The setting of this work takes the listener, over seventeen minutes, along a journey – from the factory (the birthplace) to the stage (youth – through theatre, spectacle and illusion) via the countryside (peace, retirement) and concluding in a sanctuary. This HORSPIEL indirectly references the human condition, from birth to death. …HORSPIEL is a tribute as well to the late composer Luc Ferrari, who passed away in 2005 and who is greatly missed by all those who knew and loved his work.
A guide to the original Luc Ferrari sounds used in the piece are available from this link:
Extract From Composer’s Notes by Eric Scott
…Ferrari introduces his Tautologie; whereby a machinist’s saw signals a Caesarean birth as the “Usine” groove smashes in, punctuated by sharp attacks and pulsations, and presaging the Shakespearean (Stratford) montage of violent battle, with sword hits and exclamatory grunts. Le petit train (Strauss) then takes us out… and into an atmospheric segment, leading us to an adaptation of an original Salvador Dalek work – “Doop” – remixed from the original replacing all original percussion with recordings of Luc’s… The peacock screech, intended to represent the danger element in the work…
…The ambient textures from Chronopolis : Sons Tendus Électroniques forming a pulsating audio bed beneath this piece which integrates breakbeats and fretless bass. Nearing the fourteen-minute mark, more of those damned peacocks, and the bells of St. Antoine bid their farewell to us as our train leads us away once again, revealing the organ sounds from Chopin : Ambiance Église Orgue et Marteau… and carry us away again through time …And we are left with the image of receding sound of footsteps in the monastery…
Here’s “My Name Is Trouble (Redemption Mix) by Eric Scott (Day For Night)… A beautiful vocal by Keren Ann featuring invaluable drumming contributions from John “Cowboy Joe” Matthew… A moodier alternative to the happy original…
Thanks everyone for all the votes on Twitter and Facebook – this mix officially got to position #7 — out of the 78 mixes submitted to Keren Ann’s remix competition site.
Producing under the pseudonym Rhythm Factory, Eric Scott remixes Martin Solveig’s “Hello” (featuring vocals by Dragonette) into the “Goodbye Remix”
Heavy-but-fluid beats coupled with distorted sequencer lines, all adding up to a departure from the familiar pop original, and into progressive house territory.
It was simply great fun to do… Download the remix stems and do your own remix:
Tech-house, minimal beats, click-hop. Downtempo, trip-hop, leftfield. Trance, progressive house. Drum n bass, jungle, drumstep. Grime, ambient, dubstep. Found sound, modern composition, musique concrète. Electro, dark wave, industrial. That’s only some of the sounds we love.
Genres aside, electronic music is a very broad palette of temperatures and we enjoy a wide variety of remix collaborations with musical artists whose work we respect and love.
In 2011 alone, Eric has remixed a broad variety of artists in diverse styles, from Euro-Israeli pop chanteuse Keren Ann, John Foxx & The Maths, David Lynch, Martin Solveig, musique concrète composer Luc Ferrari, Doug Tidstrand, and
Michael Chiklis Band (MCB).
If You Are Interested In Obtaining A License For Our Music…
For questions about License uses, refer to the FAQ below.
After selecting a category here, you will be able to specify territory, track duration and license term, then view the appropriate usage fee. You will also be able to view comparative price details by switching to different usage categories from the one specified here.
FIRST SELECT THE MEDIUM FOR YOUR MUSIC LICENSE:
MUSIC LICENSING FAQ.
WHERE CAN I BROWSE MUSIC AVAILABLE FOR LICENSING USAGE?
There are multiple sources of music available for license.
THE DAY FOR NIGHT CATALOGUE
All tracks released within the Day For Night catalogue are also available for unique licensing purposes. Browse the Catalogue by release, or by Artist, then use this form to request information on a particular track.
NIGHTBLOG : MUSIC BY ERIC SCOTT
This is where all latest tracks and mixes are posted. Hear it here first, contact the artist, browse new tracks as they are posted daily.
WHEN DO I NEED A LICENSE?
You need a license if you are planning on using an original piece of music from our catalogue, as background for a secondary medium, such as film, television, internet/podcasting, gaming, or other format of marketing or advertising, corporate or otherwise.Otherwise, no license is needed, if you only plan to download and enjoy the music as the listener/end-user.
IS THIS ROYALTY-FREE MUSIC?
No, the music found at Day For Night is not royalty-free. It is bespoke music and original composition made by musical fine artists whose means of support and compensation is provided through royalties and fees from licensing.
WHAT KIND OF MEDIA DISTRIBUTION REQUIRES A MUSIC LICENSE?
This license involves recorded music used to accompany any form of broadcast or distribution that is intended for other users; ie, anything other than for personal use. This includes, but is not limited to the following:
- advertising music (also known as commercial jingles)
- cinema (theatre) music
- production music for corporate presentation and corporate videos
- background music for radio spots
- television show soundtracks
- feature film music used either incidentally, or as part of the soundtrack
- music featured in the opening or closing title sequence of a film
- music used in advertisement for film as part of a theatrical or online trailer
- music used as part of a commercial or corporate DVD production
- music for television, used in smart tags and targeted television advertising
- music for games
- internet-based background music for websites
- and others.
DO PODCASTS REQUIRE A MUSIC LICENSE?
ARE PODCASTS TREATED THE SAME AS MP3 DOWNLOADS?
Licensing of music for Podcasts are treated as though part-download (due to the MP3 format used) and part-broadcast (due to the syndicated RSS publication feed which syndicates via podcatching applications like iTunes).
Day For Night makes specialty licensing rates available, which are advantageous to the individual podcaster, and which are nominally only a little more than the price of a personal MP3 download, but cost less than radio distribution. The podcast license is both a legally-binding bridge between the content creator and the podcast producer. Distributing 3rd-party digital downloads of any copyright-controlled music, where the copyright holder is not the self, is otherwise illegal.
DO I ALWAYS NEED TO CONTACT A MUSIC SUPERVISOR BEFORE OBTAINING A LICENSE?
Not necessarily; however, a pair of synchronization documents will need to be produced upon request before manufacturing and distributing any music licensed from us. You will more than likely require a Master-Use confirmation and/or a Synchronization/Theatrical Performance Use Confirmation form, if the licensed music is for distribution (such as on DVD).