Dave Hartl: Music

• MP3 short clip, hi-fi play (broadband)
• MP3 short clip, lo-fi play (modem)

Dave Hartl: synths:
Arturia Moog Modular V (melody on pt. I, bass on pt.II)
Arturia CS-80V (chords and harmony melody on pt.II)
Emu Morpheus (bass and metal counterline on pt.II)
Emu Planet Earth (metal counterline on pt. II)
Korg Wavestation SR (melody on pt.II)
Kurzweil PC88 (triggered by Oberheim Cyclone) (piano)
Kurzweil K2000R (bells and Take 6 samples on pt.II)
Native Instruments FM7 (melody (2 instances) and harmony melody on pt.II)
Spectrasonics Stylus RMX with Backbeat refill (drums)
Waldorf Q (melody on pt. I)
Yamaha FS1R (radio waves, chords on pt.II)
Wilco Botermans: theremin

This is a long, frustrating siege of a composition stretching over a 12-year period. Originally, the piano was generated by the Oberheim Cyclone arpeggiator, using a 2-zone setting and driving the tempo with a foot pedal, recording into Performer on 3/17/95. It sat inert waiting for “what now?’ until 1/12/00, when it was chopped up and expanded into a 7:12-long piece by 1/15/00 with 3 sections and a vaguely ABA texture. Here it sat for another 4 years, experimented with and prodded occasionally. In July 2004 I added the weird melodies over the piano parts using various synths and effect pedals and MIDI guitar as well as cleaning up the Zappaesque bridge. Finally, in November 2006 I did major surgery on it and pared it down to the version here on the CD. It’s an experiment in letting the technology dictate musical content and responding to it; I discovered I like being in control more since life is too short to spend it arguing with a machine. But the whole thing seemed like the mood and technique I get from Lynch’s films, so I dedicated it to him. In the Twin Peaks DVD set, the actors describe how Lynch allows mistakes and chance occurrences on the set to dictate the content of the final show, so there is a connection that way. Wilco Botermans reappears on the theremin at the end for textures.