The former is what Reading indie-electronic musician, Mr Fogg has been doing for the philosophical sophomore Eleven , though development and a bare slickness are scarce. It is clear that Arnalds projected a magnetic impression on the Yorke-esque artist — the complete second LP was intricately produced by the established Valgeir Sigurdsson in Iceland. It's not all damp; 'Stay Out Of The Sun' retains the pull-factor in his early years, defended by a slow-release, whistling background synth pad that is adjoined to a familiar 'Idioteque' echoing kick-drum.
The latter comparison possibly evokes the dark matter in the track release, for there are no distinctive trademark sounds, albeit the slowed-down buzz-saw in the centre-floor.
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Mr Fogg's finishing falsetto provides unease in his vocal quiver, with no redemption made until two minutes into 'Oh Pearl', where a sudden accumulation of zany instrumentation aborts all sense and ends up in an enigmatic safari of excitement. The album is defined by two tones and neither of them touches off any positive joy.
The first four tracks are advice pieces, offering this Dali Lama-like counsel to the listener, just in case they are in a wee bit of a quibble. Before that I had been playing the violin and the clarinet in school. For quite a few years I made electronic music by sampling acoustic instruments and messing around with those samples, but about four years ago I started turning it into a primarily synth driven project.
Hubner: Who were some influences on you musically? Is there one album you can look back on and say it completely changed how you look at music? So I guess the sound of synths was just thoroughly and permanently installed in me from day one. And that sound still makes me instantly stop and pay attention, whenever I hear it. I would recommend that to anyone who enjoys the sound of analog synths. How did the album come together?
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How long have you been writing and recording? What is your writing process like? The oldest compositions probably date back to , but all the actual tracks heard on the album were recorded within the last four years. Most of the melodies and early versions of songs were written on an acoustic guitar and then kind of built from there. Then, when transferred to a sequencer or arpeggiator driven synth, that stuff seemed to always change its shape and become a very different thing.
Others were composed directly on synths when just playing around. Luckily Rasmus was up for it, so I brought my stuff over to his studio and we went through the whole thing and tweaked some details here and there. Also, we have a lot of the same machines, so I turn to him for advice every now and then. Hubner: Do you prefer working alone or collaborating with others?
I imagine both have advantages and disadvantages. Marco Egeberg: I really enjoy doing this on my own.
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Marco Egeberg: Loads of stuff was used on this one, but I did actually try to limit the amount of machines on each different song, in order to kind of keep it clear and to let each instrument play a noticeable part instead of just mixing everything up. With the Korg EX also sneaking in sometimes.
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And all eight songs have the Moog Minitaur playing the bass parts. Also, I play the guitar on all songs too. Mainly a Fender Stratocaster and a Fender Cyclone.
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Hubner: Tell me about the release plans. Will you be playing any shows to promote the release? Apart from that, it should be available on streaming services within the next few weeks. Resident Advisor 13 July SF Weekly. Pitchfork Media. Sarasota Journal : 8. August 18, Retrieved Senor Coconut. It's not Bad, but not good either! A track-by-track review of the 'new' Michael Jackson album. Daily Mail. Encyclopedia of Rock 2 ed. Macdonald Orbis. Retrieved May 25, Oricon August 17, Ediciones Robinbook. The rough guide to rock.
Rough Guides. Tokyo city guide. Tuttle Publishing. Considine March 23, Sakamoto hears music's sounds, not its styles. The Baltimore Sun. Incredibly Strange Music, Volume The Vinyl District. Hip-hop Japan: rap and the paths of cultural globalization. Duke University Press. Retrieved June 12, Retrieved May 28, Sound Synthesis and Sampling. Focal Press. Sound On Sound.
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