Session with Däcker

One week ago I recorded an exciting new project with Peter Dekker (aka Däcker).

After I produced Däcker's debut album "Pareidolia" back in 2020, we were on stage together for the first time later that year, at BYSS (of which the registration was released earlier this year). Hereafter Peter was involved into a couple of concerts with Mäläskä in 2022, and I again did some production for his second solo record "Anthropomorphic Personifcation", which was released last year.

However, this new project had been in my mind for quite a while, which got shape when discussing this with Peter last couple of months, and which finally came to life last Monday, thanks to good friend David Smelik.

David and I go years back, where we made music together in several settings. However, this was the first serious project we did together.

Peter and I had a clear vision of what this project should more or less sound like. Recently, we rehearsed a couple of times and tried out several settings. Only thing was that we had to do play the main instrument with a synthesizer, instead of a real one, but that already worked out very well.

The core of this project had to be a grand piano. And David was able to arrange one.
Despite some minor cosmetic trifles, a wonderful and very characteristic 19th century Steinberg (not to confuse with Steinway) grand piano, at a acquantaince's living room, which we were permitted to play and record for a whole day.
With David's ideas regarding the recording and registration of the piano and environment, we decided to invest into renting some of the best possible recording equipment. Better not having regrets afterwards.

The evening in advance, David, Peter and I moved the grand piano in place, installed all equipment, and set up the microphones and audio and video recording equipment, so we didn't have to lose much time on technical stuff on the recording day.

Initially we were aiming for a piano-based project (which might eventually lead to an album release), 
which should be entirely improvised (just like "Live at BYSS").
But an album full with only piano pieces wasn't the way we wanted it. We also didn't want to have a common electronic approach we are used to, by means of using synthesizers with sequencers or whatsoever.
Where you can cover up any irregularities or mistakes with electronic sounds and effects, playing the piano requires some kind of play-technical skills. Indeed things don't have to be super tight, but any miss-hit will be noticed. Things also have to be built up different instead of 'securely' starting for example a sequencer or pad chords. In the end Peter and I see ourselves skilled enough to establish this.

However, for the variation and dynamics, we did involve some synthesizers and electronica.

We made use of my Korg MS20 and Korg ER1. Both instruments have audio inputs, which we used to process sounds (in this case, the piano parts) in real-time. Then, the  MS20 was also used for effects, while the ER1 also produced some rhythmic elements.
Additionally, Peter's Sequential Prophet 5 was added, to have some analog sounds contrasting the clean piano sounds.

And last but not least, we also experimented with prepared piano, making use of a bow, percussion sticks and brushes, keys and a drinking glass.

Currently I am mixing a selection of the audio recordings.
As it's now, we have selected 1,5 of around 6,5 recorded hours, which might be useable for an album release.
David sorts out the many hours of video recordings and photos. I have only seen some short excerpts so far, which looked awesome! I assume there will definitely be something to share with you on short term, so stay tuned!