Been working on two piano pieces today. Number 1, which is now at its 11th version and number 2, of which there are now 9 versions.

Thinking about the criticism that the earlier versions received I have been working on ways to get rid of that. And all the time keeping my personal artistic scope intact. This morning I started working on acoustic ‘veils’ with which I can ‘cover’ certain parts without immediately hiding them or cutting them out. This has led to a few interesting experiments which still have to be drilled down deeper.

So, what happened? I started with number 1.10 and covered that up with an acoustic veil. First trying that with a synth sound but soon that failed (too synthy) and so I started preparing veils that are made from granulated parts out of the original composition. I am not quite satisfied with it but it looks promising. I now have to experiment with cutting out parts of the ‘veil’ or bringing up double layers.

Number 2 is treated differently: the original piano sounds have been broken down so badly (with GRM tools) that they are barely recognizable (although still there). I have added some interplay with always rewarding dfx reverb.

And thirdly I have prepared a veil that consists of acoustic recordings that I made during my trip to Morocco. I haven’t applied it to any of the other compositions yet, but I will. Later. First I will make a trip to Paris, this weekend.

I read a review about a Satie recital in the newspaper today which patly described his music as lateral, pointless and anti romantic (all positive criticism, by the way). In a sense, this can be said of my piano pieces as well and so currently the project has been baptized as a 21st century SATIE project. Naturally there’s a lot that can be argued against it, but what the hell. I’m the artist, I can be anything I want. N’est-ce pas?