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These tracks were originally released via the music podcast Instrumental Quaalude in the weeks between October 11th, 2009 - December 17th, 2009. "Week Sixteen," a rendition of Duke Ellington's "Mount Harissa" is omitted on FMA but is available for download from archive.org.
Instrumental Quaalude was an online outlet for the compositional fragments, improvisations, and recording experiments of Ben von Wildenhaus in the three years during which WIldenhaus recorded, mixed, and released "Great Melodies From Around."
INSTRUMENTAL QUAALUDE, VOL. 2
RECORDINGS UNDER FIVE MINUTES BY BEN VON WILDENHAUS DELIVERED THROUGH THE MEDIUM OF PODCAST FROM BROOKLYN, NY. ALWAYS NO LYRICS.
1. Week Ten is a composition of closely stacked chords on the wurlitzer 200a. As the sound fidelity deteriorates the individual tones become indistinguishable. Fidelity is then restored. The clustered tones can again be heard interacting with one another.
Performed by the wurlitzer 200a (2 minutes, 57 seconds).
2. Week Eleven is a three note melody is as fixed as the accompanying beat. The guitar's chords move to give the melody new context. The result, however, is a feeling of stasis. Nothing the chords do will affect the relentless and somber beat and melody.
Performed by SG and drum. (4 minutes, 6 seconds).
3. Week Twelve is a classic 9/8 beat structure with a brief melody in hijaz. The final melody is taken from the tune, Yedikule. Interspersed are blasts of junk. Performed by guitars, drums, wurlitzer, and stuff (1 minute, 39 seconds).
4. Week Thirteen is an improvisation on the SG through the Fender Bronco in D minor. The tone is predictably desirable: tremelo on reverb. (4 minutes, 26 seconds).
5. Week Fourteen sounds like disparate clouds over a very hot and terrible land. (3 minutes, 28 seconds).
6. Week Fifteen rides on a crooked but dignified stumble, like navigating on four martinis. The melody, played by SG and nylon, could be a tune whistled by an axeman with a limp who trolls empty alleys seeking murder. (5 minutes). [A different recording of this song, The Limping Axeman, is featured on the album "Great Melodies From Around"].
7. Week Seventeen begins with slow Fender tremelo providing rhythm. Tonally, two guitars move through chords in syncopated opposition to the "one" of the 6/8 measures. A pedal steel melody follows the off kilter patterns supplied by the chordal movements. Throughout electric hum is manipulated. Performed on electric guitars and pedal steel. (2 minutes, 56 seconds).
8. Week Eighteen is a melody fragment, performed on guitar and sine-square generator. Providing the context are two variations on alternating chords, performed by guitars made to sound like faux chimes. (4 minutes, 58 seconds).