When I was a music student, I was only a mediocre bassoonist and I’ve never been a pianist, but I’ve loved me some modal resonances since as long as I can recall. I used to lock myself away in the bassoon studio with its baby grand piano where I’d clunk away to my own amusement at Erik Satie Cold Pieces and Gnossiennes. I wrote two piano pieces, one which was titled Broken Cathedrals, overly solemn, heavily modal and, while synesthetically color saturated like the Satie pieces I loved so, it was muted cloudy colors … like pieces of neglected architecture.
Well, skip forward ten years, and after a week of not finding time to work on things music, I finally had the opportunity to indulge, and thus I’ve finished “remaking” the Broken Cathedrals. I hadn’t expected to go a “sassy” route with it when remaking it. Perfect example of letting the song take me where it wanted to go. I mean, the song kind of ended up naming itself halfway through, and from there it was as if everything just clicked into place and I knew exactly where I needed to take it. Giddiness. But not mindlessness. There’s the element of love song embedded in there, even though I don’t usually give myself over to that kind of songwriting.
I just took my time playing around with some really lush pads with lots of overtone textures. Warmed things up. Embraced the unexpected funky lounge feel of recent work’s beat construction, and it ended up being rather unexpectedly, yes, playful.
This is 99.4% all midi and effect automation (that is, all me, my Reason synth pads and my programming wits), no loops, except for one reverse cymbal and a subtle reverse decay used as connective tissue at the break.