There was a lag between when i finished making the Dieselpunk Opera and when i went and recorded the singers. During that time, since i couldn’t stop thinking about the opera, i just went ahead and started doing research for the Atompunk Opera.
It’s been killing me not to share, but i didn’t want to take steam away from the DO. However, now that’s it’s released i can go ahead and start sharing.
Researching music has been my first step for each opera. As i always make clear, my goal is not to mimic or authentically nail music from the period, but to be inspired and grab bits and things i like to use.
I tried a few avenues to find what sounded like an Atompunk sound to me, but i had little luck until i ran across this guy. He;s not in the 50s or 60s, his music is 70s, but it doesn’t matter. This is what Atompunk sound like to me. I LOVE this. I can SO listen to this. It is not only awesomely cool, it’s inspiring as hell. Seriously, i adore this shit.
Now don’t start thinking i’m gonna make some far out ambient work. It’ll be my style as usual , although instead of steampunk bent, or a dieslpunk bent, it will utilize some of these elements. My jumping off point of inspiration for the sound of The Atompunk Opera is José Vicente Asuar . No question. The soundtrack to Forbidden Planet also ranks very high. But let’s start with Mr. Asuar.
Jose Vicente Asuar is a Chilean composer who set up the first Electronic Music Studio at the Universidad Católica in Santiago in 1956. He is one of the great pioneers of electronic music
There is a possibility Lloyd will… he probably won’t actually appear in the Atompunk (and will DEfinitely not be Narrator. I’m actually leaning towards bringing back Kayleigh McKnight as the com…. the narrator let’s say.) However Lloyd MAAAAAY be…. present in a certain sense. Not a major part or anything… just… when… a part of the opera won’t take place… it’ll be…. and i need…. see Lloyd would be…. ah shit. Just name dropped is all i’m saying. Never mind what i’m saying. I’m not bringing back Jasper. That’s definite. Lloyd… i don’t know. Just name dropped probably. Unless i decide… should they just be alluded to or should they actually appear? They should appear. What a great, sick song it would make. Shit. Never mind any of this. I should delete this paragraph.
Here is my first great musical inspiration for the AO.
[youtube=http://www.youtube.com/watch?v=qSs3WC0Y-ZY]
[youtube=http://www.youtube.com/watch?v=3vcqQTXUhbM]
[youtube=http://www.youtube.com/watch?v=xDz4N3pCYIo]
[youtube=http://www.youtube.com/watch?v=MXlfQ9z3yR8]
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Just wanted to say that I am listening to the DO so much since it went up, and it is one of the (few) things I am budgeting money for when I get it.
Also the stream of conciousness paragraph was fun to read, having heard the products of that head it is interesting to see a little of what goes on inside.
Thank you for letting us take a peek into the style of AO!
Actually this is just what I expected out of the third installment of New Albion. If Steampunk was Victorian and Dieselpunk was jazzy, Atompunk would be futuristically new age. The eerie blips and bloops are very common in video game soundtracks, and like Paul has said above, it’s not just used in ambiance. I believe that he will be more than capable of making something new out of these sounds, which in itself is the whole point of moving onto the future, both our real world and New Albion.
Cool thanks for sharing!
It’ll be fascinating to see if you can work a bit of that expansive unnerving dissonance into your trademark super catchy tunes.
To elaborate, your songwriting in SO and DO seems to be *classically melodic*, in that, Rodgers and Hammerstein would appreciate it. So how is that gonna work with eerie blips and bloops?