Thursday, April 21, 2011

Start Again



Start Again.

For most people, the title implies moving to a new town and starting over. The song isn't really about that. I wrote it at the beginning of the summer when a lot of my friends were moving away and I was still here trying to do this band thing, but without a band. So the "Start Again" part of it, is more like Sisyphus at the bottom of the mountain and less like the freedom of a new town.

Musically, it centers on a bass line arpeggio that changes a bit as I move down the keyboard. During this time, I was trying to imitate the way a synthesizer's automatic arpeggio sounds. I wanted to set up rules with the first three arpeggio movements (E, D, and C) and then break those rules with the fourth (B). I thought by making the movements seem mechanical and automatic, I might be more likely to catch your ear off guard when I broke the rules.

this is a video of me playing it now, I transposed the keyboard down 4 steps so I could play it on my tiny mopho, it was originally played on my Korg Mono/poly. so, C is acutally E.



I don't really know anything about music, so this might come out funny but.

The song is in 4:4--so 16 beats, but on the chorus--it starts over on 1 after only 12 beats, instead of the 16 like the rest of the song. I got the idea to do this sort of timing thing from the pixies (the main song I think I picked up on it was "vamos" on "come on pilgrim", but they do it on others too). I liked how it was slightly unnatural sounding--and of course it was a reference to starting over before getting a chance to finish.

I also do this little thing I liked to use during the chorus of doing octaves but switching which octave landed on the "ands". like

1---&--2---&--1---&---2--&
C1-C2-C1-C2-D2-D1-D2-D1

That's the best I can explain it.

The song doesn't have a bridge and most of my songs don't. Instead it goes verse-chorus twice and then changes into an epic finally--a summation of the situation. I think about the fog machine during this part of the song. When I played it live, I would drop down to my knees, turn on the fog machine and jump into falsetto to heighten the drama.

The falsetto is an homage to Klaus Nomi. My Nomi isn't that great on this recording, but later, after I'd played the song over and over, I got pretty good. Some of my sweeping hand gestures and head tilts were nabbed from him as well.

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