Weekly Beats comes but only every two years and since 2012 I’ve committed myself to it as a willing participant. In short, it’s a project that involves its participants to write and record an original piece of music each week for the rest of the year. I’ve never made the full 52 weeks, but since its inception in 2012 I’ve thrown myself into it in order to kickstart some new ideas or nudge along curiosities.
Let It Go takes its inspiration from two things: guitar and Jim O’Rourke. Since I’m using each month of this Weekly Beats year to explore a particular area of instrumentation/process, I thought it would be interesting to use the variety of guitars in my studio and see what would happen.
Both “Mouth Canyon” pieces anchor themselves around open/alternate tunings, fingerpicking and circular chord progressions in the style of country blues and folk. In this sense, O’Rourke’s Eureka and Bad Timing were obvious touchstones, but his earlier work with David Grubbs (Gastr Del Sol) and Grubbs own work informed the composition and arrangements strongly. They’re (to date) the most accessible tracks I think I’ve ever put on this Bandcamp page, and maybe that’s a good thing. Between the “Mouth Canyon” bookends are two more abstract pieces which again reference O’Rourke/Gastr, but listening back to them now I think they’re much closer in style to Daniel Lanois’ solo work. If you haven’t heard his 2016 release, “Goodbye To Language” I urge you to do so; it’s absolutely beautiful.
Recorded at Studio Maurilia – February 2018.
All tracks composed and performed by TLR.
TLR: voice, guitars, reed organ, synthesisers, bass, mandolin, baritone ukelele, glockenspiel, percussion, electronics, programming.
Artwork is a collage of three stills from the Nicholas Roeg films, Bad Timing, Eureka and Insignificance.
Guitar is the flavour of choice this month for my Weekly Beats submissions. Check out the first half of the month via the links below:
2-1 “Mouth Canyon Blues”
So, something completely different for this month. I thought it would be a good idea to focus primarily on guitar work for the next four weeks.
This one’s an impulsive attempt to amalgamate the guitar styles of Jim O’Rourke, William Tyler and Ry Cooder into a hyper compressed two minutes of imagined road movie soundtracking. Technically speaking, it’s pretty much a basic guitar fingerpicking pattern which evolves to a point where several kitchen sinks begin attaching themselves to it through the miracle of endless multi tracking.
Here’s a list of the instruments used:
– Degrucy 6-string acoustic. Tuned to CGDGBE [capo’d at IV with the E-string ‘un-capoed’ – a neat trick I’ve used for a while] (main fingerpicking pattern and counterpoints)
– Tama 6-string acoustic. Tuned to C# G# C# F A# C# (slide guitar)
– Fender Telecaster (electric guitar parts)
– Fender Precision Bass
– Kick drum sample
– Hohner glockenspiel
– Microkorg systhesiser
– Korg monotribe
2-2 “The Colouring of Memory”
I’ve been reading way too much Geoff Dyer and John Berger lately. This one’s a sort of Eno/Cluster-esque reverie to feelings of homesickness, estrangement and a confused state of mind.
– an iphone field recording made in a Brisbane airport bar
– field recording of vehicle turntable on Goolwa barrage.
– chord progression on electric guitar (looped via EHX Memory Man)
— Fender Telecaster run through EHX Pog 2, vintage Ibanez phaser and EHX holy grail reverb.
– electric guitar slide (left and right)
— same as above.
– Synth pads played on Microkorg.
– Additional glitchy treatments in Ableton Live using Soundhack VST modules.
Another new realease. “Nodes/Old Waters” is a meeting of sorts – a studio improvised amalgam of live instruments, Fleurieu field recordings and samples from old red_robin tracks. Listen/purchase below.
A track from the forthcoming release.
View/pre-order The Door Into Summer: http://tristanlouthrobins.bandcamp.com/album/the-door-into-summer