hey ...shamann wrote:norm, I could kiss you.normal wrote:i'm glad this came around again ...
i've listened a few more times , and found something i'm willing to commit enough to , to comment upon ...
let's talk timing ...
one could safely march the squadron , over the bridge , in time to this track ...
the timing of this track is so appallingly , so annoyingly , so fcuking subtlely off ,
that i suspect it may be perfect ...
j'cuse ! ...
you have subjected this track to BT proportioned hours of editing , moving every note that required millisecond left , or right ; that subtle shift to accentuate the wrongness of its' position ...
or ...
you recognize the beauty created by throwing a handful of pebbles , into the sand ...
On the one hand, it's the pebbles. The intent in everything I do is always to try to puzzle together something sympathetic with whatever random bits I happen to be focusing on.
On the other hand, timing is everything to me, which I may have said once or twice somewhere here before. Being a fellow John Fahey fan, you might recognize this this thing he does, where he consistently lags a beat, really noticeable on the first track from America, Jesus Is A Dying Bedmaker. It isn't quite syncopation, it's something subtler. Micro-syncopation maybe, but it's the most effective musical event I've ever heard. It's there in a lot of Tom Waits's 80s-90s stuff, too, results in a sort of dirt that he picks up as he gets loose with the beat. I could probably list hundreds of similar things.
The source material comes from a bunch of piano loops I've been making where I've been working on off timing in the right way. Not always easy, since sometimes my timing just sounds off.
don't rush me ...
you're going to have to at least buy me dinner , first ...
