2007 was a heavy year, yet not for music production. Romantic breakups and entropy, marked by an acute perception of time and existence. Music production saved my life, as it does now.
Sneaky, peak v2
Working on these vocals since 103021.
A sneaky, peak.
Something new. Something unfolding still. A simple taste in editing prowess.
Full album coming ever so soon.
Slow and relenting existential bliss
Slow and relenting existential bliss
preliminary extension and sketches/double process/reversed [091121/101621]
Beep, beep, beep
Umami land, new album by Detraction
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.
[a] ‘Quench the orange sun’ by Perplexions:
[b] collaborators are in alphabetical order, followed by year
Thunderstorms and editing
There’s something thrilling about editing music in the midst of a thunderstorm. The energy is high, and the chance of electrocution is relatively low… but then again…
What’s going on?
I’ve been really busy since late August. Still trying to finish a music video, working on a new album, two retrospectives and collaborating with a like-minded musician. I’m pretty excited, but must remain devoted to my many “lists” and stay on target. Nonetheless, I’m not going to be board for a very long time.
侘寂“In traditional Japanese aesthetics, wabi-sabi (侘寂) is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of appreciating beauty that is “imperfect, impermanent, and incomplete” in nature. It is a concept derived from the Buddhist teaching of the three marks of existence (三法印, sanbōin), specifically impermanence (無常, mujō), suffering (苦, ku) and emptiness or absence of self-nature (空, kū).”
‘as above/so below’ Album Review
Breaking And Entering reviewed as above/so below with a serenade of kind words:
“Detraction is the experimental electronic project of Larry Dubec. His latest album he believes is his “most beautiful and coherent compilation he’s ever produced.” Created over the course of twelve months, the record is a venture through space and time using ambient synth passages and vivid, dreamy wonder. There’s a sample of a Black Lives Matter chant in the track “Family” as well as field recordings in “Concrete Kensho.” It feels like a time lapse of everything that’s happened this year. We commend Detraction on a terrific soundtrack of dystopian bliss, and look forward to what he does next.”https://breakingandentering.net/2020/10/14/audio-detraction-as-above-so-below/
A big thank you to Ben Slowey for the warm ego-boost, for your words are pure gold to me. Thank you once again.