#Booka shade movements 10 full#
#Booka shade movements 10 plus#

вЂњIt was dark, more cinematic, with atmosphere. We werenвЂ™t even going to put it on the album, but it fit with the other tracks around it. Walter: вЂњThis track is probably our fansвЂ™ least favourite. I think we even sampled the main clap in this song from him. He was a big influence on Mandarine Girl. вЂњWe were huge fans of James HoldenвЂ™s remixes - The Sky Was Pink and Safari are outstanding tunes, with this very noisy but trancey production style, and we loved it. ItвЂ™s a super simple riff, then we tried to make it interesting, and not just use an arpeggiator and play it like a trance producer would. вЂњWe tried to transport the energy of those rave times into this song with the majestic chords.вЂќ That was a lot of fun to play live.вЂќДЄrno: вЂњThis pretty much reflects the energy of 90s clubbing, especially in Frankfurt at Sven VГ¤thвЂ™s club, The Omen. That gives it a bit more of a techno feel.вЂќДЄrno: вЂњPunky. вЂњThere was so much marimba and craziness in there, we had to add something to straighten it out, which is why you have this little bassline sound. At that time weвЂ™d play the original sound, put reverb on it, reverse it, reverse it again, then add it to the original sound a bit early so the sound flies in all the time - it was quite nice. It was just hours and hours of chopping around marimbas - itвЂ™s more or less marimba sounds, but in all kinds of ways. Walter: вЂњThis was the hardest track to do. We were worried that it could be too poppy. ItвЂ™s a straightforward sound, not very common in music now. We played it there for the first time on the beach. It was a brand new plugin, and it was very inspiring to play around with that little box.вЂќДЄrno: вЂњWalter played the track to me for the first time in our hotel before a show at BenicГ ssim.

#Booka shade movements 10 full#

ItвЂ™s an emulation of the Wasp - it has that special sound, full of character. Everything on this track is very stripped to the core, and it all comes from daHornet - this little five-buck plugin. Walter: вЂњWe didnвЂ™t want these big, noisy sounds. It gives the whole thing a bit more of a cinematic style and vibe.вЂќ Darko Maybe YouTube.вЂќДЄrno: вЂњBecause we were big fans of cinematic soundscapes we added this piano outro, with these playground noises and field recordings over the top. ThereвЂ™s a vocal in there as well, but I canвЂ™t tell where it came from. вЂњI think this song is a combination of a lot of samples from all kinds of records. That inspired us to do something crazy, and a bit more weirdo-like, with just sounds and a broken beat and funk. Walter: вЂњThis was inspired by Herbie HancockвЂ™s Rockit. вЂњNow we step away from doing interludes and spending so much time on transitions, as people can buy just one song these days.вЂќ The Birds And The Beats/At The Window The last two months or so of production were only spent on the track list - how we blend best from one track to another so itвЂ™s a journey. вЂњIt made sense to put it here on the album, as Paper Moon speaks a similar musical language to Body Language. ItвЂ™s a sound effects record that comes from ArnoвЂ™s fatherвЂ™s vinyl collection.вЂќДЄrno: вЂњWe wanted something more deep and easy to listen to - more depth, more sonic depth. Walter: вЂњIt starts with a bar atmosphere. вЂњIt also reflects the original Body Language sound aesthetic somehow, but now in a more relaxed way.вЂќ WeвЂ™d take a bass, which would normally be in the bottom and background, and make it a very dominant element in a song. Then we had a question and answering thing between the bassline and the guitar.вЂќДЄrno: вЂњAt the time, we were really crazy about вЂstory-tellingвЂ™ basslines. The jazz guitar is from an early sample bank.

It became more broken beat, acoustic, and took a different angle. It didnвЂ™t make any sense to put the known version on, so we did something with a different approach. Walter: вЂњWe didnвЂ™t want to put the original version on the album - it was too dancey, and it was already a big tune in 2005/6. We tried to get rid of all normal reverbs and delays, and concentrate on groove and atmosphere.вЂќ Body Language (Interpretation) We always tried not to вЂblow upвЂ™ the music, as it was in the trance world. вЂњWeвЂ™d take a small synthesiser plugin and play it with a kind of organ sound. You can hear it in the middle part of Night Falls. On this album, we played big chords but with very small elements. When we played it out on stage it wasnвЂ™t energetic enough, so now we wanted to do music that was more riff-orientated and anthemic, where the chords were big, but not the sound.

#Booka shade movements 10 plus#

All original tracks remastered, plus remixes from Nils Frahm, Eats Everything, Jonas Rathsman, Dennis Ferrer, Chi Thanh, andhim, Deetron, M.A.N.D.Y.Walter: вЂњOur first album was very introverted, small and intimate.