SD video w/ Dolby Digital 5.1 audio - 2006 + 2008
 
        
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Song Score

Distinct from Evaporated Music 1's employment of sound design to surface invisible layers of sono-cellular activity in video clip imagery, Evaporated Music 2 employs musical compositions to invert the visual terrain and uncover a netherworld of 'other-song' residing in the gleaming nothingness of televisual pop.

A performed song from a TV show is overlaid with a click-track to match the tempo and structure of the existing song. (Thanks to Jojo Petrina for pre-production work here.) A new song in the general prog-metal idiom (complex time signatures, atonal riffs, faux-symphonic climaxes, etc.) is then 'over-composed', leaving space around the vocal parts but framing them with dense rhythmic/atonal passages and incidents. This process is done without watching the visuals, and involves compositional techniques in order to complete a viable song which can then be 're-imported' into the visual domain of the TV show's screen performance. Once the composition is basically complete. the music is the checked against the visuals for any glaring inconsistencies. For example, the video might feature a close-up of the drummer doing a fill or the bass player running up the fretboard. At such moments, the composition is altered to accomodate such moments, in order to fuse the new composition with the existing visual performance. Ironically - as most of the performers are badly miming at playing their instruments - a double duplicity is performed: the new composition fakes the music that the screen performers are faking in the first place.

The mix of the song hysterically exploits the surround-sound space, jettisoning drum elements widely across the space, and splaying shredded guitars and slabs of fuzz into front and rear spatial spectra. The sensations sought by Evaporated Music 2's compositions and mixes are the heady, oppressive omnipotence unleashed in the controlled chaos of the gorwing hybrids of Death/Nu-Metal plus some of the more rock-granular exponents of metal. Each track is based around sampled textures and micro-fragments of a single band, so as to imbue each track with a 'band identity'. Additionally, extra drums, guitars and bass are overlaid to flesh out the final compositon. The bands referenced are (in order of the pieces) Decapitated, Korn, Opeth, Sepultura, Tool, Meshuggah. The concept with the mix is to extend the Scandinavian and Eastern European sonic deconstruction of Metal that has developed in the last decade into the assaultive possibilities of the Dolby Digital 5.1 spatial matrix.

Many of the shows selected feature backing vocalists, so vocal lines and harmony parts are composed to match the on-screen performances. This is a major factor in allowing the resulting compositions to veer toward the prog end of metal. Various vocal techniques are employed by Philip who sings all the parts, Extensive post-production is employed to transform the vocal textures, correct pitch, and tightly synchronize the overdubs. Recording engineering for the vocals was handled by Que Huong Thi Nguyen. The main vocal line is mixed into the centre speaker of the 5.1 matrix, with the vocal harmonies routed to various spatial congigurations throughout the surround sound space.

Phono-labial Charts

The lyrics for each song are derived from matching labials to the existing song's words. This involves composing words that visually match, and then testing them for 'labial confluence'. This involves a bizarre process of playing the original TV song, then silently mouthing the new lyrics in-synch while watching one's mouth in a mirror. Modifications are required at this stage to fine-tune the precision of the vocal match, and can take as long as it takes to compose the new song. Once the phono-labial charts are complete, melodic lines are written for the parts. Careful attention is paid to the range of singers visible on screen. As the screen performances of these fake bands are highly pop in their arrangement and hence heavily weigthed to harmonised lines with back-up singers, the new labials are broken down into corresponding harmonised parts. Here lies the core clash of the resulting music: atonal multi-part harmonies accompanying guttural growling and complex-time atonal riffs.

Part A - California Dreams (My Song Growls Wasted Air)

Original lyric
New lyric
There are places to go I haven't been yet Terror's baseless. The Gods lie. Every being's dead.
And faces they tell I still haven't met
All fucking details. Articulate men?
And times in my life I’ll never forget And times immortal? Fuck it and forget.
I’ll always remember you as the very best
Allowance remits you in its vomit bags.
And when I think about you now and all we shared I wanna thing aboundless now – all our wishes.
I smile and know I’m just glad I was there A spiral hole. Humongous lower death.
I’m so-o glad I was there My song growls wasted air.
There can never be another time or place
Dead in heaven. Peel nothing down or blessed.
That will ever be quite the same
That is every being’s quaking state.
If I could I’d take you with me everywhere I go Every cooking taste you wish; every way a whore
This dream is the one thing I will always know
History is no wondering – just a gaping hole.

 

Part B - Pugwall (Lap Dance Choking Whore)

Original lyric
New lyric
We know where we want to go
.When God worries what to show
Uptown Tokyo Lap dance choking whore
That’s where we want to go
They swear we wont withold -
Uptown Tokyo
A lap dance choking whore.
By boat or aeroplane Bible-torn era of pain
To us it’s all the same You ask this whore, Satan
We’d swim but it’s too slow Weird wins - bastards duo
To Uptown Tokyo The lap-dance choking whore
Anywhere with you is allright with me Head in where his Jewish doll race will be
(All right) All rise!
Hand in hand we’ll see all the sights Hating Hell will seal older sighs
(All right) All rise!
In a rickshaw built for two Inner resourced – peer-fucked too
I’d imagine me and you Hide a magic piano and
Together in Uptown Tokyo
You get her his lap-dance choking whore
So sorry if you please
Though shattered if you pee
Must learn some Japanese Bust her dumb jar pennies
We’ll need it when we go Windy dear wind, we’re cold
To Uptown Tokyo The lap-dance choking whore

 

