All tracks copyright 2008 David Wayne Higgins
“The Morning Show” begins as a happy morning soundscapes, which ends as an self-inflicted withdraw into anger. The sounds and playing of the Opening theme was made using a clear guitar sound through a “Growler” filter”. The closing theme is made up of the same loops, but closed into an infinite echo shell. Overtaken by it’s own creation. “Dewdrops Don’t Descend” The music is made by using a loop while playing a minor scale. Which one, I would have to go back and figure that one out, and since sometimes I play more than one at the same time as well as throwing chromatic runs in on top of it all, it may be difficult to state. To further complicate matters, I start with a loop, play in G minor, and the switch to D major, starting to throw notes into the loop that are contained in both scales, and when the first loop begins to fade, the new loops take over, and the notes that differ are then played. “Grey Skies Approach” is a small, dark soundscape which uses the same patterns used in “Dewdrops “Don’t Descend” but have a few different filters thrown in. I let things get out of hand at the end, which led to some of the sounds used in the ending of “Albert’s Train.” “Albert’s Train” is a psychedelic train ride, named after Albert, the inventor of LSD. “Fried Somasa” is an Indian inspired soliloquy to the piece. I hope someday to travel to India and ride on top of a train. The train sounds in “Albert’s Train” contained heavy reverb and flanging, to give a very heavy feeling of the the steam engine struggling to turn the wheels. The train is a scary way to travel when you feel the pain of the train. The background loop in “Fried Somasa” is played like a sitar, one finger playing up and down strokes across the chord without using a misharab. The lead on top is an improved jam, using a muffled filter and a U-Vibe modulation. But the world is beautiful when you leave the box and step outside. “Skipping Stones Stoned” Not as much in the area of loops as usual. The loop eventually sneaks in, but is then pushed into the background, the overcoming loop changes the mood from a riff to a drone. Happiness to the anticipation of the upcoming event, and then stress to the event in the emotion which questions “will I get it right?” In the end, all walls are torn down, and I just start throwing the stones. “The Warm Pond” is another continuation. Starting once again with the “Minimalambiance” theme, but then allowing it to be washed away in the echoes and reverbs which define the piece. After the stones are thrown, just dive in. “Mirror rorriM”, “The Fun House”, “Laugh With Us, and “Rorrim mirroR” are a set of pieces which combine in a Psychedelic Carnival sort of way. The bookends, “Mirror rorriM” and “Rorrim mirroR” are done with a short loop piece which is doubled, reversed, and then separated into two reversed tracks: track one A, A reversed, track 2 A reversed, A. “The Fun House” is a piece which starts out scary, but then you realize there is nothing to be afraid of. “Laugh With Us” is a much happier side insanity. “>”Variations on a Loaded String”, “sin(r2)/r2″, “The Ripple Tank”. I didn’t want to name these “Jams 1, 2 and 3″. They are improve pieces, but as my improv pieces go, they are a bit more involved than playing box runs over 12 bars. (I don’t mind the blues, I just detest people who think blues musicians in the 21st century are in anyway creative or relevant.) The titles are taken from a website which occupies a significant amount of my time. It is a set of mathematical aplets in which a digital artist with a knowledge of physics a mathematics I will never pretend to even touch has set up on the internet for anyone to view. I copped the titles based on the feelings of which applet best fit the music which was playing. It was one of the most enjoyable time consuming afternoons I have ever spent. There are three pieces called “Minimalambience”, which are similar in musical structure and delay/modulation, but the differences distinguish the separate pieces.