One of my more recent projects, Drone Wallah, has been focused on very long-form drone-ambient recordings. Until “Abecedronium” that is.
When I started work on the album I had the idea to make a collection of 20-30 very short drone pieces, each with a different way of generating the sounds, so no two tracks are alike. I used a large variety of instruments. Guitars, flutes, synths, a vintage chord organ, voice, whistling, to name but a few, as well as processing prerecorded samples. Also I used a lot of effects: delays, convolution reverbs, stretching, vocoding, a mix of hardware and software tricks. One track uses the warbles of a musical saw, played by Aria Nadii, that I processed in a number of ways to arrive at some complexity.
At some point in the making of the album I decided to limit the tracks to 26 and name them alphabetically, with obscure concepts and archaic words. There’s WWI army slang, thieves’ cant, outdated colloquialisms, regionalisms, and whimsicalities. I feel doing this adds some depth to the piece, by rewarding the listeners who look up the words, thereby enriching their vocabularies, and suggesting a relationship of the title to the character of the recording itself.
Drone Wallah as a name borrows the word “wallah” from Hindi, which is used to indicate someone who’s a specialist in something. Thus, a drone wallah is a person you seek out if you want drones. Playfulness with words is an important part of my creativity, and although I don’t write songs, I make up for it with evocative names and titles.
The cover image for the album uses a painting by Aria Nadii which I found to have an abstract quality reminiscent of drone music.
Visit the release page at Webbed Hand to see more information about this album and to download it for free.