and several others, when I first heard it on Paul Oakenfold’s first ‘world tour’ essential mix from Home in Sydney in 1999. I put this remix together again in 2003 (can you spot a pattern), September 2003 this time.
I’m not 100% on this mix but it’s not all bad. Just really playing around with short snippets of the track with some pretty natty keys I’ve put in which seemed to be a feature of the tracks I was making at this point. Around this time I got chatting with Marc via the chat program ‘ICQ’ (is that still going? we were all over it at university, alot of the time because you could send free text messages from it to mobiles (my first one as well, which obviously dates me!). I never actually sent him this track, as like now I think I wasn’t 100% on it but I can confirm that he came across as a really nice bloke. It goes without saying that he is just an amazing talent. Perhaps one of my favourite tracks of his being Human Movement’s ‘Love has come again’. Just beautifully produced and what an amazing voice.
I’ve uploaded another old remix I put together, this time from April 2003. I was using the PHatmatic pro on basically every track I was making at that time and was attacking quite a few tracks I loved with it. This is another track from that period. The arrangement is actually typically dance and is a bit out of character for me, it being pretty conventional and to my ears sounds a bit more coherent than you might normally expect to hear from a track of mine. It’s a fairly straightforward production, but one that works well, especially at keeping it’s energy up.
I first heard the original of this track on Jon Lisle’s brilliant ‘autobiography’ mix. I met Jon shortly after I’d put this together but perhaps unsurprisingly he didn’t like it because to his ear it had some ‘euro’ elements to it which I would have thought were the lead synth line towards the end. The original ‘surreal’ mix is a moody as they come trance break beat track which blows this mix out the water but I thought I’d put it up for people to hear as I recon it’s got it’s charms. I was really churning out the tracks at this point, riding a wave of enthusiasm.
At the moment I’m putting together another podcast. It’s going to have several old classics on there and I’ve got the tracks all planned out etc. At one point I had the idea of putting a track or so from another amazing album on it Freaky Chakra’s ‘Blacklight Fantasy’. The second half of this album especially is totally awesome. I love a lot of the tricks and ideas that run through the production. A lot of the tracks rely on relatively few elements with a lot of mix variations and effects keeping the ear interested. ‘Dreams’ ‘Year 2000′, ‘Hyperspace’ all brilliant. However…I couldn’t find my CD of it, doh, so none of these tracks are now on this mix. This post is to give them a little love!
Actually this track would go perfectly into the mix. Time to get searching!
Boom block busters. This summer Alien ‘Prometheus’ is on the way and whilst the trailers don’t look 100% convincing it’s certainly attractive for several reasons, many of which are of course nostalgic.
One thing that has struck me is how the sound design is used in it’s trailers. ‘Hits’ are used, for won’t of a better word, creating atmosphere. I was thinking how the same kind of technique was used to create atmosphere in the trailers for the recent Rise of the Planet of the Apes trailer. The Apes trailer I think created a moodier atmosphere and may have even been more appropriate for the upcoming Alien film. Both sound pretty good to my ears.
At around 2.04 mins (though alot more ‘music’ in the Alien trailer)
I stumbled across this article from the little white earbuds website which attempts to explain why figureheads are created and sustained for popular music trends. It’s an interesting read and there’s certainly a great deal of truth to the limited mental shelf space that he discusses in part one.