Wüste - 2. Wüste – or Good Old-fashioned, Austrian, Handmade AmbientFusionTechno

Wüste – or Good Old-fashioned, Austrian, Handmade AmbientFusionTechno


An album needs a monumental, collossal opener – or so I thought when writing mine. After having written an Ouverture and thereby saturating my lofty artistic goals, I wanted to have a statement that would leave an effect on the listener as a sort of passing monumental impression. And what else could that mean than a phat Tune in 7/4 alternating between big Riffs and a Techno Jazzhead? Nothing else, that's the answer. Which is why we now have this lovely, monumental tune – can you feel the Wow? But let's start with the musical origins.


The original Sketch for this Song was actually based on a sort of re-write of Duke Ellington's 'Caravan', equipped with a new 'oriental-sounding' melody and a rhythmic variation of the cuban 'Songo'. Since my experiences with 'the Orient' however were limited to a few scales I could play and my ties to Cuba restricted to looking up 'Songo' on Wikipedia and my intention was more about the effect than anythign else, I decided to rewrite the piece and make it the Jazztechnomadness that it now is. Is it showing yet that I really like this piece?


Now I still wanted some external references to restructure my piece, so I turned to two of my favorite artists, namely Avishai Cohen (the Bassist) and Dhafer Youssef. Avishai Cohen had enormously impressed me with the way he would come up with, plainly spoken, badass riffs in odd time signatures that would engrave themselves into your memory. Dhafer Youssef on the other side was this singer who had this insane ability to drag out long held notes in such a beautiful way that just made one want listen more and more. Both of those artists served as references for how I would construct melodic and rhythmic aspects of 'Wüste', since I deemed it necessary to have an idea that is a bit more differentiated and interesting than, well, 'Good Old-fashioned, Austrian, Handmade AmbientFusionTechno' (although that is still pretty awesome by itself). I also got to include a sort of Reference to the somewhat legendary Drumsolo that Mark Guiliana performed on Cohen's 'Emotional Storm' – there was no attempt made to actually replicate that thing, however a large part behind my motivation to include a lot of Drumsolos in those first albums was to a large part owed to Mark Guiliana.


I would like to take an opportunity at this point and thank the reader for continuing through my fanboy-gushing, which, while from my standpoint relevant for the piece's history, is probably not the most interesting thing to read in the world. It might, on the other hand, inspire you to listen to some of their music – which I would always recommend! All fandom aside, I would like to take the rest of the article to discuss the 'story', that might or might not be told through the course of this first album trilogy.

As you progress through the titles of 'Ouvertüre', 'Elegie' and 'Requiem', you might wonder – is this some sort of story being told? Someone going self-exploration, abandoning themselves into the desert and then slowly, well, decay into madness? Yes and no. Since at the time I was trying to go for maximum effect, I tried to construct a sort of path that would cover various extremes through simple 'associative pictures'. The thing is however, that the most effective way to construct an 'extreme, engaging' story, was to make it seem as if it at least might happen in a 'human context'. Therefore, while I don't really have an inspiring story to offer about the story of 'Wüste', I do offer both the possibility to enjoy it as a sequence of scenes 'devoid of people', or as a sort of story of 'aperson going into the desert' and then finally dying there. Which one you want to go with is up to your own artistic tastes, I guess – but it certainly does offer potential replay value (Subliminal Message: BUY – MY – RECORDS)

You can listen to 'Wüste' here: https://www.youtube.com/watch?v=1p7LSDCQxKM#

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