I date many things… cities, sounds, dreams. These things happen. When I date sounds, it is a full-stop courtship: get to know their interests, their background, their dreams, with whom they engage, do they have siblings, where do they post up to get down – can they read. These things. Eventually, the dalliance fades and something worthwhile is made. Eventually, we mix a master, and reverberate rhythms of the most loyal low-fidelity.
All of this is to say, I mingle with sonic musings. I’m a made match for muses. What does a first date sound like? Like the first take. It’s slow on the uptake, but fairly deliberate. It finds a track it grooves with, and explores it from myriad angles, pitches, and plays. We talk about life, shared experiences, we find lyrical camaraderie and beat-driven commonality. We find freedom in the music. There’s liberation in improvisation. You take an understood foundation and say: “I know you, you know you – here’s how I hear you, here’s how you appear to my ears… Here’s how the finished product unravels into the unknown.”
It gets weird. It remains inspired. It leaves few scores unsettled. It’s somewhat manic. It’s experimental. It is not interested in how you move, more so in the guarantee that you move and what compels you to move at all. It, takes, its, time.
There are tracks that sound best as-is, there are tracks that find new life in the remix.
All of that is to say, one-take suzeeys are the first date. I meet a song on the decks, press play, and wait to see what melody is made. I go overboard, I underestimate, I copy and persist. I never let go. I lose myself somewhere in the midst of the music. I never know how it turns out until the next day.
One-take (no frills, no auto-tune, no post-production, no pretense, no nothing, just tears, tempos, and freestyle flow.) Suzeey (which is Yeezus backward).