Klomb – The Musical Writing Process


“Klomb” is a cosmic paradox of ancient futurism. These are the remnants of a spiritual nomad, a metaphysical journey that were channeled where time periods and space had collided. There are layers on top of one another, as it always has been. Schools of thought, technologies and organisms have intertwined and evolved in life creating there own version of scripture and coding. Transitioning from immaterial to material, from nothingness, from dimension to dimension. All of this was recorded in a vacuum of no time, but pure consciousness. Perhaps it is a truth we have experienced once before, yet we have forgotten. Experience this transcendental odyssey again and remember you Klomb.

Ne te quaesiveris extra.
Running consciousness: 49:22

Ne te quaesiveris extra was a reference to Emerson’s essay entitled Self-Reliance.

There is so much to be told and more so that must remain a mystery about Klomb. But it must be told that there is a truth into the albums music description. I can not answer all the W questions but the truth I want to divulge is how I recorded through “pure consciousness” and the reasons I said all of this and how the idea of Klomb came to me. The music for Klomb was written in under a week. I didn’t tell anybody about it. But the Klomb soundcloud page had picked up rather quickly to my surprise.

While the mixing and mastering processing came together intermittently within 2 weeks – these were the last two weeks of December 2013. It helped to have some mixing maxims  I have been known to have a very quick creative process, it is not unusual to receive an influx of several ideas all at once. I wanted to use a new moniker, one that I thought was relevant to the theme and artwork (which I will discuss later.) Surging ideas were all written down in my notebook. I had ideas of description, structure, tempo, aesthetics, lengths, samples,  form and arrangement all written out. Which is why Klomb is arguably my most cohesive album.

The instrumentation and sound design had a uniqueness to it. Certain instruments had vinyl samples lodge within them. To me it add a feeling of dustiness, this is most omnipresent with the track Revealer, (which was the first track written and first track uploaded.) Alot of the inklings for new tracks came from “Revealer”. Meaning, I wanted to use the instruments again, so I had to save my presets, as well as my special presets that use for each item in the mixing board channel.

This notion, perhaps was one of the most essential part of building Klomb. Since, most of my sounds could simply uploaded to a new project with all the mix how I wanted. It was incredibly easy to come up with new ideas with similar moldings, with slight variations to colouring and effects. Alot of chords I used were very mysterious, rather than dark, I think this really added new dimension to the music while contrasting to more minor add9 chords. You have to remember that you are painting with chords, it helps to understand chords  . There were  a lot of confines and strict rules, guidelines and parameters if you will, that came with the process of creating Klomb.

One of these guidelines was to have long guitar amp with slight ring modulation, distorted synthesis such as Revealer. I had titled the preset “Revealer Grave Pad” which was entirely derived from a comment by m45K5 on soundcloud  , and the title stuck. Another element that was heavily used was the Korg KR 55 drum sounds a very retro sounding piece of drums and percussion , I thought it added a certain character and contrast to the the harsher sounds, enormous sounds. I wanted to use the KR 55 specifically for poly-rhythms inspired by the Djent music similar to  Messhugah.

I find rhythms very inspiring, whether melodic or atonal. As well, since the tempo was ridiciulously slow, I felt there was more wiggle room to apply interesting rhythms and to add a butt-load of counter poly-rhythms as tracks progressed to there glorious climax. There is a sophistication to these rhythms, I am contrasting moder rock rhythms, with middle-eastern percussion and vocals as well as synthetic elements.  It is quite a cultural clash. The more you attentively listen to the more you will hear. I don’t know how evident it was but I thought it was contrasting and beautiful. That is one thing I believe that can enhance the listening.

Relistenability – Is that a word? Ah yes! The innate desire to re-listen to something because there are so many overbearing elements to which may or may not be deliberately hidden. Embedded elements within a given musical piece that must be heard attentively. This has always been something of particular interest to me and something that is extremely pertinent to Klomb.

It must be experienced for ones self, not everything can be divulged. But one can never figure out all of Klomb unless heard backwards, upside down and inside out. It probably feels as if I am exaggerating, but I wish it does not seem that way. As it is something I was very cautious and careful about.  I will tell you right now, absolutely no one is in the know, not family nor close friends. But there are elements which really glue the songs together, whether that be thematically, aesthetically or are hidden but through time all will be Revealed.

Quick track notes (Not from my notepad.)

Incantation. Subtle. Yet Highly Climactic.

Apostasy Robots glitched out for apostasy. Middle-Eastern flair.

Sahara Samsara I walk along… the desert. Pyramids and Laser beams.

Necropolis We are definitely in a dead ancient Egypt

Occulus Obelisk … Premature Enlightenment. (O.O is a Nova Spire reference)

Healers  Eastern Scripture. This song is very Buddhist*.

Revealer Final Epiphany. Middle-Eastern flair. The cover is the visual medium of a testament to what I wanted happening sonically throughout the album.

Exogenesis Past and Future. Omnipresence. See Panspermia.

I created Sahara Samsara, then immediately after I created Oculus Obelisk the same night.

Apostasy took the longest to mix how I wanted it to sound, having the kick omnipresent over the distortion of the bass, so it was banging relentlessly, finding the perfect compression parameters for such an old school subtle kick and still making it bang was awesome. TP bassline was used so much that it actually saved the whole record, I was lucky to find it. A simple monofunction does not work like TP Basslane by Tone Projects  and I believe it is an invaluable tool for mixing, I highly recommend it!

Klomb is 8 tracks. Even the titling took a little while. But I didn’t throw nothing out without rhyme or reason. Visuals were highly considered. The strings of fabric are so tightly knit together on this album. It must not be dismissed. I wanted to create an enigmatic listening Journey that could be reconjoured again and again. I hope this is an album that pays in dividends for the listener,  because honestly, I never felt so delighted and proud to release such a title with the confines of time, musical formula and aesthetics. I once said to myself I would only release new material when I have learned something new musically or production wise, though I may override that in the near future. But with Klomb I feel It was one of the most illuminating learning experience in my minds eyes creation, in a long time. I wanted to create something to transcend  I hope it stands the test of time.

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