Stalkers.
By orangedrink on March 3, 2018 7:24 am
I started this song over seven years ago, and this is the eighth variation. I've been struggling with a lot of decisions over the years, and WeeklyBeats is perfect for that "Screw it; Let's do it" imperative that I need to finish certain pieces. This is part of the "horror soundscape" mode of Orange Drink.
I used to record at a studio when I lived in Chicago, and sometimes I would be there long after midnight. Sometimes I would hear sounds that would freak me out, and the studio had no windows, only a door that opened into an alley. The sound that frightened me the most was the low rumble of a car driving right past the studio door. That sonic idea (subconsciously) became the central theme of this piece.
Interestingly, I found myself falling asleep while working on this piece multiple times over the years. Partially because I would be up so late, but I also believe that something about the modulating sub bass hypnotized me!
My working file name for this was "scaryface". I knew I wanted it to reflect something scary, but I didn't know what. Then all of a sudden this week, seven years later, "Stalkers! Duh! Obviously!" I added the period after the title to make it seem more final, fatal.
I have been very nervous, almost embarrassed about the track length. I feel like people don't have the patience for "noise music" and I feel like I am telling a repetitive, minimal story and don't want to waste people's time. Ultimately I am submitting this with the one of the longest running times the piece has had over the years. The title now helps me understand the decision, because this is about a stalker, not an attacker. This is not a chase.
The slow shaker motif also appears in WB 2016's track, "Sly Deal". That track also had a thematic element of stalking. The credits to the film No Country For Old Men begin with a shaker fading in. I also just realized that the time signature is 9/4. I'm shocked that I missed that. I really appreciate everyone for reading all of this and taking the time with this obtuse piece! I'm behind on listening to tracks and replying to comments but I love you all!
Ask the audience: What do you think about the length? Is the sub bass mix okay? I'm available for any negative/constructive criticism!
A moment of remembrance and dedication to John Mahoney, who passed away last month. John Mahoney was my #1 crush before Sir Derek Jacobi and was a personal inspiration to me in ways that words cannot express. RIP
Audio works licensed by author under:
CC Attribution Noncommercial Share Alike (BY-NC-SA)
Like the warm analog bass sounds too. I do not love the white noise at the end, that would be my only criticism. But it may grow on me.
