Here is a video that should not be.
The crusty old laptop I use for video editing needs some serious surgery — a furious fan-cleaning at the very least — and these days it gets piping hot pretty fast. Usually I can edit a video for hours at a time without any issues, but the rendering process is another story. With any video that’s longer than about five minutes, there’s a good chance the thing is just going to shut off mid-render when it gets too hot, and I’ll have to wait for it to cool down, start it up again, and hope I get lucky the second or third or seventh time around.
This video is just a hair shy of nine minutes long. So you can imagine how much the laptop enjoyed that. I’ll leave it for you to imagine how I got around the temperature problem. The important thing is, no witchcraft was involved.
This is the opening track on STEW, which should be out there in the world around the end of this month. To me it feels like something of a cousin to “Don’t Go”, the opening track on SHOEBOX PARADISE. The piano at the end even echoes a piano figure that weaves its way into that song for a little bit, even if that wasn’t intentional. But where “Don’t Go” stretches out for more than ten minutes and features some insane ping-pong-ing electric guitar from Gord and some unhinged screaming from me, here Gord’s ambient guitar is more restrained, my singing barely rises above a whisper, and the music’s over in half the time. The craziest sound in the whole thing is probably what my voice does at the very beginning with the microphone plugged into our old friend the Digitech guitar effects processor.
The thing I keep coming back to with this new Papa Ghostface music is the depth of sound. There’s no way we could have built up a soundscape like this back then — and I even had the same mixer and the same amount of tracks, at least from the summer of 2000 on. It’s fun putting some actual thought into the production side of things and not just slapping things together like we used to. Sure, every element of this song aside from the bass line and the lyrics was improvised. But it was thoughtfully improvised.
(At least that’s the story I’m sticking with.)
All else aside, dig what Ted’s alto sax brings to the song. All kinds of dreamy goodness wouldn’t exist without what he did there. I think it’s the glue that glues the glue together.
Don’t ask me what the glue is that’s being glued, though. I couldn’t tell you a thing like that.