This piece that I'm working on is
named after a Russian cruise ship
called the Lyubov Orlova that was moored in
St. John's in Newfoundland.
It was apparently being towed to be scrapped
and the line broke and it went loose in the Atlantic.
Legend has it the boat was filled with cannibal rats.
So it's a little bit of a sort of creepy soundtrack to this
ship that's adrift in the Atlantic.
There's just these layers of, kind of, abandonment
and hauntingness that kind of attracted me.
Musically, it lined up metaphorically with some of the
musical ideas I was already exploring in terms of drift,
and endlessness,
and also the tone and texture.
I have a custom piece of software that was written
to do interactive music, and generative music, and
adaptive music, and
it helps me script and design the music
and how it should flow,
when it's random, when it's sequential,
how long the silences should be—things like this.
So I compose the music
and write it in these tiny little components
and then load these into the custom program
and design it out and then hit play
and audition it and just continue to refine it from there.
These are almost soundtracks for me.
So a lot of the sounds, like in this case, I've got some
random bursts of static.
I mean, I like working with noise, but in this case it was
almost a literal noise and imagining like a dead radio
on the ship, that's maybe still partly working
and still picking up signals.
And then there's just some
you know, haunting voices, some sort of harmonic
strings, some other layers
that are just really there to provide atmosphere.
I thought this might be
a step even further in terms of providing someone a
background to work to, or a background to think to,
or a background to just relax to,
or to just immerse yourself in and become a
you know really deep listen for a while.
It's meant to be just something
you can sort of come into and out of.
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