Working with multitudes of perimeters is a crazy ride, not to mention delay channels and other crazed attributes dedicated to each and every sequence, equating to a barnyard of feral cats in heat, jumping around and not coherent of spacetime or cosmological signature. Everything has purpose. Even mistakes.
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.
Being on vacation all week and editing music for most of it; my mind came to a special place. I had to scribble them down here:
Lots of midi tracks coupled by live tracks tonight.
One hell of a puzzle to be sorted, manipulated and somewhat finished.
The joys of music editing is in its destructive properties, and differences…
Always keep your mind open to new possibilities and objectives as you’re mixing.
The ingredients all count proportionately, despite the recipe.
When making music (or anything else),
it’s always best to make friends with differences.
In some cases, Music is a path to liberation and understanding the world at large.
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.
An autobiographical account of identity throughout space and time.
My journey into darkness illuminated by intuition marking the process of rebirth into wholeness and love for myself.
Birthdays… need I say more?