For me, riding a subway train is both hypnotic and calming. The sway of the car. The click of wheels against black metal rails. The long echo of brakes down dark tunnels. It's a space that allows me to think, to contemplate. I'm able to forget myself and, in the process, gain a glimpse of how I fit into what writer Willa Cather called "the immense design of things." There is another aspect to the album's concept and that is of "transition". Subways are a medium of migration. As passengers, we are uprooted and planted elsewhere. To mirror this in the creation process itself, I composed all the work outside of my studio (except the final mix process which required a controlled audio environment for a quality mix). Secondly, I used a very fundamental, portable system to compose with, which consisted of barely more than my laptop, headphones and my composing software. I wanted it to be portable to represent something migratory, like a commuter. This allowed me to compose anywhere (the park, the couch, a subway station, etc.) My chosen tools allowed me to create how I wanted to, but I wouldn't have access to all the usual tricks that I would normally have in my studio. To my surprise, I created music more fluidly than I've ever created in my life without a compromise in quality or creativity. Operating under these constraints actually gave me a greater sense of freedom. Usually I spend several months or even years working on an album. Subway Meditations was produced in under 5 weeks during early morning and late night sessions. |
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©2009 Michael Bross