Nice though. If I were you I would get hold of some better recording gear so that you can record different versions of a song and then splice between them, that doesn't work with video of course but it can give you a better idea of what to aim at (or what you were aiming at).
Coincidentally (since Colin Wilson's book has been mentioned) I just finished an electronic piece entitled outsider. The title has more do do with the "outsider art" of the 20th century, produced by artists like Adolf Wölfli, Augustin Lesage and Carlo Zinelli, people without artistic training who in many cases were confined to mental institutions for many years. Often the work of such artists fills the entire canvas with teeming repetitive images, not unrelated (I think) to the illustrated texts found on the walls of ancient Egyptian tombs and temples. The music is a homage to these artists and fills the entire space with thousands of sounds, which often congeal into repetitive (though hardly "minimal") sequences. Interested parties may hear its first performance on 18 February at the Bangor Music Festival as part of a duo recital by myself and my OH.
Now, back to finishing the electronic "layer" of another piece to be premiered soon, this time in Paris, by the Soundinitiative ensemble - natural causes (act 2), the continuation of an extended work based on poems by our late friend Simon Howard. Act 3 was a half-hour piece for an ensemble of 16 instruments with a brief vocal solo in the middle and was first performed in 2017; Act 2 involves eight performers and is somewhat longer (24 minutes in its preliminary version last year, 40 minutes at present, 56 in its final version next year) and involves all performers not just in playing instruments but also in singing, speaking and movement. At the same time a background of concrete and electronic sound is present almost throughout, from 8 loudspeakers in the performance space and another 4 outside it for "offstage" sounds.
Coincidentally (since Colin Wilson's book has been mentioned) I just finished an electronic piece entitled outsider. The title has more do do with the "outsider art" of the 20th century, produced by artists like Adolf Wölfli, Augustin Lesage and Carlo Zinelli, people without artistic training who in many cases were confined to mental institutions for many years. Often the work of such artists fills the entire canvas with teeming repetitive images, not unrelated (I think) to the illustrated texts found on the walls of ancient Egyptian tombs and temples. The music is a homage to these artists and fills the entire space with thousands of sounds, which often congeal into repetitive (though hardly "minimal") sequences. Interested parties may hear its first performance on 18 February at the Bangor Music Festival as part of a duo recital by myself and my OH.
Now, back to finishing the electronic "layer" of another piece to be premiered soon, this time in Paris, by the Soundinitiative ensemble - natural causes (act 2), the continuation of an extended work based on poems by our late friend Simon Howard. Act 3 was a half-hour piece for an ensemble of 16 instruments with a brief vocal solo in the middle and was first performed in 2017; Act 2 involves eight performers and is somewhat longer (24 minutes in its preliminary version last year, 40 minutes at present, 56 in its final version next year) and involves all performers not just in playing instruments but also in singing, speaking and movement. At the same time a background of concrete and electronic sound is present almost throughout, from 8 loudspeakers in the performance space and another 4 outside it for "offstage" sounds.
Even if it occurs on Miles's Round About Midnight album...
but do you mean me or Bill Evans? 
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