Part C - Full House (Heave Until Balled-Up)

Original lyric
New lyric
Sometimes you lose your place
.Surprise your loser bait
And all youre searching after is right before your face Hang all your hurting avarice: Ill befall your fate
Riding on your high horse
Rating all your hard whores -
Believing your own lies dont you know that
Police of fuel oxide jokers know that
Everyone is leaning Hairy ones are leering
All the same size Hold the saints eyes
Just a little more love is all were hoping for Drunk until my dove leads on were up all fours
Just a little more peace is all we need Drunk until my beast hears all we did
Take away the colours dont you understand it Hack away to gut us - down-under dancing
All breaks down to the heart of the man (In) hombre town to the heart of the bad
Oh wow think how strong wed be (-) thick and strung whipped heel
If you and me give a little more love A view of me heave until balled-up
(at end) Break it down! (-) Be in hell!
Take away the colours dont you understand it Hack away to gut us - down-under dancing
All breaks down (spoken) It all breaks down to the heart child
Tall bass sound (spoken) And Ill rip your heart out and eat it
oooh (pause) heart of the child oh-oh >>>>
oooh (pause) Rip it and eat it - oh >>>>
Ooh! Ow-wow think how strong wed be (-) thick and strung whipped heel
If you and me give a little more love A view of me heave until balled-up
It aint that tough to give a little more love A view of me heave until balled-up
Take away the colours dont you understand how Hack away to gut us - down-under dancing

 

Part D - The Heights (Hard Chew Your Dog To The Ancients)

Original lyric
New lyric
I hear a voice in my mind
A nearer void ear my might
I know her face by heart An hour phased pious
heaven and earth are moving in my soul
Every hurt that bored me he must toll
I don't know where to start
I done away to heart
tell me, tell me, the words to define Tape me, tape me, the world to defile
the way I feel about someone so fine The swaying field; dumb ones on fire
how do you talk to an angel Hard chew your dog to the ancients
how do you hold her close to where you are Hand to an older ghost the way too hard
how do you talk to an angel Hard chew your dog to the ancients
it's like trying to catch a falling star His last drained look at a vaudville slut
at night i dream that she is there Annihilate the sheerest stare
and I can feel her in the air Annihilate her cursed hair
tell me, tell me, the words to define Tape me, tape me, the world to defile
the way I feel about someone so fine The swaying field; dumb ones on fire

 

Part E - Kids Incoporated (Diamonds On A Scar)

Original lyric
New lyric
Chuggah chuggah chuggah
Chuck it chuck it chuck it
When I hear the distant thunder Wetter ears her tear-stained anger
Well you know it makes me wonder
Way unknowing baby water
About the world out there so exciting
A bastard word an arsehole sighting
To me its so inviting No weed here so he fucked her
People give us rules and regulations Baby if arseholes are rear-agents
Fill our minds with crazy explanations Fear mind regressive bomb a nation
Put us in a care without a key now Buddahs in a cave: were anarchy now
Waiting for that every woman free now Weighing forth the heavy womb in fear now
Cos time is on our side Cos diamonds on a scar
Time is on our side Diamonds on a scar
And before too much more is gone Happy fortune must bore his gun
We’ll be moving on (we’ll be moving on) Quick! P.M.U. feed-hog (P.M.U. feed-hog)
Cos time is on our side Cos diamonds on a scar
We’ll not be denied
Wheel-nuts beer desire
And baby our sun will never set
Happy be a star witch defaced
There’s nothing to reget Desire hes too wicked
Cos time is on our side Cos diamonds on a scar
Cos time is on our side yeah Cos diamonds on a scar yeah
Chuggah – chuggah – chuggah Chuck it chuck it chuck it
In the grip of powerful emotions Hed agree Id bow if all he motioned
The beating of my heart is an explosion Had been of my artisan exposure
A lot of brand new feelings inside of me Harlot, I brand you fearing sodomy
I’m gonna try what ever’s been denied me Im god! I dry-wall heaven spears inside me
You’re gonna find me anywhere Yoga and fire my ending way
And I’ll be taking every day And Im free-basing if we take
Just try to stop me Degrade and stalk me
I don’t care Idol hair!
I don’t care Idol hair!

 

Part F - Saved By The Bell (Fateful River)

Original lyric
New lyric
Well be friends forever
Where be fateful river
Til the end of time Tear the hateful dark
Friends forever
Fateful river
Well be friends
Weep if ending
With you everywhere Weather heavy air
Talkin bout friends Chocolate bar French
Friends forever Fateful river
Theyll always be there Dead hallways beef ends
Always will be there Oh waste we be dead
Yeah yeah friends Dead air fate
Friends forever Fateful river
Always be friends Hallways beef ends
With you everywhere Weather heavy air
Well be friends together Where be fateful river
Friends forever
Fateful river
Yes we will, Yes we will
Get weird pills, get weird pills
Always will be there Oh waste we be dead
We met some time ago Woman some tarmac whore
When we were so young Weary work so hard
We've been through thick and thin Wave be thralled hand it then
We've lost, we've tied, we've won With lust weve died recline!
If you're down, I'll pick you up If entirely piqued Europe
I'll never let you fall Hard day for dead ducco
If you ever need someone He viewed heavy dicks up bum
I'm waiting for your call Im praying fuck your god
Through it all, hangin' tough Threw that whore her dangling love
We'll stay side by side Wasted sly bastard
We'll be friends forever Where be fateful river
Til' the end of time Tear the hateful dark

 


Complete contents of this page © Philip Brophy