Tracking Signals is the only instrumental track on the album. The concept behind the piece, such as it is, is that our protagonist is dialling between different radio stations, trying to isolate the government signals hidden in the static between the real stations. Hence the moving between muical ideas via beeps, whirrs and fizz.
Composition and recording
I think I originally started off trying to compose the sort of riff that Matt Stevens might write. I didn’t quite achieve that. I then threw a drum loop underneath and repeated it until it sounded boring. Adding some silly effects made it sound less boring again so I could repeat it more, but eventually I had to do something else so I threw down some different chords and did a quieter bit. And then I wasn’t sure what to do next so I left the piece alone for a year or two.
By that point I’d written All of the Dark, so it seemed sensible to foreshadow that with a keyboard version of the chorus melody.
And that was the demo completed:
Notes from pre-production:
Jordan: Great great stuff. The structure and main sounds are all there and need nothing. I can see this is a case of getting creative during production and add some textural augmentation. Distorted spoken word, stuff from the Conet Project, etc. Maybe an interpolation with a melody from another tune on the album? Seriously it’s good stuff I’ve listened to it twice just because.
I don’t think we actually did that, but what I love about this track is how much of it isn’t me. In Michael’s studio we recorded a load of different drum loops, and then Dan and Jordan just piled a lot of different ideas together. Where do composition and production begin and end? I don’t know, I think there’s a lot of overlap and it would be perfectly accurate to say Dan and Jordan had a hand in composing this piece, rather than just recording my creation.