Exploring a production process like that of Moor Mother. To start building a track like moor mother I took the provided speech from Moodle by Howard Zinn and started to chop it up in my daw of choice. After I decided which sections to keep and chop up it was time to add effects to it. Moor Mother is well known for her unique vocal delivery which combines poetic spoken word with sharp rhythmic delivery. To replicate this in my track I decided after chopping up the vocals to pitch some up and speed them up to create more of a rhythm. After that I decided to layer the vocals which I didn’t chop up on top of the chopped-up vocals to create a haunting effect reminiscent of (Moor Mother’s 2024) “the Great Bailout” album. Now it was time to start adding effects to the vocals since I wanted the vocals still to be audible but eerie I added the slightest bit of distortion that I automate throughout the track, then I added some hall reverb and a convolver to widen the stereo field of the track and give it more ambience.
Finally, I added and 1/8th note ping-pong delay to the layered vocals for that extra eeriness in the track. Now it was time to start adding instruments to the track since Moor Mother’s tracks are very texture heavy, I started with a simple chord progression and went through pad presets until I picked one, I liked and drenched it in reverb, flanger and chorus until it became a texture sound, and the chord progression wasn’t distinguishable anymore. Overall, this style of production could offer a lot for a music producer especially someone like me who isn’t used to making this type of music it was a breath of fresh air and let me really experiment with textural sounds and changed my mindset from making a basic beat to trying to make a endlessly progressive sound landscape that a listener wouldn’t get bored of it so repetition of certain elements wasn’t really used much in my production.