Remix Wasp and Be Featured on an EP/Remix Collection

We are having an open remix opportunity for jazzsequence‘s Wasp album.  Your submission could be featured on an upcoming EP or remix collection on Plague Music or a compilation on Shinto Records.

Here’s the skinny

  • Submissions can be in any genre and in any format
  • All the included stems and clips can be used, or none, it’s up to you!  Want to write a completely original track based on the album?  Go for it!
  • Using your own instruments/beats/loops/samples is welcome, however any samples you use must be royalty-free or you must have acquired the rights to use said sample.
  • You may submit as many completed tracks as you like.
  • Send us a link to your track via our contact form or drop your submissions in our Soundcloud Dropbox.
  • Please get your submissions in by September 1, 2011.  If you’re interested in participating but can’t make the deadline, let us know — me may be willing to give you a couple days to finish your track.

Additional information

Wasp was written as a soundtrack to the novel The Girl With the Dragon Tattoo by Stieg Larsson.  While it’s not mandatory that you be familiar with the book, it might help to give some backstory to the tracks.  Wasp was composed using the concept of leitmotifs, using recurring themes and melodies to reflect different characters.  When two characters in the novel share experiences together, their leitmotifs play against each other in the music.  Rather than focusing on Mikael Blomkvist and the Millenium publishing group, Wasp, instead tries to interpret the events more from the perspective of Lisbeth, whom the album is named for.

Ableton users can use the original clip files.  For everyone else, the zip files include the full stems as well as midi files.

Track notes & downloads

View/download all files

Hedestad
This piece introduces the setting.  The bulk of the novel takes place here as well as the mystery that the main characters, Mikael Blomkvist and Lisbeth Salander set out to uncover.  This track serves to introduce the mood and setting of the rest of the album.

Download Hedestad stems

Incentive
This song takes place when Mikael accepts the job to investigate the mystery of the disappearance of Harriet Vanger.  The guitar parts introduced in this track serve as Blomkvist’s leitmotifs while the string parts are the leitmotifs for Harriet Vanger.

Download Incentive stems

Lisbeth
Lisbeth Salander is the central character of the soundtrack, if not the book.  This track introduces her leitmotifs which get used frequently in the later tracks.

Download Lisbeth stems

– The initial sexual assault
– systematic  brutality
I AM A
SADISTIC PIG
A PERVERT
AND A
RAPIST
This song has three parts, representing the two times Lisbeth is sexually assaulted by her guardian, Nils Bjurman and concluding with her revenge.  Bjurman’s leitmotifs are the heavy metal guitar parts, which transform into ambient synth parts at the end when he is being tattoed by Lisbeth.   The distorted squealing instrument (bjurman 17-Ambient-Filter Stutter) represents the sound of the tattoo needle digging into Bjurman’s skin.  On the album, the third part is isolated as a separate, bonus track.

Download The initial sexual assault / systematic brutality / I AM A SADISTIC PIG, A PERVERT, AND A RAPIST stems

Magda — 32016
Sara — 32109
R.J. — 30112
R.L. — 32027
Mari — 32018
This song takes place as Blomkvist is deeply involved in the research surrounding Harriet’s disappearance and the mysterious code he finds in her diary.

Download Magda — 32016 / Sara — 32109 / R.J. — 30112 / R.L. — 32027 / Mari — 32018 stems

I want you to help me identify a murderer
These are the words Blomkvist uses to entice Lisbeth to work with him as a research assistant in deciphering the clues he uncovered.

Download I want you to help me identify a murderer stems

Pigeon in a flowerpot (five plus three)
This song represents the a ha! moment when Lisbeth discovers the secret of the names in the diary, and finds more victims whose names did not appear in Harriet’s diary.  This track features modified versions of Lisbeth and Blomkvist’s leitmotifs as they are doing research as well as instruments and melodies representing the deaths of the victims.

Download Pigeon in a flowerpot (five plus three) stems

Mildly irritated
This is the scene in which Lisbeth and Mikael make love and Lisbeth realizes she might have feelings for him.

Download Mildly irritated stems

Opening the door to hell
Mikael and Lisbeth, separately, uncover the murderer, but not before he finds Blomkvist and forces him into the underground cell designed for torturing and murdering his victims.

Download Opening the door to hell stems

Anita Cochran
Harriet Vanger is not dead, and makes a return to her country and her family after Blomkvist tracks her down.

Download Anita Cochran stems

 

[RPM2011] 30%

The latest update is that I’m 3/10ths of the way through the soundtrack.  I’ll be there for minutes long before I get all the tracks down (especially after this weekend), but what I’m happier about is that I got 3 new leitmotifs in that I’ll be using later in the game (for Blomkvist, Harriet & Vangar, respectively, all neatly packaged in a 3 minute intro song called “Incentive”).  The video below, however, is me working on the second song on Friday and Saturday.  That one was originally slated to be three separate tracks — so if we’re going by numbers, I’ve actually got 5 of 12 — but I decided to combine them into one epic piece that is roughly split into three inter-relating movements.  I’m planning on releasing the last bit as a “radio edit” because I like it so much.  The 3-part series deals with the 2 sexual attacks on Lisbeth and her subsequent revenge, so I use a couple of leitmotifs for Bjurman (her guardian and assailant) which return in the last bit, altered.  I also have an instrument in the last movement which is meant to represent a tattoo needle.

So it’s going along fairly well.  I looked at the calendar and if I’m only making music on Friday, Saturday and Sunday, and get one track done each day, I’ll still have more than enough time to finish my RPM album.  But I’m not strictly just recording on Friday – Sunday, so I’m hoping I’ll be done early with some time leftover to do some collaborations if people get back to me.  This is the first time I’ve shared my music in a less-than-finished form to Erin and she’s been able to provide some critique that’s been useful to the process.  Some of it has just been echoing stuff I was already thinking, but she’s also suggested some ideas I might not have got to on my own, so I’m pretty excited about that, also.  All in all, I’m happy with this experiment this year and find myself moving into new, unexplored territory in composition and arranging.  To the point that I’m actually using the words “composition” and “arrangement” and “movements”.  I mean, sheesh.

[RPM2011] Tracklist

What I don’t mention in this video blog (but I did on my blog on The RPM Challenge) is that I’ve also decided on a title for the album, Wasp.  You can head over there if you want the full description, I’m too lazy to repost something I’ve already written here.

Also, an interesting thing to watch in this third installment is my beard.  Which I’m sure you’re just dying to be updated on.