February is RPM month! I can hear you out there, “What the hell are you talking about?” Why, the RPM Challenge, of course! Record an album (10 songs or 35 minutes of music) in the month of February. It’s not a contest, just a challenge. And a lot of fun. I completed the challenge last year, and have been anxiously looking forward to it this year. And, as I did last year, I’ve decided to blog about my album, describing my thoughts on the project, and what it all means to me. Hopefully you listen to it and come away with your own feelings on each song – to that end, I would suggest you listen to the songs before reading about them, so that my explanations don’t influence your listening.
You can listen to the entire album for free, right here.
First off, the name. Broken Robot Factory. Where’d that come from? Well, last year, I recorded for the RPM Challenge as P, as that is the simplest of my various nickname, and I thought it would be somewhat unique. Yeah, not so much. It was fine for the challenge, but after I was done, and tried to upload my music, I ran into a slight problem. It seems that about 15 years ago, some loser named Johnny Depp teamed up with a musician or two and started a band. A band called P. Why anyone in their right mind would call a band P is beyond me. Regardless, I had to change my artist name.
Now, my original album title last year was “A Broken Row-bot Rows in Circles”, because I liked the row-bot/robot pun, and I had envisioned the album cover as a drawing of a row boat in a lake, with a robot bolted to the bottom. Instead of arms, the robot would have oars, one of which would be broken off and missing (probably floating in the water), and the robot obviously continuing to row, but in circles. I scrapped the idea when I realized it would take too long to draw it the way I wanted to, and that the whole concept was a little too emo, even for me. I went with the title “When Robots Dream”, and used a picture of Darci for the cover, even though she’s not a robot (robots are cold, calculating, emotionless…so wait, are we sure she’s not a robot? Programmed to love waterskiing, hockey, and to break men’s hearts? Hmmm…I’ll save that for a later post).
I am also a huge Futurama fan (as it is the greatest show featuring robots EVER – narrowly edging out Small Wonder*), and the RPM Challenge reminded me of the episode in which Bender gets sliced up by the can opener, and ends up going on tour with Beck (the fact that it was probably on twice during the Challenge helped, too). In that episode, Bender writes a song for all of the other broken robots who have been inspired by his success. After he meets them, they are pushed into a factory.
So, I combined my broken robot idea with the factory from Futurama, and came up with Broken Robot Factory. And now you know. Be careful what you do with this knowledge. On to this year’s album.
In response to my post about last year’s album, Erinn suggested I write lyrics next year. I decided she was right, and that I should try lyrics. Over the rest of the year, I messed around with my guitar, coming up with the fundamentals of a few songs, writing some lyrics. I planned on doing something rather different this year – instead of going the straight techno route I went last year, I wanted to go with more live instruments, play guitar, piano, sing, maybe some live drums, then use audio software to piece it all together. As February approached, and the sign-ups for RPM ’08 were announced, I started messing around in GarageBand at work, and came up with a couple of ideas that I really liked. So, I decided I would do two albums this year – one of techno that I could make in spare time at work, and one of live instruments, which I would record at home.
One problem with this idea – the live instrument stuff just wasn’t all that good, and I was absolutely loving the techno I was working on. So, I scrapped the live instrument idea. Contrary to what I thought would happen if I couldn’t pull it off, I really don’t feel that badly about it. I recorded 8 tracks for it, about 20 minutes of music (RPM requirement is 10 tracks or 35 minutes), and 9 for the techno album. I look at it as recording 17 tracks for the challenge, and using the 10 best (and yes, if you do the quick math, you’ll see that one of the “live instrument” songs is on the techno album – I’ll explain later).
The album is called Kolmogorov Complexity. Seems kinda random, huh? Well, that’s because it is. A fellow RPMer posted the idea of clicking the “Random Article” link in Wikipedia to get band/album/song titles. I tried it out, hit that, and really liked it. It is a term used in computer science and is the measure of the computational resources needed to specify the object. The fact that it is used in computer science relates to the fact that my music is computer-based, and it’s meaning relates very well to my album art, which is illustrations my grandfather did in NASA’s Gemini program familiarization manual in which he drew certain parts of the space suits, and labeled them – the goal being to fully describe the part, using as few labels as possible.
Now, the music. A couple of things to note. One of my goals this year was to use as few pre-recorded loops as possible. That said, I’m not a drummer in any way, shape or form. I am pretty awful at even writing drum loops. So, nearly all of the percussion heard is pre-recorded loop. Other than that, though, nearly every loop on this album is written and assembled by me.
Another goal was to write music based on a certain key/scale, instead of just haphazardly slapping notes into loops and hoping it sounds good. I had to refresh myself a bit on chords and scales, but there are some excellent resources on that inter-web thingy.
