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Anton Krueger

sounds of silence

so, like, what i did was i superimposed the double bass line over the melody...but real subtle like...only on every eighth bar, sort of thing?...slowly working it in...then after a few minutes - when I go into six/eight - the bass line comes out clear as a bell...and you hear it properly for the first time...it's as though you can remember having heard it before, but it's completely new...

sounds awesome -

it is -

can i hear it?

uh...hmm...well... the thing is... you see - i went to the seattle school for new music technology?...did their four year diploma and then stuck around for an extra year as assistant...

cool...

sure, but, you know...this means that, sometimes...my music is a bit difficult for non-musicians to understand, you know?

okay...

because essentially...what i'm doing here is making musician's music...so it can get a bit technical...

well...what about if i just hear the beginning?

hmmm...i really don't know if that's such a great idea either...

why?

i mean, beginnings have got a lot going for them, sure...but i like to focus a lot of my energies on the middle of a melody, myself...in fact, i'm often very tentative with beginnings and endings and for me - for musicians, i mean: for people who write musicians' music - it's like: that's where the meat is - the middle...i spend a lot of time in the middle of tunes...

sure, i also think the middle's important, i mean -

right -

but i'm not really a musician...so what would i know...?

hey, hey, hey - don't you take attitude with me bro...it doesn't go down well to take attitude with musicians...we're easy going people, you know...but you must never insult a musician's music...

i'd never dream of insulting anyone's music -

look, i'd love to play you my tune, but it's just...i don't want to confuse you...because...it's just that i don't think you'll get it...

okay...

especially the ending...because there's a lot of cross-referencing in there...

sure...

i'm taking ideas from...you know...uh...it's like...a lot of contemporary musos, i mean, i'm talking the big names, guys like osward mcmaughan, you know...or aliwal martinique, (though, i've gotta confess i reckon martinique's getting a bit commercial for my taste - not as authentic as he used to be)...

never heard of him...

no, you wouldn't have...anyway, so people like uhhh, gong johansien, or maybe boplish maccabee, right - these guys often experiment with the old final cadence form, you know, five/one; four/one; sometimes four/five/ three - you're always getting this kind of experimentation with endings...so now this particular track is sort of a homage to jordi hewlitzer - surely you've heard of -?

no.

you cannot be serious!

sorry...

never mind...so, anyway, in this track i'm commenting, critiquing, and paying homage to these musos...actually, look - i really don't think it's going to be worth your while to hear this before you've heard at least a couple of samples from the kamahi files, you know?...you really need to know what's happening out there...

but...can't i just hear your track?

i really don't think that it's gonna make much sense...i mean, if you haven't heard gong johansien's latest i could understand that - it's impossible to source these days without a contact - but, you know, if you don't know boplish maccabee or hewlitzer, i just don't think there's going to be any point...

okay - so why don't you play me some of their music first?

oh boy - well that's easier said than done, my friend...i mean at the seattle school for serious music technology, we spent an entire semester talking about only one of hewlitzer's samples...so sure, no problem i could play you a track right away, but it's going to mean like, practically, nothing at all, without that backup, you know what I'm saying?...without that theory behind you...you really need to get that history going...need to cultivate that insight...mainline into that cultural apparatus, you know?...you've got to go back to the roots before you can appreciate the scene...

so you won't let me hear your music before I've heard this...howlesser...?

it's hewlitzer...geordie omani hewlitzer....get it right...

but you won't let me hear him either...so...so...how will i ever get to hear your music?

jeez man...i tell you, it's a dilemma...it's a god damn dilemma...because, even if you take the course, right?...in four year's time who knows if i'll still be happy with the track, you know?...maybe by then I'll have passed a magnet over my discs, or something...because that's one thing about musicians today, you know...we like to stay current...we're obsessed with progress, with doing things better all the time - we're forever throwing out the old and bringing in the new...

okay...

it's a real pity, man...because the track's really good, know what I'm saying?

it sounds excellent.

it's brilliant, I had a guy (a musician) in the studio who says it made his whole body tingle...you know how sometimes you get a shiver down your spine when you hear a piece that's so perfect, so sublime?

yeah?

well this guy maintains it happened all over his body - a full body tingle!

wow.

the recording engineer, who didn't even hear all of it...(i only let him hear the first four bars to set the initial channels, right?...i mean, he's only done the introductory diploma in musicology at texas state, so I couldn't rightly let him hear the middle bit - obviously)...so anyway, he hears the first four bars and...and...he said he remembered...what it was like...to be born...

wow...

went through the whole thing - being a baby in the womb...reborn...i tell you, man, the guy went to pieces...he was sobbing all over the controls, fused the whole board right up...

gee...

had to bring in another engineer...i'm telling you man, this is powerful...

sounds awesome.

yeah, it's a real shame you won't get to hear it.

yeah...I really wish I could...

yeah...

i did play the organ...at school, i mean...

the what?

the organ...so i know a little bit about music...i mean, i memorised all of the preludes and fugues at one point -

by?

bach, johann sebastian...

ok...who's he play with?