Base Mutant was recorded to tape in the basement at 16th and Moore, between January and April of 2014. I made around six versions, trying out different BPMs and filters, but this one sounded best. Like the other tracks, this one was written on a Yamaha PF-500 and a MC-909. On the 909, I primarily used the synth voices “SonicVampire” and “Dial,” both of which were programmed by long-time Roland Engineer Nick Tidy. Aside from doing sound design for Roland— including 909 as well as 303 voices— Tidy composed soundtracks for a number of shareware games, most notably “Starscape.” Released in 2004, Starscape took the classic “Asteroids” 2D shooter as its model. Most of the play bears close resemblance to the original, substituting hollow outlines for relatively detailed spaceships and lasers. The most significant addition to the game, though, is the elaborate storyline, which unfolds in a series of vignettes that appear after each boss is destroyed. Tidy’s soundtrack, frantic and densely layered with bells, hits all the expected spots of 90s UK garage and techno. It seems to fit perfectly with the mundane text that scrolls along at the bottom of the screen. In the modern “Asteroids,” before the protagonist can blast away rock formations, they first need to secure permission from personnel at Research and Development: A screen appears where a hoary scientist in a white lab coat asks you to fill out a form concerning details of the planned itinerary. Garage techno blasts away as he apologizes for delays: “Once we have enough staff, everything will go a lot quicker. ” Another notable dynamic introduced by “Starscape” is the space base, which is destroyed in slow suspense throughout the game. While the original “Asteroids” encouraged the user to protect an invisible earth concept, this version introduced a visible base, called the “Aegis,” that mutates with every error. Each time the base suffers, Tidy’s soundtrack increases in speed and includes more snare drums. Upon failure, “Buum Bass” throbs as the following message scrolls: “You are lost in the icy vacuum of space.”
Frounce was recorded to tape in the basement at 16th and Moore, between January and April 2014. It uses one of two “D-Beam” controllers located at the front of the 909 unit. D- Beam functions like a theremin but uses infrared rather than radio waves. Generally they make an extended wheezing sound, like air being released from a balloon, with loudness varying by proximity. Otherwise they can be set in correlation with a given sample, in this case the “QuakyPSqr” on the Yamaha PF-500. Introduced in 2000, the D-Beam was not a Roland product but was licensed by the now defunct “Interactive Light Inc.” Strict copyright prohibits the distribution of any stored D-Beam patterns.
Trust One (Blowout): “He looks like John Travolta but with curly blond hair.”(UndrWater909 120:Clubbin 096:RugBurn KrasheadSaws HipHop Drums 1 HipHop Drums 2 HipHop Drums 3 HipHop Drums 4 Human Beat 1 JAck Hammer G-Funk Voice Break It On Check It Out I Like That Thats Tight Dolphin Lo Applause Pa! Chiki! Jungle Crash Swag Rim Planet Clap Regular Ride RaggaTight SD Jive Kick Jngl Tiny SD Regular OHH We’r d’ROBOZ Hi? Kick Da Lion Duel Ethno Eeh Formant Female Oos .T Nite Bass KingApprochz FnkDittyMute Splatter Criminal JunoWotImean ArtifFrog Bustranza BooSoloBoo Lonely Heart Bottle Clown) (The ● symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. Do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it. Do not put burning items, such as candles, on the unit. Do not defeat the safety purpose of the polarized or grounding-type plug. Special Rhythm Sets are rhythm sets that can be used only if the SRX- 05 “Supreme Dance” wave expansion board is installed in the MC-909).
GRIP was recorded to laptop in the bedroom at 16th and Moore, in December of 2012. The opening sample (“In the grip of some force that I cannot explain”) comes from a horror movie arbitrarily selected from Netflix, title unknown. A remix of GRIP is forthcoming from a Philadelphia-based sound artist. He takes exercpts of movie soundtracks and collages them together in Virtual DJ (two deck skin) to a disorienting effect. On listening to GRIP, he commented that the central sample sounded a bit like a sink drain. When discussing his musical process, he uses a lot of fishing analogies: “I catch samples.” Ideal sound production, he says, is an iPhone placed in a glass cup, playing a track from YouTube. Like vinyl, a YouTube file inevitably ends and forces you to consider the next selection.
Trust Two was recorded to tape in the living room at 16th and Moore, between July and August of 2014. Since then three vocalists have proposed making additions to the track. The first came by and went straight to the basement, jerking and wheezing, crying out and smacking the lips etc., only to find that the tape had run out. The second vocalist said “slow it down for me.” I did as he requested, but he wasn’t satisfied. “Even slower.” I did so and haven’t heard back yet. I asked a third vocalist, my roommate at the time, who expressed interest but stressed that she only sang opera. Hitting C repeatedly on the Yamaha she sang half of an aria by Lorca. Her two dusty cats to circle around her with their stomachs nearly dragging on the ground.