And lastly, this album is best listened to, in my opinion, on a really good set of headphones.
1. Numinous
The second song I wrote and recorded this year.
GarageBand has a feature called “Musical Typing” which allows you to use the computer keyboard as a musical keyboard in order to input music. Because of this, you can type words, and play music. I decided to use the phrase “Why do I always” which was the beginning of a longer sentence that I don’t recall at the moment. I’m sure it had to do with a girl. Anyway, the way the keyboard is set up, the home row is the white keys, the row above are the black keys. “I” is not actually a key, so the riff became “whydo always” which I trimmed down to “w-h-y d-o a-l w-a-y” (C#-A-G# E-C#(up one octave) C-D(up one octave)-C# C-G#) because it flowed better. That is the main riff in the song. It’s not in any specific key, and as such, it’s fairly dischordant. I like the dischordant sound of the riff, though. It really works for this song, especially as the song progresses and breaks down into static and distortion.
The inspiration for the song came from when I put together Delta Lyrae – what if I just had one riff, and tweaked it with filters and effects enough to make it sound like various different riffs/sounds? This song is just that one riff (until the coda). Even the drums are the same riff (think of those Casio keyboards you see in electronics stores that have percussion mapped to keys – same thing in GarageBand), though I did modify them a bit, adding a hi-hat ride here and there to fill the song a bit more. And everything gets filtered and effected until they sound harsh and disjointed and eventually fall apart, held together only by the tenuous drum beat and the faint piano. Then the piano comes up to full volume, closing out the piece with a brooding coda.
The name comes from wikipedia, another random article title. “Numinous” is a term used by some philosophers to describe that which is wholly other, as in “not of this world” (so, like ghosts, or deities, or Sidney Crosby). It really fit this song, as it is kind of eerie and atmospheric.
2. Making History
Ok, so as noted above, I wanted to try to write music based on a certain key/scale, instead of just haphazardly slapping notes into loops and hoping it sounds good. This was my first real attempt. I wrote the song using GarageBand’s sheet music feature (just like it sounds – you add notes to sheet music) using chords from the D Major scale, and a rather simple chord progression. The plan was to convert it from the defailt grand piano to a synth of some sort, but I found that as I tried to do that, nothing sounded as good as the piano. So I left it, thinking I could add synths around it. The only thing that sounded right was the string ensemble. There are synths deep in the background, but they are faint. So, it seems that in the middle of my attempts to make a techno album, I wrote a short piece of chamber music. Fits nicely after the piano finish to Numinous.
The title is yet another wikipedia random article. I think it fits, as the song has a “classical” sound to it.
3. Delta Lyrae
This is the first song I wrote, and the only song with pre-recorded loops. There are three fairly distinct sections of the song (after the intro), each one based on a certain loop, which I then modified with filters and effects. In the first version of the song, the sections were very distinct. As I listened, though, I decided they needed to overlap, more. If you listen closely, you can hear the synth loop from the final third during the first, and the synth from the first helping to bridge the second and the third. Also, perhaps more surprisingly, the synth loop that starts the song is the same as the one that finishes out the song, even though they sound drastically different.
The name comes from the name of a binary star in the Lyra constellation. Binaries tend to orbit each other, one’s gravity influencing the other, their light mixing and deflecting off of each other, much in the same way the various loops in this song revolve around one another, each altering the other’s sound. (And yes, this was yet another random Wiki article.)
4. Mysterium Fascinans
Sometimes, I start off by playing around on the guitar, coming up with a riff. This year was a little different, as I was trying to write stuff for the guitar, but sometimes what I came up with worked better on the computer than on the guitar. This is one of those cases.
Well, sort of.
The guitar riff this song is based on is actually really fast, and played really high on the fretboard. When I recorded it into GarageBand, I didn’t like it. It was too high-pitched and too fast. It sounded like something you’d hear in a crappy rave, and I wanted to stay away from those kinds of sounds. So, I slowed it down, dropped it an octave, and really liked it. I kept the BPM of this song up (142), and used a quick drumbeat and some other instruments (including my very own “chop synth” – inspired by the sounds near the end of Numinous) to build a fast/slow counterpoint structure, which I think gives this song great flow – you have the slow, swelling synths setting an ominous mood, then the faster distorted synths and filtered drums giving a frenetic feel. I really like the way they play off each other. It’s mysterious, and fascinating.
And hey, that’s kinda like the track title, isn’t it? Yes, if you hadn’t guessed, the title is Latin for “fascinating mystery”, and is part of a longer term (see track 8), related to the term numinous. The “fearful and fascinating mystery” is the term used to describe that feeling you get that there’s something else here; like when you’re in an old, spooky house all by yourself late at night, and you get the sense there is something else there…
5. Breaking History
So, I have this piece of quasi-chamber music on an album of techno. What to do? What to do?
