In our latest edition of Silk Screens, Corey Regensburg (aka Moon Bounce) discusses the making of his single “She Goes 2 She” off his latest Wheelhouse EP, out now via Chill Mega Chill Records.
I’ve wanted to make a bunch of tunes with properly recorded piano for a long time but never really had the means or opportunity to get into a studio. I’ve had smatterings of shitty piano samples in early tracks, but nothing substantial. One of the first songs I put out, before I knew anything about microphones or audio interfaces, is centered around a piano lick recorded with my old computer’s built-in microphone.
Fast forward to two years ago. I was living with my parents after graduation and had a lot of time to just play on a lovely Young Chang upright we have in our living room. My buddy Dave Aria is a kick ass musician and engineer who lived down the street from me at the time, and we both really wanted to get some recordings of the piano. One day, while the folks were out, he came over and set up his gear so we could record the piano. Nothing was really planned, just a lot of improv/elaborating on previous ideas. The results of that session are found throughout the ‘Wheelhouse’ EP and are the backbone of She Goes 2 She. Here’s a clip of some of the raw recordings:
“She Goes 2 She” is definitely the most streamlined music writing experience I’ve had to date. Just organizing and slicing the piano recordings began to spawn little ideas. In a way, it was like remixing myself. I created new progressions and melodic ideas from the chopped samples that I wouldn’t have thought of otherwise. Once I had the piano progressions panned out, all the percussion and vocal ideas just came naturally. The phrase “she goes to she” sort of became a mantra for me—a glimpse of a lover’s selfishness, in a sense.
My favorite component of the track is the thin, high-pitched whirring noise that’s vaguely present throughout the track. That sound came from little brass ball bearings I spun around in a glass cup. The sample gets its own little melody but takes the backseat to all the other stuff going on. Makes me smile.
I played around with a few different instruments/synths for the little diddy at the end. I spent a while writing the melody on guitar and transferring it to different soft synths. Eventually I ended up just recording and slicing the actual guitar. I’ve kept an alternate synth line I enjoy for occasional use in live performances.
Hi Mom!
Curated by Tim Thompson.