I think of music as a piece of sculpture. Every single timbre, note, melody and chord should be carefully planned and molded to reach the desired form and contour
For this song, inspired by some works by Lana del Rey, I produced a dense atmosphere based on sounds of guitars and a deep bass.
With her soulful voice, Mercy Weiss created catchy and intertwined melodies that perfectly match the instruments’ harmony.
Violin sounds give the necessary tension and beautiful orchestral crescendos, followed by bass and wind instruments that make counterpoints with the vocal melody.
It all started with a clean bass sequence and wurlizer electric piano chords. Then I added a guitar solo, spacial flute sounds, an english horn and a drum machine. I sent this somehow melancholic base track to Mercy and she gave me back a wonderfully sultry melodic voice and seducing lyrics. I played the drums and almost everything again, added orchestra strings, harp, timpani, all this with lots of intertwined instrument voices.
Inspired by the version of Anna Naklab feat. Alle Farben & Younotus
Author: Reamonn (2000)
Vocals: Suzanne Alvim
Instruments & Arrangements: Claudio Meluzzi
This song came up when I played a sequence of chords on the piano and noticed that these chords created no tension. This reminded me later of Erik Satie’s Gymnopédie No. 1 (though there’s no clear connection between the two).
I have always thought that synthesizers were good for making modern music, but not for classical pieces, emulating real instruments. I’m not so certain of that anymore.
It took me too days to make this track using a digital workstation, from reading the score, playing every line, editing the digital sheet, to the final mixing and mastering. I found it impressive how much control one can have on the quality of the sounds and the ability to convey expression and musicality, even restricted by such an impersonal method.