Your Opinion Is Wrong™

I left my non-Pod recording in front of a coworker's radio from SalesForce yesterday for just under an hour and am now listening to the recording while I'm working at PC Tools.

Stupid radio music. It was tuned to Nova. On the plus side, it's picking up a lot of background noise and this occasionally messes with the music that's being played, making some cool sounds. I think it was also picking up some interference occasionally, causing a rotary-like effect on the lower frequencies.

I'll use it to make a song-ish sort of thing.

Here's a link I found while not working. I normally avoid reading about album interpretations ('specially BoC's albums) but this one somehow caught my eye.

The author gets a little carried away in parts and there are a few points which make little sense, having looked like they were going somewhere, but end up going nowhere (you didn't account for GREEN, bub!), but I learned what the album title actually meant. That's one thing that was bugging me for years 'cause I couldn't figure it out...

I think it's also worth mentioning that I remember reading that one of the BoC members has stated that their latest album, 'The Campfire Headphase' contains no (or very little) use of symbolism, as they didn't like the idea of fans immediately dissecting their songs without actually listening to the songs as songs in their own right.

This makes sense: Numerology is still used in Headphase, although it's only there seemingly for the song's sake. I haven't noticed any other hidden themes, either.

Up until a few minutes ago, I was wondering where on earth I pulled 'Martian Chorus Bells' from.

While listening to 'Geogaddi', one of Boards of Canada's albums (possibly the one that does it for me more than any others), it occurred to me that it is structurally similar to a lot of their stuff and the sounds were created in similar ways.

It sounds a crapload crazier and doesn't have that warm and fuzzy quality most Geogaddi tracks have, though...

The next person who tells me that they liked MCB is gonna get a bunch of BOC CDs thrown at them by me.

Click here.

So, out of nowhere, Lucas and I manage to pull off a decent live recording (guitars and drums) of our take on Prodigy's 'Voodoo People' yesterday. I knew the riff 'cause Refused covered it and I dig their version, and Lucas hated what their drummer did for it, so he started playing something that sounded better.

This recording, once I did 5 minutes of quick mixing, actually sounded bloody tight, if I do say so myself. Not bad for what is essentially a four-track recording.

Will it appear on that myspace page that Lucas started?

Hells, no! I forgot to save the file!

We're gonna try recording it again today. We did attempt a few additional takes, but we kept stuffing it up here and there...

I just came across this quotation by...uh, somebody other than me. When I read the line, I thought to myself: Right, and how do we know (and I mean really know) what is actually heard?

Don't mean to get mopey (I think I'm past that stage anyway), but the line (and my resulting question) reminded me of the breakup. I believe that words lose their intended meaning the instant they're uttered, which ultimately means that two people within a relationship cannot attain true understanding of one another.

I always thought (or assumed at some level) that Sarah knew this as well, but I guess the reason for the breakup seems to contradict this, while validating the theory in the first place, as, on the surface, I was dumped for a lack of understanding of who she was. I never realised just how ironic the whole situation was until I read that quote a few minutes ago.

Just found the best signature on a forum that I'll be stealing:

'Will play bass for soup'

Heh, heh.

"You have to pick up The Bass, as Mingus called his with audible capitals, and think of the slow years the wood spent as a tree, which might well have been enough for wood, and think of the skill the bassmaker carried without great thought of it from home to the shop and back for decades, and know what bassists before you have played, and know how much of this is stored in The Bass like energy in a spring and know how much you must coax out. How easy it would be, instead, to pull a sword from a stone. But what's inside The Bass wants out." - William Matthews, 1995 From: "Time & Money: New Poems" (1995)

How lovely. My bass is made of luthite, not wood, but you know, I guess that part's open to interpretation.

...

Being made of luthite, it was problably congealed in a vat somewhere, not made like a regular bass. But again, I can use my imagination to make the rest fit, surely.

...

The sword thing works for me, as does everything past that point.