My improvisation project is getting interesting. The centre of this track is at 2:08, where the drums pick up a guitar phrase that begins at 2:03, and then take over the melodic line, while the guitar shifts position to background the drums. The…
My improvisation project is getting interesting. The centre of this track is at 2:08, where the drums pick up a guitar phrase that begins at 2:03, and then take over the melodic line, while the guitar shifts position to background the drums. The…
"Working on a new style that's been in my mind for ages, learning to record in my kitchen, experimenting with the guitar and the amp ..." this is the kind of thing that Quill gets up to when he's not kept properly busy. Y'all are just lucky he…
The salient lines in this traditional song, for me, are these:
"... and still I hold, / that the time will come / when he and I will be as one ..."
What need is expressed in this "holding"? Against what, does our singer hope? The resistance…
The salient lines in this traditional song, for me, are these:
"... and still I hold, / that the time will come / when he and I will be as one ..."
What need is expressed in this "holding"? Against what, does our singer hope? The resistance…
The salient lines in this traditional song, for me, are these:
"... and still I hold, / that the time will come / when he and I will be as one ..."
What need is expressed in this "holding"? Against what, does our singer hope? The resistance…
the story behind this is amazing...thanks for sharing. Also have to mention how great you played...that kinda goes without saying. Can feel the passion in this one.
Languid be the lineaments of this trio-set meditation upon the lost turret-board brilliance of 1974. The bottles yet burn brightly, and as the fabric of time is folded, Silver comes back to Black. The sparkles in the air about the driving mountain…
(this track's a bit hot, mind it doesn't hurt your ears, please)
So many reasons for sorrow. One sees from within sorrow, and sees only sorrow. But we must look awry at these weeping walls, these streaking-blind windows: they are of our own…
Languid be the lineaments of this trio-set meditation upon the lost turret-board brilliance of 1974. The bottles yet burn brightly, and as the fabric of time is folded, Silver comes back to Black. The sparkles in the air about the driving mountain…
Languid be the lineaments of this trio-set meditation upon the lost turret-board brilliance of 1974. The bottles yet burn brightly, and as the fabric of time is folded, Silver comes back to Black. The sparkles in the air about the driving mountain…
This is 1:30 in the morning, only a few folks left in the dark, smokey little club. The guitar player's half way through his 3rd Jack and Coke - its sitting on top of his old tube amp with part of the cover torn off. Just need to hear the bar tender washing glasses.
A small taste of the '74 Twin Reverb. Blackfaced, master volume removed from circuit, two tubes pulled, old Celestion G12-80s (it wasn't me). Les Paul with excellent PAF-style pickups (A5 neck, A2 bridge), stock pots and caps but good parts nonetheless…
(this track's a bit hot, mind it doesn't hurt your ears, please)
So many reasons for sorrow. One sees from within sorrow, and sees only sorrow. But we must look awry at these weeping walls, these streaking-blind windows: they are of our own…
@Mannequin Races:
All I did here was set up my MacBook in the corner - not quite the corner, sort of one-third along the long wall - amp a bit closer than the kit, hence the imbalance, but it's all right for this track - and use the internal mic. Just kept one eye on the levels as we improvised. Sometimes I set up one cheap, broad-pattern condenser, but even that's just a slight improvement.
(this track's a bit hot, mind it doesn't hurt your ears, please)
So many reasons for sorrow. One sees from within sorrow, and sees only sorrow. But we must look awry at these weeping walls, these streaking-blind windows: they are of our own…
Those drums and guitar sound great! How many mics did you use on the kit? I can hear some bass going with this but that would change the feeling completely.
Thanks for your recent comment on my music! I know my songs are a bit on the short side! I'm working on that. :)
(this track's a bit hot, mind it doesn't hurt your ears, please)
So many reasons for sorrow. One sees from within sorrow, and sees only sorrow. But we must look awry at these weeping walls, these streaking-blind windows: they are of our own…
(this track's a bit hot, mind it doesn't hurt your ears, please)
So many reasons for sorrow. One sees from within sorrow, and sees only sorrow. But we must look awry at these weeping walls, these streaking-blind windows: they are of our own…
My new trio. This is just us, warming up at the beginning of our last rehearsal before our first gig. Just stupid stuff - you know, foolin' around in E and suchlike - but the guitar sound is wonderful, best sound I've ever had. One mic, corner…
"Working on a new style that's been in my mind for ages, learning to record in my kitchen, experimenting with the guitar and the amp ..." this is the kind of thing that Quill gets up to when he's not kept properly busy. Y'all are just lucky he…
"Working on a new style that's been in my mind for ages, learning to record in my kitchen, experimenting with the guitar and the amp ..." this is the kind of thing that Quill gets up to when he's not kept properly busy. Y'all are just lucky he…
A small taste of the '74 Twin Reverb. Blackfaced, master volume removed from circuit, two tubes pulled, old Celestion G12-80s (it wasn't me). Les Paul with excellent PAF-style pickups (A5 neck, A2 bridge), stock pots and caps but good parts nonetheless…
My new trio. This is just us, warming up at the beginning of our last rehearsal before our first gig. Just stupid stuff - you know, foolin' around in E and suchlike - but the guitar sound is wonderful, best sound I've ever had. One mic, corner…
This is a song I have just recently finished recorded over the summer in my basement using all live recordings of real instruments (intro vocals were recorded literally on a cliffside), and this is the first of more to come. It's a song about…
These tune-scapes are beautiful - and I kind of like the hiss; it sits on my ear like the soft, complicated gray that builds up on the mythical painter's palette, over time - the colour of all colours - and then the musical choices emerge out of that gray; a little bit in front of it here, a bit behind it there, and some especially interesting sounds that seem to sit over to one side, as though - if a sound can look - looking awry. Lovely tracks.
