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SKG Hunting of the Snark

by SKG

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1.
Landing 12:11
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2.
Hunting 09:11
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3.
Dreaming 07:09
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4.
Vanishing 08:52
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about

ALynn commented:

I've been listening to bits and pieces but I didn't want to comment until I had a chance to listen in one sitting and after doing a little research on Lewis Carroll's poem.

Landing - Energetic rhythm building with layers - keys, guitar and brass all lending themselves to an interplay or dialogue until it all comes to a "the place for a snark". There is a sense of anticipation; a relentless movement forward to whatever adventure lies ahead. The chords repeating three times several times at the end keep that momentum going even as this section comes to an end.

Hunting - sets us in an ethereal landscape with some distant drums bringing us to a very active bass riff that sets the pace for this hunt. Then it leaves us perhaps wandering and searching with the quieter flute section before some the bass starts its move forward again. Some real contrast happens in this hunt in moods and textures.

Dreaming - The interplay of drums and percussion is really terrific. The flute and string melody harmony is really nice - possibly the most lyrical, melodic part in this drama. Bells, steel drums all add a lot of color to this section.

Vanishing - This movement picks up momentum again with a great riff. This may be my personal favorite because I love the interplay of piano with that driving bass. And it sets us up for the 'confusion' about the Snark that clearly comes through with the voices overlapping and echoing. And then it seemed to me that the mood became rather light-hearted after that so maybe the Snark vanishing is a good thing :-) Maybe the hunt was necessary but the vanishing is a relief. I'm not sure as I haven't read the poem and can only guess what it might mean. But I didn't think the Vanishing left us frustrated and struggling with the impossibilities. I think it left us OK. Ready for the next adventure maybe?

Very creative adventure in all. Nice contrast between the movements with very nice instrument choices and interplay between them. I didn't notice any real stars - somehow all the 'characters' of the instruments took their turns and worked together really well - maybe like all the B characters of the poem? Again, I don't know the characters of the poem and whether that comment makes any sense at all. But musically, it was convincing, energetic with many layers that deserve further exploration - a musically epic drama unfolding for all who may be hunting their own snark!

credits

released November 1, 2020

All tracks composed by Stephan Gipp (SKG)

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APi Vollersode, Germany

Making music since age 8, guitar at 15, starting a band (mainly bass). Doing many genres, slightly biased towards prog rock [see www.ZeltaZonk.de].
Created tracks with many instruments to analogue tapes. Digital music editing started in mid 2000s, the DAW in 2018. Tapes got reworked. Since then new tracks are created. Since 2020 he works with co-musicians and publishes them. ... more

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