Halloween music; you might say it’s not really my cup of tea as an atheist, although in another way, as a former Pagan, I’m rather well qualified to create it.
I’ve produced a Halloween track before, back in 2013, and I later collabed with Mogs, who is still Pagan as far as I know, and who added lyrics to it and came up with * Unseelie Rade * which ended up on my 2014 album * I’m A Person, Not A Genre’ *. Later in 2014, around Halloween time, I produced the track * Wrath of Thor *; track 1 of my * Divine Social * EP.
In 2015 I didn’t really bother that much about Halloween. I was basically taking a short and well-earned break from my career during a lot of October 2015, the first since 2012.
I hadn’t intended to create a Halloween track in 2016 either; Not until the last minute that was. Here’s an account of what happened:
In early September I thought I’d have a go at remixing a couple of old tracks by Becky Hill. Most of you probably know who Becky Hill is; but probably not a lot of you have heard the tracks * Pictures * and *You I Want The Most *; both of them tracks that she wrote and recorded before she found her celebrity-role, back in the days when she was fronting the Bewdley band ‘The Shakin’ Trees’.
In short * You I want The Most * came out fairly well as a draft remix, but * Pictures * was a disaster after I’d fucked about with it. It was then that Mogs sent me a flute-track that she’d played and even sound-engineered to a degree by fade-folding a number of sequences together. I could see what she was trying to achieve, and although I couldn’t help her directly, I added a little compression and frequency-attenuation plus cleared up a tiny background hiss.
I held on to the track, and a week or three later I decided to see what would happen if I tried adding harmonies and a beat to it.
Strangely enough the relatively-slow flute-track was reading a beats-per-minute figure of 153: Drum n Bass speed; so I thought I’d go with that and add a DnB beat to it. I tried several tempos and made several attempts to synchronise a beat to it; but it just didn’t seem to want to happen. I then attempted to add harmonies to it to see if it sounded any better, but no joy. It was an ‘almost’: Mogs’ flute-playing was good, and what I’d added was good too. – But they didn’t match perfectly.
I’d spent a lot of time at this; around a week, and I didn’t want to admit defeat just yet. I kept enhancing what I’d added with more harmonies, and recorded each product at each attempt, but if anything it was getting worse. I decided that enough was enough, and went back to the best-sounding recording that I had. I set the studio-software back to emulate the exact mix – and removed Mogs’ flute-track. What I was left with sounded at first kind of like Depeche Mode or The Teardrop Explodes’ drummer in session. and then I mixed it with a DnB beat…
To cut a long story short; a lot of sound-engineering and several added harmonies later, I had something telling a story: –
A traveller, or maybe just somebody who wandered off the track and got lost frantically stumbling over their own feet as exhaustion sets in.- There’s something out there; a number of them, and they’re closing in. Darkness has fallen, and the hunt begins.
Here is a copy of the
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