An art piano piece inspired by poem Kontrapunkti (Counterpoint) by the Finnish poet and author Eeva-Liisa Manner who was a frontline figure in the Finnish post-WWII modernism. You can find an English translation of the poem here: http://nordicvoicesinprint…
This is a song I wrote for a girl I liked... I even performed a stripped down acoustic guitar only version for her. She loved the song but didn't exactly reciprocate how I felt. I'm a nice guy and she likes bad boys. Wish I could change that…
i didn't think that this had uploaded last night so it was a nice surprise to see the four lovely comments :) thank you...
its hard to describe what this is about...a very personal moment...sometimes it replays in my memories...
and your Quill continues to love your music
The place where this music was made - can't but wonder what it's like, and wish to see it; but knowing that I can't helps me realize that I don't want the image - I want only the music.
This is an older song and hey, you'll finally get to hear me sing badly! This was under my old name Piscean Dream so I couple of you may or may not have heard this before. Thanks for listening!
haven't been writing too much recently and this began...i wanted a strong drone behind the melody and a glitch to fill the spaces...its quite a sad piece...
As always, the sense of texture and the feeling of restraint (I mean by that something far beyond and altogether different from the mere *exercise* of restraint - those careful choices made in the making of this music) leads to a listening experience that is exhilarating, exhultant ... *ex nihilo*?
*totally rough
absolutely no clue what to do with this. i figured if i released it, maybe it would garner some good ideas of how to continue the song and also just force me to have it on my mind in an attempt to motivate me to finish it.
No suggestions. Because - I find the "roughness" of it (your word, not mine) artful and exciting.
The sounds are great - here, in "dine inside my mind", and in "star" - the guitar sounds in particular catch my ear; something in the way you balance them against the very delicate vocals ... it really works on me. I just love your music.
done in 2006. simple, keeping the objective of 'spaces' throughout the recording.
certainly not the most endearing song, but i like parts of it.
this song, among a few others (thisisntsomthingyoucancatch) were songs that i lost all my un…
The different directions you go with this - and the transitions from one to the next - are really interesting. It's like you take the tune apart from the inside out, as you develop it. I love the sounds.
I have issues at my house, sometimes they manifest themselves in my tracks. In this case, the bassoon and oboe represent the mouse. The guitar is the peanut-butter.
I was about to write, "tell the mouse thank you for me, for the wonderful oboe and bassoon, and give it some more peanut butter", but then ... well, you know. Maybe a nice lily, instead?
And but: if a mouse is an oboe *and* a bassoon (choices I quite admire, by the way), what possible combination of instruments would adequately represent the raccoons that keep breaking into my kitchen and stealing all my corn chips and avocadoes? I'm thinking some kind of Gamelan percussion ensemble might almost do the trick ...
... anyway. Wonderful track!
It seems a lot of you record with open mics and can relate. I record 1 track at a time with usually 4 or 5 tracks. So, Im only asking for about 15 minutes of Silence...IS THIS TOO MUCH TO ASK??? Anyway, my house is so loud, I get a lot of bloopers…
Oh my gosh you are making me laugh! If I had your number, I'd totally call you and tell you that in person! Directory assistance isn't coming up with a "reefwalker", though ... I'll keep trying. All the best in the meantime!
The first time we played this tune, the drummer and I played it, spontaneously, almost exactly as this recording documents. But we'd never heard it before, had no chart, Kelly was just playing it on the bass and singing a bit, and our parts just…
@ sister savage: This tune, as with the rest of the material listed under my "trio tracks" playlist, are all original songs by Kelly Armstrong, a singer/songwriter who my drummer and I played with late last year. A short-lived project. I love trios, but they can be funny that way. I like the songs and what we did with them. Time permitting and madness notwithstanding, we will revisit this material one day.
just finished this one, represents a slightly new direction i am taking i think.
i am particuarly proud of the polyrhythmic sound i achieved. i was worried it mite become too cluttered (at the beginning) but i think i achieved clarity.
This one has been sitting around for a while but I feel it's the best or most interesting of my most recent posts. The inspiration came from listening to an old CD I have of a great band from the 90's. If anybody can name the band that I gained…
Circus music I composed for a poi performance in fall 2008. I was Lucifer Ignacious Johnson, the hypersexual and psychopathic son of the circus leaders.
