fractured and screwed

fractured_screwed

A few weeks ago I found myself in an actual record store with an unexpected hour to kill, and I had a jolly time shopping for music the same way I shop for wine. I look at the label and take a chance. In this case, I ended up with a half-dozen CDs* (remember CDs? I’ve bought more vinyl over the last three years than I have compact discs).
One cover caught my eye that I ended up not buying? It was Nils Frahm’s CD “Screws.” I liked the cover and the description of the music — apparently Frahm, a pianist, had messed up his thumb pretty bad and was relegated to playing the piano with only nine of his ten fingers. The title of the album refers to the hardware in his thumb to help with the healing. However, a quick google of the album informed me that the entire thing is available for free on Frahm’s Soundcloud account. So I went that route. It’s some lovely music, and much more appreciated for the intimacy of the recording. One can hear him shift around on the piano bench as he plays, even. Having recently broken my hand and dealing with the limitations that this injury forced upon my own musical output, I appreciated this idea even more.

As a result, it was exciting when, a few weeks later, the Thursday night Disquiet Junto came along and I realized that it was a remix project for this Nils Frahm album. Frahm himself is hosting this particular project, and Marc Weidenbaum latched on to this for the 55th Junto project. The idea was as follows:

This week’s project involves a shared set of source material. The source audio is the free solo piano album ‘Screws’ by Nils Frahm.

Frahm, who’s based in Germany, posted the nine-track album of short solo works for free download while he was recuperating from busting one of his thumbs. He subsequently created a site to house all the remixed/reworked versions that admirers sent to him, as well as the videos and other responses that he received.

For this project you will take two of the source tracks — “Do” and “Re” — and create a new track from them, in the process creating a work for two pianos.

Source Audio: You can download the files as sets of MP3 or AIF audio:

http://public.erasedtapes.com/screws/ERATP046NilsFrahmScrewsmp3.zip

http://public.erasedtapes.com/screws/ERATP046NilsFrahmScrewsaif.zip

You can only use those two Frahm tracks as audio source material for your track, and you cannot add anything other sounds, but you can transform the two Frahm tracks as you please. In the end, though, the sound of a piano should be evident.

I was away for the weekend with friends, in New Haven, so I decided to attempt this project using only the OP-1. I recorded large parts of the two pieces into the tape recorder on the OP-1 and quickly found this to be a much more difficult thing to do than I expected. I wanted to keep the piano-ness of the pieces to a large extent, so merely sampling a small part and sequencing it wasn’t going to work. So I began cutting sections and looping them in the tape machines. I got some interesting parts, but creating an entire work from this was going to make me a bit insane.
When I got back home and was with laptop, I dumped a lot of what I’d done into Ableton, and put it all together there. The results are a mix of straight Frahm, and my mechanical whirring from the OP-1 loops.

*The CDs I bought are as follows
Bob Dylan: The Basement Tapes. I can’t believe I bought a Bob Dylan album. I also found all the bootlegs related to the basement tapes and have them now as well. Great stuff.
Modest Mouse: Good News for People Who Love Bad News. So good. Califone led me to Ugly Casanova, led me to Modest Mouse.
Land Observations: Roman Roads IV-XI. Felt ambivalent about this after a few lessons. But I now realize it has affected my guitar-playing in a lot of ways. I’ve become a little obsessed with looping, which is a post in itself.
The Notwist: The Devil, You + Me. I burned out on Mrs. John Soda and Lali Puna back about five years ago. This is good, but it is a lot like those other Weilheim bands.
Fruit Bats: Spelled in Bones. I got it because Brian Deck of Califone produced some Fruits Bats. Apparently not this one, but I still like it.
Dntel: Something Always Goes Wrong / Early Works for Me If It Works for You. Highly recommended. I love Dntel and this early work is fascinating. It was sitting on my coffee table and my kid Wilson sees it and says “Oh cool, Jimmy Tamborello, can I borrow that?”

it's broken

broken hand

So on Christmas morning I broke my hand. I’ve ridden bicycles off of hillsides, I’ve jumped out of an airplane, and I’ve crashed cars. Never have I broken a bone. However, on Christmas morning on the way back from the convenience store where i picked up milk, I broke my hand. I draw pictures for a living, and if this were my right hand that i broke, this would be a much more precarious situation. But since it’s my left hand, the worst part about the whole deal is that I can’t play the guitar for six weeks. If you know me at all, you know that that’s still a pretty bad worst part. I’m sitting right here in my extra bedroom full of music gear and I’m just really bummed about this.
In fact, I first suspected that i’d broken the hand when, after injuring the hand, I was testing the damage to try to figure out what i’d done. I thought maybe I’d dislocated a finger or bruised something. But the fact that I could move the fingers enough to fret some strings and even play some painful pentatonic scales told me that this wasn’t the fingers. And the fact that the pain went from about a 2 to an 11 when I tried to fret a barre chord told me that this was probably worse than a bruise. Something was definitely wrong.

A few X-rays later and it was official. Because of the nature of the fracture, I didn’t need surgery, but I got a nice black cast.

it's broke

The upside to all of this is interesting. I’ve been meaning to find time to do some much-needed housecleaning with the hundreds of recordings I’ve made over the last year or two. Samples, phrases, pieces of songs… When the guitars are calling, it’s hard to take the time to listen to and catalog and edit that which one has already done. But with this forced time off, it’s a perfect time to see what’s there and maybe even do something with it. The other good thing is that I’ll be spending more time with the synthesizers and samplers, which I spent a good deal of time neglecting in 2012. Just last night I recorded an hour or so of modular sample-playing with the Tyme Sefari and Phonogene and some oscillators. So not all is lost.

But damn, six weeks seems like a long time right now.