Snuck in some more work on "Foley In Search Of A Film" today; liking it more and more as it develops. I'm hoping to post an excerpt once it's a little further along.
It's pretty hilarious to hear all these cues pumped up at full volume rather than tucked into their usual subtle contexts; all sorts of disjunct room tones, quirks and glitches that usually disappear suddenly pop front and center. They have an alien quality when de-contextualized. Rather than my usual fussy crossfade nips and tucks, I think I'm going to leave the hard edges on audio regions to max out contrasts.
I'm struck by how much narrative is implied by the sounds of assorted activities, both through layering and through isolated sequential presentation. I'm wondering how to play with that; encourage, discourage, subvert, sabotage?
It's nice to finally move into some work that's highly presentational in terms of elemental recording; all too often I'll solo some element from a multitrack recording and think "That sounds really pleasing all by itself". Why not strip it all away and present it thusly?
I should also mention that this composition has been influenced by the work of Swedish composer and sound artist Hanna Hartman, whose boldly stark montages of field recordings and Foley-esque studio recordings have really been impressing me lately.