The original concept for this opener was a sort of science fiction action movie. Not Bladerunner (which I still have not seen-but of course am a fan of, as a lover of synthesizer music, and Vangelis). But something a little more ‘low budget’. Maybe Dark Angel with Scandinavian god (and chemical engineer) Dolph Lundgren. Also known as I Come In Peace (“But you leave in Pieces!” Classic).
Something broody, with a pulsating synth bassline and a kind of an explosive end. Sort of like my relationship. Lolz. Anyway, once everything went FUBAR in 2020, and the action movie that never was, by thirteen year old action star Raza Lee, would go on to become the replace ‘All The Things’ as the name of my record, it only made sense that it would also be the opening track.
I have to admit. Because I started this tune on that day on June 20th, 2020 when everything imploded, I find it hard to listen to. It was hard to even go back and mix and master for the release. I delayed the release by weeks because After Vengeance, the title track sounded a lot like that day: an out of control fire that just got bigger and bigger. Creatively, it was a good thing, as painful as it was to make, because it pushed me to move away from ‘dance’ sounds and more towards using percussion in creative ways.
This is also the first tune to feature the Kora, s gorgeous Western African harp. I love how it plays with the synth bassline to create what one might call ‘Bedouin Bass’. What might have happened if a Bedu had stumbled upon a Korg Polysix and used it in his (or her) own special creative way. And yes, I know there are no Bedouin in West Africa, so don’t get all PC on me. You know what I mean. Bedu i.e. wandering tribespeople. Bedu Bass? New genre I just invented like as I was typing this up.
Anyway, this was the first finished tune on the album, and you can hear the use of percussion, the powerful drums, the sparkling Kora.
And that very otherworldly lead sound?
It’s me crying into a synthesizer. That was the day I lost my love. And if you listen closely, maybe you can hear my pain in that melody, through a synthetic instrument made of zeros and ones. I was zero that day. Nothing. I’m glad something came out of nothing.