“Red Warehouse, More Massacre” by Los Franceses Muertos
An interpretation of what a “math house” genre could have sounded like in the 1980s, from someone who has never tried either genre before.
Recorded, mixed & mastered 22-27 Jun 2022 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.
©2022 Jim Lemanowicz
Process notes –
Scale – D#, D, A#, G – used on bass and on all pitch correction
Title – references a Chicago club for the house part of this, and a 1980s experimental improv group and a King Crimson song for the math-rock part.
So, obviously, I had some advance knowledge of this Junto and I started on Wednesday but barely not anywhere further than what I have been thinking for this “Math House” joke/idea for the past few years. I started by deconstructing my submission for Junto 0546. I pulled the drum parts and the marimba part for use as drums and bass starting points first. I then subbed in “house” sounds for each. I changed up a ride pattern for a hat pattern. I subbed in 7/8 for 9/8. That’s all I did on Wednesday. I closed my Live set.
On the second day, I didn’t do much. I replaced the bass, only barely referencing the original marimba part. I listened to a handful of classic house tracks and memorized a rhythm for the bass. It – or whatever it had mutated to – was still in my head 30 min later – so I went back to the former marimba and now bass part and did my thing. I then gave both the bass and drum tracks a 1/16 MPC swing of 58 or something. I also introduced some randomization in the note choice for the bass part and the probability for drum hits as well as panning and filtering for some drum parts.
On Saturday, I recorded many things using a Jay Turser Jaguar copy, a Rogue fretless bass and a Yamaha PortaSound PSS-11. I think that a MS-70CDR was involved with perhaps no clue about impedance matching.
On Sunday, I never opened the DAW and spent most of the day in silence with my usual pain issues in knees and feet, not too much sleep, and a more recent pain in my right wrist, through my arm and up to my neck and the base of my skull, assuming repetitive stress injury and my PC. For the music, I decided that I somehow had landed on some weird automated reggae mutant. I also decided to remove all the GSnap64 pitch-correct on the audio and would sub in Nectar in case I wanted to make use of the formant settings. I took down lots of notes, including a rough structure for the piece. I found this to be in the spirit of some of my 2000/2005 stuff. Much of that was based on an idea that I would one day add guitar and other physical instruments to an electronic backbone back then, but I never did add the guitar etc. After all was said and done, I appreciate some of my weird little pieces with no lead part as a cousin to ambient, where no focus was needed.
On Monday, I selected some short excerpts from the audio (electric bass, electric guitar and keyboard) recordings. I stretched them, looped them and then selected a few Ableton presets (mostly echo or delay) for each. I used Neutron 4’s Visual Mixer’s AI to give me a mix and then allowed the AI in Ozone 9 to select mastering as well. Exported the files. Uploaded. That’s it.
Art – Jim Lemanowicz, 23 Sep 2016
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This original version of “Red Warehouse, More Massacre” was submitted as part of Disquiet Junto Project 0547: Genre Melee. The Assignment: Combine two seemingly different genres.
More on the Disquiet Junto at: disquiet.com/junto/
Subscribe to project announcements here: tinyletter.com/disquiet-junto/
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