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The Future Is Untold

by Matthew White

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minkymoo
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jamesbudden
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1.
Leave, Just To Come Back 03:52
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2.
But When 04:52
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3.
KL 04:53
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4.
Just Because 02:53
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5.
Please Come Home 03:06
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6.
7 Hours 06:34
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about

Well this one took a while.
After initially starting to work on a couple of songs, this ended up being shelved as I was pulled in multiple directions. Finding time to sit and work on it was almost impossible.
An unexpected couple of free evenings (inbetween redecorating) and I was able to drag the original ideas back out which then triggered new ideas and creativity.
Again, with work happening everywhere else and new projects starting to take shape as well, it was a real joy to have a moment of calm and to focus on a singular thing.
Whilst I was working on those initial ideas, a lot started to change and develop with them as my mood felt in a state of constant unrest.
I'm well aware it's not meditating (thank you Emma for helping me realise this) but the ability to shut everything else off whilst playing is something I'll never take for granted.



Leave, Just To Come Back
This was one of the original ideas and was actually written one evening whilst I was by myself with 0 plans.
The title comes from a conversation with Emma about how excited I get when I know I’m coming to see her. It’s about that excitement never diminishing and knowing we’ll be back in each other's company is certainly something that keeps me going.
This developed quite quickly and needed very little tweaking when I dug it back out.
I find working with these sounds so relaxing, especially in 5 or 7.


But When
This developed during an evening of rapid ideas coming. It was a case of recording all the layers into the loop pedal and then piecing together what I’d actually done...kind of reverse engineering.
It was the first time I’d spent an evening with 0 plans in a while.
It was quite refreshing to know that I can take moments like that, just plug in and within a few minutes start creating ideas.
The hardest part with this track though, once I’d pieced together what I’d done, was finding the “Correct” sounds for each layer (the first take was ROUGH). So whilst it was written quite quickly, when it came to unravelling everything and putting it back together with sounds I felt more apt, it really took some time.


KL
One of the places Emma visited recently was Kuala Lumpa.
This was written after talking to her on Zoom one evening.
Reusing some of my favourite noises within the HX stomp after spending a time playing around with synth sounds.
There’s a couple of moments that aren’t “On the Grid” but I didn’t want to sterilise everything as this grew so organically once that opening riff was down and I felt it would lose an element if it was too clean.
I adore that 80’s-esque synth!!!
I blame Ian Martin Allison for introducing so many of these sorts of sounds into my life.


Just Because
Another idea that developed whilst I was working on But When and KL. Much simpler this time though.
I’d been speaking with my good friend James Budden (who’s name has cropped up here before through artwork design or referencing his livestream painting demos) for a few hours the night prior and we’d been talking about how restrictions can drive creativity. This is something I’m quite passionate about considering that this whole project is generally restricted by how I can operate loop pedals.
So I wanted to restrict myself on time and the amount of layers and see what happened……just because.


Please Come Home
This one started the chain for this.
Following a similar sentiment to Leave, Just To Come Back….it’s that excitement of waiting to see someone and the desire to have them close.
I don’t usually write in this time signature so it was interesting that whilst picking out the chord shapes, the fingering pattern fell into it quite naturally.
Really good fun to build up a lead line with harmonics too. Something I’ve not done for a while and need to dive into further.


7 Hours
The time difference whilst Emma was travelling was 7 hours.
This idea was initially for something else entirely but whilst I was working away, it kept coming back to me so I dragged it out and started playing.
Interesting to go back to some previous ways of working and utilise the secondary loop pedal as a sampler to enable a B-Section. I like the cinematic vibe with all those swells. I’m not sure exactly what I was trying to capture in each section but the contrast in mood is something that appealed to me as it started to develop.

credits

released September 22, 2023

Matthew White - Electric Bass
Fran Miller - Original Cover Image

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Matthew White Glastonbury, UK

Proudly associated with Bartolini Pickups (www.bartolini.net) and Pitbull Strings (www.pitbullstrings.co.uk)

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