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Self Imposed

by Arkhive

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    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

    Album includes B-sides, an unobstructed view of the bell tower.
    Purchasable with gift card

      $4 USD  or more

     

1.
Plateau of the Shriveled Figures 02:43
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2.
In the Cable Room 02:27
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3.
Kitranome 02:51
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4.
Cobble Cove 06:46
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5.
Swaying Lantern 03:47
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6.
Synthal Plan 01:48
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7.
HOT Beach 05:20
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8.
Little Neopolis 01:16
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9.
powermoog 01:23
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10.
SPEAK, Atari! 01:13
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about

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This album is the result of a personal litmus test for my capability in composition and sound design, from somebody who knew nothing of composing, to the results after a year; I used a variety of constraints to guide my efforts, and sometimes studies resulted in more obvious genres. I chose composition techniques and starting key signatures mostly at random, and worked from there. This album is a mélange of influences, and it's okay if it seems familiar and different.

Many songs are designed to be loop compatible, for capable media players; try using 'In the Cable Room' for pensive work.
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The plan of this album was to use as many vintage patches / instruments as often as I could, with every song needing at least one, and none sourced less than 5 years ago. Sounds were extracted from keyboards, some samples from vinyl, and I used virtual synthesizers modeled after historical hardware and legacy game systems.
I permitted myself to record some new sounds, but only a few.

I had an idea that the endless sound packs available dilute both the understanding and the significance of sound design in electronic music. It creates an imaginary divide based on who has money to burn; it makes an unnecessary economic model not unlike the separation between farmers and consumers, and includes the distancing of understanding the product. I also thought there should already be sources of useful audio samples from the past, because there is over 100 years of recorded sounds. Lastly, the instruments we use and understand are they themselves developed from learning the workings of sonic technology from the past. But hey, that's my opinion.

The whole project was undertaken mostly in isolation, reading the historical records of instruments, places, and the all important synthesizer, as I attempted to imagine the threads from the past and how they reverberate in the present; a rumination on the intersection of time and potential, with my only real goal being to stop when I have enough to fill an album. Making songs with different constraints has helped guide my learning of the software and process; from sidechaining to where / how to even take samples myself. One could say this was an ill advised concept for a first project, but hey, I jump in the cold water. I'm that much closer to ideas I would have thought out of reach.

credits

released October 13, 2019

license

all rights reserved

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about

Arkhive image

Arkhive California

Me: A multi-disciplinary artist looking to see what sort of voice I can have. Ever seeking to expand the limits of my insight, and discover new micro-tones to harmonize.

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