Starting a new personal project is frequently a rather daunting prospect, and in my case is something I tend to fall into rather than something I tend to sit down and consciously decide upon. As I mentioned in my previous blog post, I may have written Mesmera’s formative tracks in late 2017, but I certainly didn’t set out with the initial end-goal of creating an album. Sometimes it works to carefully consider everything beforehand, and that’s how I generally approach my production music – but when it comes to solo material, I like to see where it takes me.
So where on earth do you start with that approach? Well – as long time listeners/followers may have noticed, I have a bit of a habit of rotating which instruments and sounds I use on any given project, and how I approach the process of composing and arranging the tracks themselves.
In some instances, these decisions are carefully considered beforehand and are directly informed by the type of music I’m attempting to create. In other instances, these decisions happen quite naturally and, by contrast, directly inform the music I have yet to create. The former approach is generally the one I adopt when I’m working on a particular project to a specific set of guidelines – for example, if someone’s asking for a collection of epic cinematic production tunes then I’m probably not about to bust out my collection of time-stretched wind-chime samples (which totally isn’t a thing but I feel it should be). The latter approach is frequently the one I adopt when I’m staring at a blank canvas and need a place to start – frequently, but not always (see also: Obscurer, where the choice of instrumentation was very deliberate and directly affected the sound and style of the album). Mesmera definitely falls into the latter category.
Following the metaphor of approaching a blank canvas, this selection of instruments and sounds is something I frequently refer to as my “palette” and, while there may be shared elements between projects, they tend to shift about from project-to-project. In the case of Mesmera, I can break down the palette into a selection of very specific elements – some of which I’ll go into here.
– Europa. Lots and lots of Europa: more specifically, Europa patches from Europa Relay. I created this sound-bank shortly after the release of Reason 10, and my heavy use of it had a very direct impact on how my ideas sounded right from the start.
– Polysix. This has become a staple of my music since around 2014 or so, and I use it way more than is healthy for things like synth arps and bass drones. It’s straight-forward and always sits nicely with whatever I’m working on. I’ve been considering rotating this out of my palette for bloody years and it still hasn’t happened.
– Acoustic guitars. In this instance, I ended up re-visiting the idea of using lots of simple plucked arps in a similar manner to how I ended up sprinkling acoustic guitar parts all over And All Is As It Should Be. There are a couple of parts where I strum out a few chords, but I really liked adding an extra sense of rhythm with guitar arps, sometimes layered up with other acoustic instruments to vary things up a bit.
– Acoustic percussion. This was something I naturally gravitated towards while working on Mesmera, and is something I used in tandem with the drum sounds from DrumSpillage (below). I realised that I had a habit of relying primarily on electronic kits and traditional acoustic drums in a lot of my music, so I decided to broaden my horizons a bit for Mesmera and ended up bringing in a lot of ensemble percussive elements. This is particularly evident on tracks 1 and 3 (Standing On The Precipice and Everything Felt New, respectively), and runs throughout the album.
– DrumSpillage. I’ve been using DrumSpillage to roll my own electronic drum hits since I first picked it up a few years ago. I had always struggled to find a really shit-hot drum soft-synth for solid drum hits, and while I have a few favourites that I still use for percussion (namely MicroTonic, love that drum synth!), DrumSpillage was the first where I really thought “woah, this is EXACTLY what I’m after!”. I tend to rotate this into and out of my palette purely because sometimes I just want to drop a sample into a track that I know is going to work without going through the process of rolling my own sounds – but that’s entirely on me and has nothing to do with the instrument.
This is by no means a comprehensive selection of everything I used on Mesmera, but a lot of these particular instruments and sounds find their way across a multitude of tracks. The fun thing about this is that I tend to naturally gravitate toward different instruments and rotate different elements out of my palette almost immediately upon completing a project. Right now I seem to be gravitating towards a different set of sounds, and I have no doubt that this will somehow inform the next personal project I inevitably end up working on.
One thing I like to strive toward when creating an album is a sense of cohesiveness throughout, and gravitating towards a palette in this manner is one way of accomplishing this, even if it tends to happen almost by accident in some cases. Another good example of this is how I ended up creating a lot of the tunes on Pieces – because I was so utterly reliant on the sound-banks of Tom Pritchard Sound Design at the time, the tracks sounded somewhat connected despite some of them being written years apart.
But it’s not necessarily just the sounds that reflect how an album shapes up, but how I get those initial ideas down and arrange them into something resembling a complete song. Going back to Pieces, I ended up using Reason’s Blocks functionality an awful lot to get a semi-complete 8-16 bar loop going, and then work backwards from that. This is a nice approach to take because it means you already have a destination to work toward – from there you can decide how to build towards the destination and, upon reaching it, decide where you want to progress from there. This is also an approach I tend to adopt for a lot of my production music, and it’s an approach I adopted when working on my live-stream music making sessions.
In the case of Mesmera (and The Broken Divide before it), I took a much more linear approach to arrangement – starting from the beginning and going from there. This approach tends to lend itself to a more “progressive” arrangement (in the sense of “things progressing”, not “15-minute prog epic”) in that the journey informs the direction you’re going to take. I tend to follow this approach when working on a lot of my own personal projects because it means I’m less informed by pre-conceived ideas, and it gives me a little more flexibility to go off on a tangent if I decide to explore a different direction.
Mesmera is available NOW through Bandcamp. You can listen to it in its entirety and download it from my Bandcamp page. Bandcamp subscribers also get access to an exclusive audiophile master, along with a beatless arrangement of the album. It’s also available to stream & download from a wide variety of digital distribution outlets.