Evan Demos – 09.13.09

Songs songs songs!

Here are two more demos. First up: an update to Terrifying Heights. Lemmie know your thoughts. A bunch of the instruments need to be rerecorded, but I think its well on it’s way to becoming something concise. Mix is a bit messy, but hopefully you get the general sense. Also new vocal line has no lyrics yet. The words were improvised and some badly need replacing. If anything strikes you send me your thoughts!

Terrifying Heights

Now for a new one! Silly little keyboard theme, a bit on the cliché side, but I found it to be suitable for a vocal playground. The harmonies are very rough (both are first takes), but I think I captured some good ideas in there. Let me know if you’d like me to upload the audio files if you feel inspired to work on the track.

Blue Neon

Also, check out that ROOM SOUND on the vocals. Family was gone for a day, so I recorded in our open two-story foyer. Gorgeous!

Evan

Raincoats: Moving

Back from Europe, and after a trip to Rough Trade East, I’ve accrued three new recordings, namely the aforementioned Raincoats album, Scott Walker’s Climate of Hunter, and The Pop Group’s Y. One at a time though, and all after the first listen.

NOTE TO READER: Do not under any circumstances read Allmusicguide.com’s horrific review of this record. The reviewer describes none of the music, gives it an arbitrary rating, and completely makes up the track listing (he even leaves off two tracks after claiming there is bonus material!) Awful. Go to wikipedia to get info on the band and records.

Moving is the third and final studio album of the Raincoats first period, and in a lot of ways it is their most cohesive. The addition of former 101′ers and PIL drummer Richard Dudanski, Derek Goddard on productions and other friends on horns and synthesizer, you can imagine this record has a fuller sound then the previous.

Unlike Odyshape, most of the rhythms on Moving are tight and jagged. They can never settle into a neat 4/4 or 3/4 box, a trend I love in a band. The arrangements snake around the beat, with Gina Birch’s bass usually leading the way melodically.

The singing is actually very solid, not as much screaming on this record. Block harmonies and double-vocals on the chorus work incredibly well to intensify the lyrics meaning.

I really have to listen to this album again, but not in a Scott Walker-Tilt manner. Moreso, this is an album of obvious hooks and harmonic passages, but there is complexity buried in the sweetness. It’s a happy, dancey funky affair that will never tire you and ends too early. Get it if you haven’t already. According to Rough Trade East, they were the only store to carry it in stock…IN THE WORLD. I call bully, but I bought it anyway. A sucker for good music to the bitter end.

Terrifying Heights – Demo

Download it! – Here
Finally, Cary and I have collaborated on a song together. Cary wrote the initial chord changes with a sparse accompaniment. I then slammed the MIDI files into Logic, spiced them up with some Virtual Instruments, then played around with the arrangement.

I am in love with the bass line. It plods. I want to make that line plod as much as possible. I want to bob my head with slow deliberate motions; the line should sometimes slip just behind the tempo, like the song wants to get even slower (but it doesn’t). I am at a loss as to how to accentuate that thought with the arrangement. Do we even need to accentuate it? Is it present enough?

Due to the nature of one-man recording I am always fighting against the urge to simply throw on another layer. The first 50 seconds feels full enough to me. I tried to record a melody there, but there was no room and it shifted the trajectory of those 50 seconds. Should there be more there?

The rest of the song has a smattering of ideas, all lined up in a row. I need to work on my development of ideas, rather than simply moving through them.

I’ll leave you with that.

Terrifying Heights – Demo

Huge Days EP

This was a collection of songs written before The Clops entered the studio to record their first record, which can be downloaded for FREE here. All of them were recorded on my awesomely funky 8-track or hurriedly applied to Mike’s Pro Tools rig while the neighbors downstairs pounded on the ceiling.

When I first started writing words for Clops, I wanted to create a world, a network of beings, monsters, and childhood memories. Huge Days represents an essential peak to that writing process. Granted, we wrote a lot of music after this EP, but I’m not so sure this music will see the light of day. For now, take whatever Clops the Clops will give ye.

ENJOY.

Beach Canon

Evan: I finished a new song! This came about all because of a contest to win an Apogee Duet at the school I’m attending. We simply had to use it in some way and post our production on the school’s website. Thusly I took the opportunity to write a new song!

Beach Canon

I worked pretty steadily for the past three weeks on this thing, so I don’t really have much to say about it at this point. I need some time away from it. Critiques?

The Cyclops is Mutual

Meanwhile, the rough edit of The Cyclops is Mutual available for download.  It will give you the option of downloading the songs individually or wholly as an album.  Notice that the order of songs is a mess?  Strange, right?

Remix it.  Find you order.  Request changes in the mix, as it should be remixed soon.  Fun.  All recorded at BJ’s barn, 3 nights, music by Mike Clifford, Cary, Mischa Salkind-Pearl, Produced & Engineered by BJ Ramone, Haphazardly mixed for a rough listen by BJ and Cary.

I will include JPEGs of the album artwork for The Cyclops is Mutual soon.

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