No shock, no surprises, no distortion. Think of today’s song as a moment of peace. A clean guitar and the world is okay for 2:19min.
This track was written during night time. Shortly before going to sleep I grabbed my guitar and played this motif that was in my head. I put the recording aside for a while, but as soon as Crave was released, I picked it up again and developed the idea. Since this track was meant to be an interlude in the first place, I did not intend to add any other instruments at all. Simple, stripped down and short, that was the plan.
For those who want to play this: Tune your guitar to Drop D and put a capo on the 1st fret. This gives you the low droning D# throughout the whole song.
Today’s track is a good example for old material brought back to life. While I’ve already written the same about Decivilize, it is true for this one as well. The foundation for Crave, my newest single, is almost two years old. This means it even dates back before the creation of Decivilize. Yet I managed to revisit some of the old ideas and build upon the stems to finally give this tack a fresh appearance. And there you have it.
A Post-Rock track starting with a calm and clean guitar melody in 3/4 backed up by synth pads, bass and processed guitar chords over an electronic beat. I modulated the guitar chords with a combination of three automated filters and panned them to leave room for the main melody. The drums were initially meant to be acoustic throughout the whole song, but in the late production stage I decided to switch between electronic drums and an acoustic kit. I felt like eDrums made for an easier introduction to the song.
As soon as the first chorus section kicks in, you can forget about everything I said about clean guitars. The metre changes to 4/4 and while the guitars got a proper load of distortion, I moved the drums from an electronic to an acoustic set to create a kind of traditional rock band sound.
The second verse returns to the idea of laid-back tones only to be smashed again in the second chorus. What I used in the little bridge section afterwards is actually the guitar melody of the first verse played in reverse.
The middle section of the song is probably the reason why I struggled with this project for so long. Only a few weeks ago I came up with what became the breakdown and the guitar solo. Part of the ingredients I used for the solo guitar tone is a VST plugin called 7 Inch Nails. I don’t know if it is related to a plugin with the same name by G-Sonique in any way, but it comes in handy here and there. For the background layer I created a very basic two oscillator synth patch playing triplet notes and sent it on a long highway to “FX city”. The result was then blurred and pitched down.
Ultimately, a bridge leads into the final section of this song. The technique of doubling, which I used in Decivilize for the first time, was also applied to all distorted guitar riffs in Crave – but this time I recorded two different takes for each section instead of time-shifting a copy of only one take.
This concludes the story behind Crave. Enjoy your stay!
Last sunday was the release date of the chernobyl mod January update. Included in this update was one of my chernobyl_amb tracks which I have written for the mod, so I’d like to share this one with you.
Under the Dust Memories Decay:
Since it was made for the chernobyl mod, this piece stays calm and dark, leaving much space for the ingame sounds. It consists of slowly evolving drones and bells layered with a time stretched recording of a train passing by as well as different samples of metallic noises.
The focus here was to create a distant sounding, bleak atmosphere that you mostly pick up feeling it instead of conciously listening to the track.
Since I’ll be writing more soundscapes for the mod in the future, it is likely that you will find more tracks from the Chernobyl Ambient series here from time to time.