{"id":1648,"date":"2021-04-02T03:27:29","date_gmt":"2021-04-02T02:27:29","guid":{"rendered":"https:\/\/simonsdiary.co.uk\/wordpress\/?p=1648"},"modified":"2021-04-02T03:27:29","modified_gmt":"2021-04-02T02:27:29","slug":"indie-rock-cafe-review-of-dangerous-things","status":"publish","type":"post","link":"https:\/\/simonsdiary.co.uk\/wordpress\/indie-rock-cafe-review-of-dangerous-things\/","title":{"rendered":"Indie Rock Cafe Review of Dangerous Things"},"content":{"rendered":"

The Stunning Automation of \u2018Dangerous Things\u2019 from Simon M. Smith<\/h1>\n

\"\"<\/a><\/p>\n

<\/i> APRIL 9, 2020 <\/span>AUGUST W. ZANDER<\/a><\/span><\/span><\/p>\n

The original article can be found at:
\nhttps:\/\/indierockcafe.com\/2020\/04\/album-review-the-stunning-automation-of-dangerous-things-from-simon-m-smith\/<\/a><\/p>\n

The future of music may already be here.<\/p>\n

That is \u2013 the automation of music. With the backlash lately against automation, algorithms and artificial intelligence, it would be understandable if music enthusiasts were skeptical of computer-generated music.<\/p>\n

In fairness, for many people, computer-generated music is that which they have heard on cheap apps, games and other tacky mediums.<\/p>\n

That\u2019s until you hear Simon Mark Smith<\/strong>\u2018s near-fully automated music album, Dangerous Things<\/em>. History may have been made just by the release of this album; but it\u2019s the music that really matters.<\/p>\n

The 17-track album is over-flowing with moody, compelling, thoughtful and enjoyable songs. This by itself is a rare accomplishment in our experience. Often times, albums with more than nine or 10 tracks contain somewhere between three to five or more \u2018filler\u2019 tracks.<\/p>\n

In this case, Smith was obviously deliberate about the placement \u2013 not just the creation (which is a whole other amazing story you won\u2019t come across again) \u2013 of each song.<\/p>\n

At first, one might say: \u201cOh man 17 tracks?! There\u2019s going to be fat on this baby and we have to figure where to cut.\u201d<\/p>\n

But surprise, surprise. Without exaggeration, track after track on Dangerous Things<\/em> measures up to the very best on the album \u2013 as if this was Smith\u2019s greatest hits collection after a decade or more of hits.<\/p>\n

But even more inspirational when one thinks of such an accomplishment, Smith was born without arms. He does not consider himself \u2018disabled\u2019 and addressed that subject, h says, in his first album.<\/p>\n

That said, Smith completely understands that some people, especially other musicians, are amazed when they learn that his highly inventive, yet also familiar, album was done so largely through automation.<\/p>\n

Perhaps most surprising is when one stops to consider that to make just one song, Smith had to first imagine each track first. Then, he had to figure out which instruments he was going to use in a song.<\/p>\n

Next, he went about a process of individually programming \u2013 one by one \u2013 every note for each instrument. After that, he had to mix the tracking of each instrument and listen to them over and over again, making tweaks along the way, in order to get the right sound.<\/p>\n

This is incalculably more difficult than a one-man band in his basement who can record each instrument and then (and here\u2019s the key) play along with that recording with a new instrument in order to get the timing right in real-time. Smith had to do all of this the very long way round.<\/p>\n

Without the assistance of computers and increasingly automated software programs, Smith may not have been able to achieve the final sound he wanted.<\/p>\n

He claims it is \u201cone of the first albums to feature mainly virtual musicians,\u201d asking the question: \u201cDo you think you can tell that a computer played \u2013 not just recorded \u2013 the music?\u201d<\/p>\n

\n
\"\"<\/p>\n
\u201cProtected\u201d<\/span>Dangerous Thing<\/span>SIMON MARK SMITH<\/span><\/div>\n<\/div>\n

Audio Player<\/span><\/p>\n

\n
\n
<\/div>\n
<\/div>\n
\n
<\/div>\n
00:00<\/span><\/div>\n
<\/div>\n
00:00<\/span><\/div>\n
<\/div>\n

Use Up\/Down Arrow keys to increase or decrease volume.<\/span><\/a><\/p>\n

\n
<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/div>\n
<\/div>\n
\n
1. \u201cProtected\u201d <\/span>\u2014 SIMON MARK SMITH<\/span><\/a><\/p>\n
3:07<\/div>\n<\/div>\n<\/div>\n<\/div>\n

Smith actually created virtual band members, with full identities, in order to delegate their roles more easily. The amount of organization and coordination with himself and his cast of computer-generated band members is impressive.<\/p>\n

\u201cWhat\u2019s strange is that using computers is very similar to working with real musicians,\u201d he remarks; \u201cI tell the computer what keys, chords, tempo and style I want and it comes up with loads of ideas which I then edit to create a song. The difference between now and a few years ago is just how human the music sounds.\u201d<\/p>\n

\u201cDriving Me Wild\u201d opens up the album with a classic rock vibe veiled in a bit of theatrical rock complete with a chorus and rapid chord changes.<\/p>\n

That smoking opener is followed by the slower, funkier track, \u201cProtected,\u201d that the listener can detect is helped by computers. Smith calls this track, compared to the others on the album, \u201coff the wall.\u201d A heavy bluesy organ, female backing vocals, sexy jazzy sax trills \u2013 all packed into one robust track that doesn\u2019t miss a beat.<\/p>\n

There is a definite Beck-like vibe to parts of the song as Smith changes it up genre-wise, and overall musically, a few times throughout with stunning effects. Speaking of Beck, another track that sounds like the indie\/alt god is the funky, jazzy swing of \u201cYour Name.\u201d<\/p>\n

By the middle of the album, the listener is treated to some of the juiciest parts with spectacular, mood-shifting songs like the atmospheric \u201cBreak It\u201d, the disco-infused and amazing \u201cWords of Prey\u201d and the funky pop jams of \u201cI Feel You in My Life.\u201d<\/p>\n

It\u2019s not hard to see disco-inspired songs like \u201cA Story of Love\u201d being played as dance mixes at a nightclub party.<\/p>\n