An ambient ethereal studio collaboration touted as Cowboy Joe vs. Julie Android which produced some dark and elegaic drums, bass and piano.
I created the track in one afternoon, while pursuing an experiment to apply some ambient shimmers to some guitar and piano, and I wanted a track to play with. The guitar was the very first ingredient, taken from an improv take I did in February ’09, and all obvious “cowboy influences” aside, I did later realize that it possibly had a spaghetti Western element too by the end; the e-bow guitars evoking a little of the whistles; an unintentional Morricone thing creeping in perhaps.
The drums were a funny ingredient too, as I started out with the guitar loop expecting only ambience, building it only around the piano parts I was adding, (room-mic’d instead of MIDI’d in any way) until I realized that drummer John Matthew had ALSO shipped me some parts for another track which, with a mild tempo shift, worked very well here.
I followed a direction somewhere between “In A Lonely Place” (New Order/Joy Division) and “Sketch For Dawn II” (The Durutti Column) as soon as I realized what I wanted, although John might probably not recognize his own performance as I really edite the parts in a different way from the originals, even fully recreating the middle-8 and closing drum parts entirely in Reason, using samples from his kit, as I had ended up sketching in vocalese all the drum parts into my little Tascam over the track in progress. I did all the “white-snare-noise” parts with my mouth. Martin Hannett might hopefully have been pleased with that though I didn’t have an elevator shaft or a rooftop to record in.
Originally there was a Demdike Stare sample in there, (listen but you won’t spot it any longer now) which had been playing on iTunes when I was practicing my guitar part during the very first round, although I did recreate similar elements more deliberately for the middle 8, which I wrote during my afternoon swim underwater… leading to the “aquatic” middle of the track.
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:
…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.
“Good Day Today” (Yesterday Mix by King FM) was produced by Eric Scott (Day For Night) for the Beatport remix competition for David Lynch’s single “Good Day Today”, although it was technically ineligible, as it didn’t meet the competition deadlines.
It was simply great fun to do… Download the remix stems and do your own 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.
“On A Clear Morning” has further grown upon me, over the course of one month’s development. My favorite bit is the jangly guitar in the middle 8, and the exit through a series of breakbeats and some drum’n’bass… However, the original track began as a minor key version of this riff (see Mix 1, 2003_0427). The direction I received for this piece (while underscoring the INVIDI film) was that it must convey an upbeat and positive message, which guided me towards the major key interpretation… It all came together when I finally mashed it up with the minor key version as a kind of ‘hybrid mix’…