| website | https://mauricerickard.com/ |
| onezero music | https://onezeromusic.com |
| snwv | https://snwv.bandcamp.com/ |
| twitch | https://twitch.tv/onezeromusic |
This week's composition is where I let myself out of the four-minute limit of the last few years. I'm also letting myself overload the A/D input. The overall vibe is *determined.* https://weeklybeats.com/onezero/music/early-winters-spires
For the last two or three years or so, I've been limiting pieces to shorter than four minutes, as a way of enforcing focus. This one, though, seemed to need to exceed five minutes, so I'm gradually letting myself free from some constraints. The first themes I recorded Friday night were the second and third themes in the finished piece. I wanted to do something that formed out of more sparsity, thinking of Slowdive's "Rutti." While I recorded something in that direction, it didn't quite fit with the rest. In a second session Saturday night, I recorded the two themes with harmonizing melodies, followed by the long first theme in the finished piece, which fit much better than the earlier one. This one seemed to work best as a long build, and inspired by the example of jwh's week 20 piece, I gave myself license to include the whole thing as a unified, mood-creating intro. The first several things I recorded seemed to start on the 4 of the first measure, beginning with a rest, so getting this to fit together required a few shifts in relation to the expected start of the measure. The harmonized lines needed a little shifting as well: I'd gone for intuitive timing, but they worked better when tightened up. The signal chain: three tracks of home-built Res-O-Glas Belmont with Lace Alumitones. The left and right channels went straight into the UA Volt, but the center-panned channel went through a JHS Colourbox 10, with the lows boosted and mids attenuated. This time, I kind of embraced overdriving the input, another change from the stay-clean approach. There's a moodiness and determination about this that I kind of like. The title comes from the prominence of the Early Winters Spires, at 647 m.
This week's #ambient #guitar #improv is now up, sounding like an expanded chamber ensemble passing lines seamlessly between and wind instruments. There's a slow but constant development. $0/name-your-price. Available on mirlo:
An album by snwv Released 2026-05-21 Before starting this performance, I was thinking of texture and variation:
7 track album
This week's #ambient #guitar #improv is now up, sounding like an expanded chamber ensemble passing lines seamlessly between and wind instruments. There's a slow but constant development. $0/name-your-price. Available on mirlo:
An album by snwv Released 2026-05-21 Before starting this performance, I was thinking of texture and variation:
This week's composition, kind of a grab-bag of time signatures on an alternatively tuned cheap guitar. There's kind of a cubist insistence to this. https://weeklybeats.com/onezero/music/curlew
It's been a few weeks since I used the $60 Univox for a track, so here's an arpeggio-heavy one. The first part I recorded (the arpeggiated theme at the beginning) turned out to be in 5/4, so I went with that where I could. As a rock-marinated person from small times, I kept falling into 4/4 and 6/4 in places, but I liked the interplay with the 5/4. Also inevitably, I ended up tracking a couple parts in 11/4. Is there a time signature I didn't use? (Yes, there are time signatures I didn't use here.) Three tracks of Univox Coily hollowbody in Bb F Bb F Bb C tuning, no effect pedals. (I did try using my Montreal Assembly Count to Five here, but there's already so much going on, it didn't work in the ensemble. It would work as a solo guitar thing, though.) There's the usual convolution reverb send and the eq/compression/limiting on the stereo mix. The title comes from the 646-ft. prominence of the Curlew Mountains.
Sumerian cuneiform of the day