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Music

Wolfdragon Moonshine

by Garry Shepherd

Released 2017
Released 2017
An Art Rock and Electronic Music soundscape album of two works, WolfDragon Moonshine (1986), Wildlife (1977).
NOTES
WOLFDRAGON MOONSHINE

Track 1 - WolfDragon Moonshine (1986)

'WolfDragon Moonshine' is an Art Rock and Electronic Music soundscape music work I recorded in 1986. It's fairly grand in it's structure with acoustic guitar by Tim Steen, electric rock guitar by Paul Janel and electric fretless bass by Peter Jackson. I play synth keyboards with orchestral and electronic soundscape styles. There are also some of my early computer composed electronic work on the then newly released Yamaha CX5M 64K computer with FM synthesis.

The whole thing was mixed on analog multitrack tape with heaps of rack mounted outboard effects and extra synths, all in one take (after a few practice runs) with 2.5 sound engineers (5 hands) and monitored through a stereo JBL 4way megawatt sound system in a concert hall, Roy bins, W bins, alloy horns etc. We kinda disturbed the neighbours a bit, I kept turning it up, just loved hearing it very loud, especially the deep rumble of the bass in the dark bits.

Track 2. - Wildlife (1977)

To celebrate 40 years since I recorded 'Wildlife' in September 1977.

It's all analog synth, with some acoustic piano, recorded on 24 track multitrack at AAV (Armstrong Audio Visual) Melbourne, Australia, using as many synths and synth modules I could get my hands on - with thanks to Helmets Music of Ringwood (Melbourne). It has multiple soundscape audio scenes using the extensive AAV sound effects library of both vinyl and tape, combined with analog sequencer loops.

Wildlife was written for a multi-projector concert setting with 24 computer controlled 35mm slide projectors - that's a 1977 computer by the way, onto a cinema screen divided into a grid of 12, 4 across x 3 high. Each grid section had two slide images dissolving from 10-30 seconds, with the whole grid screen morphing all the time. The images included lots of animal and wildlife pictures, which is where the title for the track comes from. The time it took to repeat the entire combined set of images taken at 2 second intervals, was about 21 years.

The music was written for a quad sound system set up in the cinema space and includes lots of wildlife recordings in the mix to match the animal and wildlife images that appeared in the visuals.

This is a stereo version of the quad mix, and certain parts have a distinct left and right channel separation. These represent parts of the quad mix which had distinct front and rear channels. So for instance a roar could suddenly appear from behind the audience's front facing perspective. Other parts would have prominent sounds bouncing diagonally from Left front to Right rear.

It took about a month to record, and I had the studio lights turned off except for the eerie glow of instrument led lights and equipment meters to heighten my audio senses. Visitors to the studio said it was like walking into a dark cave and they had a sense of disorientation like floating in a field of stars with just the soundscape and odd flashing led lights scattered around the place.