Written and Recorded: Feb 28, 2010
Details: Epiphone Les Paul (FBbEbGCF, FBbEbGDbF, Capo III), Seymour Duncan Pickups, POD XT, Boss RC-20 Looper, Audacity...all fingers, no picks.
Last track for RPM 2010, and by far my favorite of the batch…
You're getting a lot of warmth and depth out of that equipment in these tracks. Makes The Transition - you know what I mean, I expect - seem more possible. I thank you for that!
Comments on quill's stuff
I like how you almost go into "Mission Impossible" around 6:00. Great improv! It's good to hear some live trap-set work.
I am really digging this. I think the guitar comes in just a tad "hot" in spots. I'm not expert just a thought. It rocks! Great guitar and drum work.
Sweet playing! Lovely tone!
..yeah, man! :)
Wow this is really well done - extremely emotive.
the story behind this is amazing...thanks for sharing. Also have to mention how great you played...that kinda goes without saying. Can feel the passion in this one.
Brilliant work! w;-)
Full of soooo much soul. You can feel the heart bleeding. w;-)
absolutely stunning guitarwork! sooo much attitude and soul in you rythms and timing sooo good
This is 1:30 in the morning, only a few folks left in the dark, smokey little club. The guitar player's half way through his 3rd Jack and Coke - its sitting on top of his old tube amp with part of the cover torn off. Just need to hear the bar tender washing glasses.
Let the humbucker loose.
@Mannequin Races: All I did here was set up my MacBook in the corner - not quite the corner, sort of one-third along the long wall - amp a bit closer than the kit, hence the imbalance, but it's all right for this track - and use the internal mic. Just kept one eye on the levels as we improvised. Sometimes I set up one cheap, broad-pattern condenser, but even that's just a slight improvement.
Those drums and guitar sound great! How many mics did you use on the kit? I can hear some bass going with this but that would change the feeling completely. Thanks for your recent comment on my music! I know my songs are a bit on the short side! I'm working on that. :)
Nice one mate very cool. And not to short, thanks for your comment. Cheers.
Powerful stuff...especially combining the music with your write-up. Mournful guitar, certainly.
The guitar does sound great. Nice jam.
Awesome Nice playing
Sweet!
cool
I love it
Comments made by quill
Yes - that's good, I like it very much. Haven't heard a new track from you in ages, my friend. It's good to get this one.
I always enjoy your music, Corbin. Would love to hear you play live somewhere, someday.
Seems our ghost is continuing to produce very cool stuff. Please continue to continue, my friend.
These tune-scapes are beautiful - and I kind of like the hiss; it sits on my ear like the soft, complicated gray that builds up on the mythical painter's palette, over time - the colour of all colours - and then the musical choices emerge out of that gray; a little bit in front of it here, a bit behind it there, and some especially interesting sounds that seem to sit over to one side, as though - if a sound can look - looking awry. Lovely tracks.
Fantastic! The melodic lines in this are just wonderful, I really love it.
i love this music i love this music i love this music i love this music
It's a bonny tune ...
and your Quill continues to love your music The place where this music was made - can't but wonder what it's like, and wish to see it; but knowing that I can't helps me realize that I don't want the image - I want only the music.
I love the voice
As always, the sense of texture and the feeling of restraint (I mean by that something far beyond and altogether different from the mere *exercise* of restraint - those careful choices made in the making of this music) leads to a listening experience that is exhilarating, exhultant ... *ex nihilo*?
Enjoying all your latest music, and really loving this one.
No suggestions. Because - I find the "roughness" of it (your word, not mine) artful and exciting. The sounds are great - here, in "dine inside my mind", and in "star" - the guitar sounds in particular catch my ear; something in the way you balance them against the very delicate vocals ... it really works on me. I just love your music.
The different directions you go with this - and the transitions from one to the next - are really interesting. It's like you take the tune apart from the inside out, as you develop it. I love the sounds.
I was about to write, "tell the mouse thank you for me, for the wonderful oboe and bassoon, and give it some more peanut butter", but then ... well, you know. Maybe a nice lily, instead? And but: if a mouse is an oboe *and* a bassoon (choices I quite admire, by the way), what possible combination of instruments would adequately represent the raccoons that keep breaking into my kitchen and stealing all my corn chips and avocadoes? I'm thinking some kind of Gamelan percussion ensemble might almost do the trick ... ... anyway. Wonderful track!
Oh my gosh you are making me laugh! If I had your number, I'd totally call you and tell you that in person! Directory assistance isn't coming up with a "reefwalker", though ... I'll keep trying. All the best in the meantime!
@ sister savage: This tune, as with the rest of the material listed under my "trio tracks" playlist, are all original songs by Kelly Armstrong, a singer/songwriter who my drummer and I played with late last year. A short-lived project. I love trios, but they can be funny that way. I like the songs and what we did with them. Time permitting and madness notwithstanding, we will revisit this material one day.
I love this
Omigosh, this is racing-heart fantastic. The fast changes are perfect.
I *do* love this one.
You're getting a lot of warmth and depth out of that equipment in these tracks. Makes The Transition - you know what I mean, I expect - seem more possible. I thank you for that!