CD5 Filth Therapy
Filth Therapy is a album named after the ancient belief in the curative powers of human waste, an idea David first came across in Robertson Davies "The Rebel Angels". The music is an uneasy mixture of electronica, odd-metered rock, 12-tone serial music, acousmatic sound design and a lot of nifty devices to play with in a real-time explosion of ideas and musical directions. Aggressive and rhythmically complex, the album is multi-textured with an onus on the real-time manipulation of found sounds.
Based around a heavily edited drum loop of Dennis Chambers, David added bass and sound effects and, as in many of the following pieces on the CD there is a lot of number station samples (ird059)
Based on a sample of of a 1st Nation chief speaking, this piece evolves naturallyand incorporates a huge number of real-time manipulated found sounds. There is a quote from a riff David used in every corporate video he ever did (several hundred !!!).
This is perhaps the most tonal piece on the CD, almost Styx-like with its Moogy synth lead lines and harmonies. It quickly goes south. The inestimable pHatmatick plug-in gets used a LOT here. The frenetic middle section for example uses a drum loop that is played in almost original form and it comes from the included loop library. The title derives from the fact that the band was using a lot of alternate controllers to manipulate sounds, in this case a Wacom pen and tablet.
A lot of real time electric piano, guitar, distorted bass plus some crazy edited drums play against radio number station snippets and textural synths.
The bass and electric piano parts were hard to perform at tempo but not impossible. The synth lines however were slowed down about 20 percent in order to play them. The pHatmatick beat slicer came in handy with the jungle drum loops and subsequent manipulations that became the backbone of the track. The bass line under the synth solo is a reworking of the theme from Discoverie Part 7.
Mud Monster's Ball
David bought a CD of Russian folk songs being sung by a women's choir and used it extensively for source material for years, though generally never quite as obviously as this. He used U-He's Zebra synth and Camel's Cameleon for all the keyboard parts and relied heavily on Reaktor's vector drum manipulation for sections (controlled by an M-audio Radium). The drum loop came from battery and, as with most of the other pieces, there were a few tone rows sprinkled in for good measure.
Charles Manson is probably not the best source for music samples, but the band used a interview with him where his insane babbling seemed perfect for an aggressive satirical piece. The River Run grain delay was used extensively to manipulate the speech (controlled by the wacom pen-pad combo), over a simple drum beat, some percussion and several synths. On top of the ravings several tone rows on distorted bass were injected for good measure. 12-tone lunacy.
More tone rows, more distorted bass, more River Run grain manipulation, more synths and processed loops, this piece evolves from sound effects into an almost dance tune and then back again.
A big drum pattern from Artist Drums featuring Simon Phillips started this piece. Then, using several tone rows the band put bass on top and used a contraption built of strings and springs mounted clumsily on a two by four screwed down to an ironing board, for all the de-tuned string sounds. More number station quotes fill out the madness.
This piece based on the book pf the same name, iuses the Korg MS-20 plug-in almost exclusively. The band found a drum loop and David played guitar along to it. He ran the guitar into the audio in of the synth and manipulated performances during and after the recordings.