Write a melody with pencil on staff paper.
Play it every day. Each time you’re done, erase one note and replace it with a pause of the same value.
Repeat until only silence is left.
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Study your students.
Teach your teachers.
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Merge two existing melodies without scrambling the order of either one.
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Create tension and release through careful manipulation of just one parameter.
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Yesterday I released Kolapse, an album with remixes of pieces from my 2013 solo album, Kola. It’s free for now, so please get a copy and tell all your polyrhythm-loving friends!
The remixers are, in order of appearance: Drescher und Wemmser (D), Guy Birkin (UK), Lärmheim (CH), Kryshe (D), The Redundant Rocker (D), Erik Emil Eskildsen feat. Stormtrap Asifeh (DK/A/PSE), Chris Herb (D) and Mathon (CH). The album was mastered by Markus Reuter and Ritxi Ostáriz again created the cover art.
We have some interesting things lined up to complement the album release over the coming months but for now, have a listen and enjoy!
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Write a song about a concert.
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No stalgia.
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Use reviews of your previous work as material for new lyrics.
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Reinvent the wheel.
See if it works the way you would have thought.
If it doesn’t, extrapolate a new logic from there.
Who ever said that a rhythmic grid had to be evenly spaced?
Can you imagine working with a tonal system in which interval relations change slightly everytime fifth time a certain pitch is played?
What if we didn’t think in terms of “tracks” when composing, when mixing?
Going back to first principles can reveal hidden potentials and new angles from which to see the familiar.
„The stuttering engine makes for a memorable ride.“ (diary entry, 2008)
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