Chroma Key -Graveyard Mountain Home radio
Graveyard Mountain Home is the third studio album released under the name Chroma Key by American keyboardist Kevin Moore. It was released on November 8, 2004 by InsideOut Music. Moore originally started work on the album in 2003, planning to release a less electronica-influenced album than previous Chroma Key albums, but put it aside to work on the first OSI album. He then moved to Istanbul, Turkey, where he wrote Ghost Book, the soundtrack to the film Okul. Enjoying the experience of writing music to film, Moore scrapped his previous plans for the third Chroma Key album, instead writing an album as an alternate soundtrack to an already-existing film.
Moore found the social guidance film Age 13 in the Prelinger Archives, which served as his main inspiration. He slowed the film down to half its original playback speed to allow a full album to be written around the twenty-five minute film. With complete creative control over the album, Moore was free to experiment, sometimes writing music "not necessarily to always match the images on the screen, but to sometimes play against it." The deluxe edition of the album contains the film in its full length, played at half speed, with the album as a soundtrack in place of the original audio.
Critical reception of Graveyard Mountain Home was generally positive. Critics noted that the album was a departure from Moore's previous works, and that it was best experienced as an alternate soundtrack to Age 13. Moore played songs from Graveyard Mountain Home live for the first time in a small club in Istanbul in 2007, and planned to tour more extensively in the future.
The plugin used relies heavily on HTML5 for mp3 playback and so far I get acceptable results only when using Google Chrome. I hope licensing issues will be solved for Mozilla Firefox someday.
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In an interview published in December 2003, Kevin Moore revealed that he had started work on a third Chroma Key album, but had put it aside to work on the first OSI album, Office of Strategic Influence. When Moore stopped working on Chroma Key material, he had already recorded two songs. "The big difference with the new [Chroma Key album] is that there are more real instruments," Moore said. "I've hooked up with a bunch of friends that made hand drums and didgeridoos. And I did a lot of recording with that. This new Chroma Key is going to be more organic, and less digital."
Theron Patterson, a friend of Moore's and former classmate at California Institute of the Arts, was working in Istanbul, Turkey and invited Moore to visit. Moore, who had been living in Costa Rica, stayed with him for two weeks, then decided to settle in Istanbul and record the third Chroma Key album there. Moore signed to InsideOut Records. "They've been really great supporting this; they sent me out to Turkey when I told them I wanted to record out there, basically supporting the whole process," he said. The first project Moore worked on after he moved to Istanbul was Ghost Book, the soundtrack to the Turkish film Okul. Moore enjoyed the experience and decided to write the third Chroma Key album as an alternate soundtrack to an already-existing film.
Moore decided to use a film in the public domain to avoid any rights issues. He looked through the Prelinger Archives to find a film which matched the mood he wanted for the Chroma Key album. One of the first films he found was the social guidance film Age 13. "It was kind of rich for musical accompaniment and the cinematography and everything is really beautiful, kind of surreal," Moore said. The film served as Moore's main inspiration and source of audio samples.
When deciding on musicians to perform on the album, Moore said that he "picked people who were around". His girlfriend, Bige Akdeniz, performed vocals, Theron Patterson did programming and Patterson's drum teacher, Utku Unal, performed the drums. The only musician Moore actively sought out was guitarist Erdem Helvac?oglu, who performed on one track. Moore noted that none of the music was technically demanding, "it's just more of a feel that we’re going for so it was just a matter of getting comfortable and getting in the mood and playing stuff together."
Moore ranked Graveyard Mountain Home as the most enjoyable project he had worked on up to that point. "I never felt like 'Oh fuck I have to finish this record, I have to do one more song, I have to do something to this song to make it better,'" Moore said. He described the process of making the album as feeling "more like I was playing with this film and I was playing against it so it felt easy somehow".
Moore wrote music to Age 13 slowed down to half its original playback speed. This allowed him to write an album's worth of music around the twenty-five minute film and "made [the film] flow better". Moore primarily worked alone in his home studio, recording short song ideas. "I would place [the ideas] inside a theme in the film, just sort of audition things that might work, and something would click and I would develop the idea," Moore said. In contrast to Moore's original plan to record an "organic, and less digital" album, all of the sounds on Graveyard Mountain Home are digital.
Unlike in a traditional film soundtrack, Moore often wrote music "not necessarily to always match the images on the screen, but to sometimes play against it." Moore explained that a traditional soundtrack needs to convey the mood of the scene and advance the film's storyline, but that he did not have to do that with Graveyard Mountain Home "because the director's not around". "I thought, well what would it be like if I did a totally different kind of mood than this scene is trying to convey? When you put that music with that scene what happens there? Sometimes it's kind of interesting what happens," Moore explained.
Special thanks for the plug-in: Joseph Moore