2013_0511 : Nosedive Into The Future (Mix 2)

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.