Launched and dormant since August 28, 2022, and currently booting up. I really don’t trust Instagram as much as I can throw them, but it’s a great way to get things out and back to this website. Nonetheless, please enjoy snippets and other unclassified material from myself and Detraction. Please enjoy. https://www.instagram.com/dubecian/
This is a complex album. Production started in October of 2020, then it became a collaboration and then became a type of retrospective when unfinished tracks from 2017 were added and remixed. Umami Land is more or less a meta-album, spanning 4 years of input marked by collaborating with outside influences. It was a difficult recording to archive, and it had many phases in development. At one point it was almost decommissioned, yet the ice thawed and necessary improvements were acknowledged. Umami Land became a conglomeration of forces ranging from past/present/foreign input and output methodologies marked by a cohesive flow of texts, emojis and other goodness. It’s not a perfect album by any means, yet it strives for the Sun. I hope you all enjoy this splendid round of recordings.
A very heavy thanks to Matt Dardis, my prime co-conspirator on two tracks in this venture, and his profoundly-relentless artistry, meticulous track engineering and super-sense of humor. And a heavy thanks to Pat Glassel for letting me remix his ‘Quench the orange sun’ [a] into unrecognizable certainty, and for his grace on opening its release for this album.
All proceeds from this album are going to The Humane Society International until the end of time. Both collaborators wanted no monetary cut from this venture, so I focused on what we all love, that of the welfare of all animals large and small.
Track listing and attributes [b]:
1) Nostalgia (Dubec/2020) 2) [anxiety feeds paranoia] assassins at every corner (Dubec/2020) 3) Ritual (Dardis/Dubec/2020) 4) I’ll always love you (Dubec/2020) 5) On three legs (Dubec/2017-2021) 6) Apophenia (Dardis/Dubec/2020) 7) Everyone referred to him as Colonel (Dubec/2017-2021) 8) Syntax and Memory (Dubec/Glassel/2019)
Esoteric titles/design nomenclatures:
1) Nostalgia 102120 V4 – 8:1:21, 12.52 AM 2) [anxiety feeds paranoia] assassins at every corner 101120 PS v4 4) I’ll always love you 110320 102120 re ps rev 3 – 7:11:21, 12.12 AM 5) On three legs 072917v7 – 8:8:21, 12.50 AM 6) Apophenia/Rebirth (Dardis/Dubec) v2 – 8:5:21, 10.07 PM CUT 7) Everyone referred to him as Colonel 071117 [2021 redux 070421] vol adjust 082721 8) Syntax and Memory (Dubec/Glassel) QUENCH April 23, 2019, 9.24 PM CUT
1) Ritual (Dardis/Dubec/2020) Dardis supplied all source material, and Dubec stretched, reversed, layered, added some tambourine and conceptualized the final mix.
2) Apophenia (Dardis/Dubec/2020) Dardis supplied all source material, and Dubec stretched, reversed, layered and conceptualized the final mix.
3) Syntax and Memory (Dubec/Glassel/2019) Glassel supplied ‘Quench the orange sun’ [a], and Dubec added rhythm, synth, stretch, layering and final mix.
Sometimes time slips by. Sometimes it rewinds, and collects unspent energy. Either way, time is a resource, a curse, a pathway into willingness stillness, and procrastination. Either way, Time is itself and you are just Time in the Making.
It’s happened before, yet how will it happen again? Perhaps it will be done before it has started? Perhaps it’s done and finished? Perhaps it’s finished and no-one will notice. Thus is creation, its own reflection, incomplete science jettisons us straight into absurdity.
Perfecting a new formulaic process that’s been in the works for years.
It starts with a hypothetical “5 track song”, in which all five tracks are exported in their original state. Each track is then slowed down at the same rate, then reintroduced back into the DAW, re-tracked with added equalization, balance, effects, etc. The resulting “5 track compilation” tends to sound and act better than simply slowing down the “5 track original” in its entirety.
There has been many experiments in doing this process twice upon itself. Preliminary arguments and discussion point at this Double Process as being very difficult to control and edit. This challenge pursues more agile editing and some sort of precognition in track formation.
More preliminary experiments done denote a Triple Process, in which the above exercise has gone two more steps in slowing down, re-tracking, added equalization, balance, effects, etc. This results in a more smoothly stretched-out composition that retains is original attributes and adds other flavor, yet is very difficult to control.