Projects II, by Travis Orbin

Projects II

by Travis Orbin

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Oren Black Travis, again, drops another mathematical progressive bomb on us, featuring both the whimsical synth sounds found on Silly String and the darker explosive metal riffs found in Projects, and a few refrains just to top it off. One can only reach this level of musicality and complexity with immense dedication and hard work that cannot go unappreciated. Favorite track: Demassify.

Can This Even Be Called Music? thumbnail

Can This Even Be Called Music? This really is mathematical metal, but I’ve already said that about the first one. In short, if you want something that will make you think and calculate how the rhythms therein can go together, it’s the thing for you.
canthisevenbecalledmusic.com/osr-may-5th-2016/ Favorite track: Whaddya Want from Me?.

Maxime Lathière (Cartoon Theory) thumbnail

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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Silly String III, The Soundtrack of Nonexistence, Delectable Machinery II, Travis Orbin (This Is a Self-Titled Record), Dotty Ditties, Volume 4: These Are New Songs, Dotty Ditties, Volume 3(*) *A Collection, For Further Posterity, Fall and Response, and 15 more. , and , .

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	1.	Buttery Follicles 06:05
	2.	Roughhouse 04:00
	3.	Time's Up 03:21
	4.	Demassify 04:59
	5.	Whaddya Want from Me? 03:30

about

I began composing ‘Projects II’ inadvertently back in April of 2014 during the commencement of a writing streak that lasted the better part of a year. I first initiated a tune (“Time’s Up”) on a plane ride. Moving ahead, I wrote what’d become “Roughhouse” while on the Rockstar Mayhem Festival that summer. Then, after releasing ‘Projects’ in September of that same year, I woke up the next morning with the vision of a burning notebook; the beginning notes of PII came to me shortly after. This is all the inspiration that I needed, and in less than two weeks I had composed the remaining three tracks (“Time’s Up” and “Roughhouse” fit in with the general aesthetic of PII and were distinguished from the other material I was writing at the time, so I decided their home would be this EP).

I recorded the drums in March of 2015 and sent the tracks to my friend/associate Justin Bonfini for editing and (light) sample blending. I then had another buddy of mine, Patrick Campbell, create some analog synth patches to complement the synth parts I wrote for three of the tunes. It took some time, for the mental scar that ‘Projects’ left was deep, but I eventually convinced Adam Edgemont to come back on-board to track guitars and mix. But first: BASS! While tracking the drums for Intervals in July of 2015, I met the mighty Cameron McLellan for the first time. I was not privy to his bass performance on ‘The Shape of Colour’ until I heard playback with his parts on top of the drums I had tracked just moments prior. I HAD to ask this guy to play on PII. He tracked everything in January of 2016 and Adam recorded guitars shortly after. The final bits of keys and sax were handled by Gabriel Riccio and Jeff Siegfried, respectively. Once everything was mixed, I took it to Taylor Larson, another longtime pal and associate, for mastering.

credits

released May 5, 2016

· Travis Orbin - Drum set
· Adam Edgemont - Guitars
· Cameron McLellan - Bass
· Gabriel Riccio - Keyboards on 5
· Jeff Siegfried - Saxophone on 5
· Music composed by Travis Orbin
· Additional guitar arrangements on 1-5 by Adam Edgemont
· Guitar solo on 4 by Adam Edgemont
· Additional bass guitar arrangements on 1-5 by Cameron McLellan
· Additional keyboard arrangements on 5 by Gabriel Riccio
· Synth Production by Patrick Campbell of Epilog Sound Studios
· Produced by Travis Orbin
· Drums engineered by Travis Orbin of Woodshed Studios
· Drum editing and mixing by Justin Bonfini
· Guitars engineered by Adam Edgemont at his home studio
· Bass engineered by Anthony Kalabretta
· Keyboard and saxophone engineered by Gabriel Riccio at his home studio
· Mixed by Adam Edgemont
· Cover Art by Travis Orbin
· Mastered by Taylor Larson of Oceanic Studios

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