Good Night and Good Luck
jaspertine
It was not long after I finished work on Mr. Slow, maybe even slightly before, that I thought to myself, how fun it would be to submit some more raw guitar noodling samples. I got everything set up, and decided to play straight through a tiny, low budget Tremolo pedal (I know clean tones are preferred, but it really made a difference at the time) and just pushed the little red button and ran with it.
The first couple minutes were terribly awkward, but I just kept going, and before I knew it, I was completely lost in the moment, and going completely insane on that guitar, head swinging around the room and all. It was the most free and pure moment of music I’d produced in years, somewhere between a free-jazz improv and a skronking rock closer.
Then my computer crashed, and the file was lost.
If I’ve learnt anything about making music in the moment after all these years, it’s that there’s no way I was going to just push record again and have the same magic happen, so since then, I’ve been looking for some kind of opportunity to play guitar in a track, and this is the track that I wound up making.
Musically, it has a bit more of a sophisticated air, or at least it did in the early stages, thanks largely to Caleb’s Rhodes performance, an instrument that endows the player with instant soul and sensitivity. The guitar parts here were culled from a single, nine minute take, plans to manipulate said take in Krautrock style were abandoned in favour of a mostly straight-up jam. It starts up quite typically Jaspertine, then trails off in the middle, before leading into my personal favourite ending thus far.
Production-wise, I was trying really hard to not force the bass and drums ten miles ahead of everything else, and to try and have a slightly more delicate hand on the compression. The mix is fairly busy.
The title doesn’t have much to do with the movie of the same name, it was merely chosen on account of the extended bass portion at the end, which sounded to me like the end of the night, after everyone had gone home.
I’ll make the clean Guitar Track available very soon.
The first couple minutes were terribly awkward, but I just kept going, and before I knew it, I was completely lost in the moment, and going completely insane on that guitar, head swinging around the room and all. It was the most free and pure moment of music I’d produced in years, somewhere between a free-jazz improv and a skronking rock closer.
Then my computer crashed, and the file was lost.
If I’ve learnt anything about making music in the moment after all these years, it’s that there’s no way I was going to just push record again and have the same magic happen, so since then, I’ve been looking for some kind of opportunity to play guitar in a track, and this is the track that I wound up making.
Musically, it has a bit more of a sophisticated air, or at least it did in the early stages, thanks largely to Caleb’s Rhodes performance, an instrument that endows the player with instant soul and sensitivity. The guitar parts here were culled from a single, nine minute take, plans to manipulate said take in Krautrock style were abandoned in favour of a mostly straight-up jam. It starts up quite typically Jaspertine, then trails off in the middle, before leading into my personal favourite ending thus far.
Production-wise, I was trying really hard to not force the bass and drums ten miles ahead of everything else, and to try and have a slightly more delicate hand on the compression. The mix is fairly busy.
The title doesn’t have much to do with the movie of the same name, it was merely chosen on account of the extended bass portion at the end, which sounded to me like the end of the night, after everyone had gone home.
I’ll make the clean Guitar Track available very soon.