Break it!
This is probably the song most hurt by the time limitations imposed both by the challenge and by my attempting to do this all at work. The idea was to take Making History and just destroy it. I like what came out, but I think I could go further. I guess destroying history further is something to do in the future.
6. Galactagogue
The neatest thing about this song is the percussion line that starts it off (and then carries through the song). Is it some sort of digital drum machine sound? Nope. It’s a fellow RPMer banging on pots and pans and other things in his kitchen. He recorded a bunch of sounds, then put it up online for anyone to use. I took some of the sounds, built a pretty simple drumline, then effected and filtered it to get the distorted percussion sound.
The melody is based on a very simple downward progression of the root note of a C major chord.
The title…well, I’d suggest you go to wikipedia (yes, another wiki-inspired title) and look it up yourself. Then, after your initial shock, look up the word “galaxy”. If this song actually works as a galactagogue, I need to know. Seriously.
7. In The Right Light
If this isn’t the prettiest song I’ve ever written, then that honor would have to go to Empty, at the end of this album.
This is a song I wrote on the Yamaha electric piano for the live-instrument album. Yes, that is me playing an actual piano. When I scrapped that album, this was one of the songs that I really liked, and I thought it would fit on this album. I inserted some synth textures under the piano, but thought it needed something more. Then it hit me: Crickets.
Crickets?
Crickets!
I found a sample of “summer insect sounds” (specifically “Night, Crickets, Frogs”) and inserted it under the piano. I think it really makes the song, turning it from a nice piano piece to a song that recalls warm summer nights, sitting out on the porch, looking up at the stars with someone you love as the rest of the world moves on.
The title comes from the quote “In the right light, at the right time, everything is extraordinary”.
8. Mysterium Tremendum (et Fascinans)
Ah, the fearful and fascinating mystery. This is basically the same song as Mysterium Fascinans, just slowed down from 142 BPM to 80 BPM. Some of the loops were tweaked a bit (the drums start later, for one), but the biggest change is really just the tempo. I like the way slowing it down opens up the song, drawing out the slower loops and emphasizing the choppiness of some of the faster ones.
9. Mo Chroi, Mo Chuisle
Someone reading this may know how to pronounce this song title, but I’m going to guess that 99% of you do not. That’s ok – it’s Irish Gaelic. I needed to hear audio samples to be able to say it.
And, if you followed that link, you’ve seen that the title translates to “My Heart, My Pulse”. Listening to the song, and hearing the “heart-beat” drum line (actually a drum loop filtered so heavily that only the first double beat is audible), the title makes sense, but why the Gaelic?
Well, I’ve long had a fascination with Ireland, Irish beer (Go Guiness!), Irish women, and this song sort of reminds me of the way my heart beats when I’m around an Irish girl. It’s beating normally, then goes a little nuts when she talks to me, then flatlines as she talks about dating some other guy, then comes back rapidly as you realize you misunderstood, goes a little crazy again as you think she might be talking about you, then fades out again when you realize she doesn’t mean you. And then, after all that, when you think it’s dead, it’s still there. It will come back.
Or, maybe this is the song I wrote after Empty, and is supposed to be dischordant and non-melodic to symbolize my anger and frustration.
The reality is closer to a combination of the two.
10. Empty
This was written February 13th. I’ll give you three guesses as to what was on my mind, and you won’t need the 2nd or 3rd ones.
This is one of my favorite songs on this album, and probably the prettiest song I’ve ever written. And it took me 30 minutes to write. I recorded this song on my lunch break. The hardest part was naming it (this is the only song I named with no help from the internet).
It’s a very simple song. It’s piano, texture, and kick drum. The texture is actually a sample of a rain stick (long hollow tube with a bunch of rice inside; when you tilt it vertically, the rice trickles down, sounding like rain).
The piano starts off with a pulsing D minor, then shifts as the root note walks around a bit. I’m sure there’s some technical terms for all of this, but I don’t know any of them. As the song progresses, the rain stick texture shifts and twists until it becomes a swirling vortex of sound. As this happens, the piano melody comes in, mimicking the chords, but in reverse (a counter-point, of sorts, I suppose). A single kick drum keeps the beat (slowly).
There’s a harshness to the texture that mixes with the relentlessness of the piano chords and the lightness of the melody. All of this combined with the minor key of the song makes it very pretty, but also very sad. The slow, single-note melody adds to this, I think, a cold, lonely sound.
It is my Valentine’s Day song. It is my prettiest song. It is my saddest song. And, I think it’s fairly obvious why it’s called “empty”.
*That’s right, Trekkies, I put Small Wonder ahead of any of the Star Trek series.
Small fucking Wonder.
Suck it.