The Mating Habits of Record Company Executives

I always start off trying to write a pop song. Despite the fact that I love composers like Stockhausen and John Cage, I think sometimes what I’d really like to do is write one good pop song.

The current selection bears that out. Despite the fact that spatially what you hear would be unusual for a pop song, the basic structure is very common. In fact, later on in the piece, the ending node also employs a common structure…even if that common structure serves mostly as a ground for a tsunami.

Some pretty spaced out Spanish guitar starts this one out–but you know I couldn’t leave it at that! Ominous and pretty at the same time, Mustard probably won’t become a club favorite, but it’s danceable–if you’re schizoid.

I recommend listening to this one on headphones. I’m obsessed with panning effects right now, and this one has some moments that will swoop straight through your head if you listen on phones. Also, I don’t recommend listening to this while walking down dark streets at night–some of the sounds can frighten you!

Mary recently managed to get her hands on the entire Twin Peaks collection, which I’ve been watching obsessively. Along with this collection was a wonderful sonic treasure; voice recordings of the dictation Federal Bureau of Investigation Special Agent Dale Cooper reads into his tape recorder during the series, addressed to “Diane.” While I’m not sure the actual music here has anything at all to do with Dale Cooper or Diane, I must admit there are some rather chill beats deep into this one–a bit of a departure from my usual sturm-und-drang approach…somewhat.

Oh…and there’s also a sample of Robert Cobert’s Dark Shadows theme song, probably made a bit more funky that Cobert ever intended…