The idea was to make an electronic music album suitable both for dancing or listening on a beach lounge. The comparison and the middle ground, as usual (we already talked about that). For this task I relied on minimalist rhythms, little noises from deepfunk and IDM … in other words, the things that most appeal to me from nowadays electronic music and fashion lounge spaces (Villalobos rules!). Something elegant but noisy; nordic school on its most pure mediterranean style 🙂
I have to admit that LamB118 was a bit of a joy distraction, but also something that sooner or later I had to do. After all, electronic in general and dance in particular, are nowadays in publicity, movies, tv, etc … It is by no means my speciality; but I think the final result is at least correct (or so they would say those who have downloaded it, right?)
And what’s with the tittle? Simple. La m (Am) is the tone.
B118, the bpm.
Of all published in Jamendo to the date, the most listened and used as soundtrack for projects is the track “Dancing”. It might be that funk is most appealing to me, and the style that I enjoy playing better.
Although I’m a newbie at it. In “Dancing” I wanted to feature all that got me hooked on that music: the Rhodes, the clavinet, the bass going up and down, the careful string arrangements, rithm, rithm, rithm.
Everything I can learn from and enjoy every time I listen to Herbie Hancock, Stevie Wonder (absolute reference for “Lounge”), Blackbyrds, etc …
“The film makers Pablo A. Quiroga Prendes and Francisco Martínez Peláez from Gijón won the award from the Cabo Peñas 3rd Short film festival for the movie named “Bisarmes”. The plot belongs among the horror and thriller genres, with the actors Marisa Vallejo, Fernando Marrot, Pelayo Prendes and the famous Basque actor Txema Blasco (Vacas, Cenizas del cielo, Obaba, Carne de gallina…). The composer and musician Javier Suarez (jahzzar) set up the definitive touch.”
With the huge spectrum of posibilities that computing offers to our music, it is easy to fall into the temptation. Effects, sounds, reverb … Simple. One can put make up on a melody, overload it, always taking the risk of overdoing it. Less may be more as they say. And in the end it turns out closer and more sincere, if a song can express the maximum with the minimun. Sakamoto or Glass may serve as examples, as well as Satie, Chopin, Granados, etc …
Simple. From this point of view I got my hands on Sea. A melody for piano with a small cord arrangement that gives a subtle crescendo at the end.
I think it sounds very much like a soundtrack to a movie. Like a good bye scene at the train station, like a Super 8 recording of childhood scenes, with face close ups in slow motion from a friends meeting … What about listening while looking at the sea?
Turning back home in the night, tired, wasted in the back seat of the car. Green and red reflections from the traffic lights, from the neons, and all the street lights distorted by the raindrops on the window.
An image is also a state of mind, a sensation; in other words, it has a meaning for the observer. And is this meaning what music has to seek and emphasize.
Working from what an image brings to our mind rather than the image itself allows us to save time creating a music library, to defocus from detail and to avoid being specific at the same time. This way the music theme can be extrapolated, generalized and applied to any scene that shares some meaning.
Cristal works with multiple situations despite its duration, its style, form and the fact that it comes from a memory. That’s what I like from it, it can communicate either sadness or joy depending on the moment. A simple and recursive melody, very few effects, lots of pad and echo, recorded in one take. The piano, random and insecure trying to reach the back seat in that car, the image, the melancholy, the meaning.