[OATZ] Forum

The album was intended to be based on the I, Robot stories written by Asimov, and Woolfson actually spoke with Asimov, who was enthusiastic about the idea. As the rights already had been granted to a TV/movie company, the album's title was altered slightly by removing the comma, and the theme and lyrics were made to be more generically about robots rather than specific to the Asimov universe.

Brett hat geschrieben:Also ich hab's dir schon geglaubt. Ich hab's bloß nicht gewusst. Und die anderen haben dir nicht zugehört (glaub ich). Da ist schon ein Unterschied.

masta_stefant hat geschrieben:Edit: Ich finds sehr nett, auf Youtube mit offenem Deckel zu spielen.. macht die Transkription gleich viel leichter

arpjournal.com/597/imogen-heap-as-musical-cyborg-renegotiations-of-power-gender-and-sound

The most shocking song on the album, in terms of style and production, is the third release of the album, ‘Hide and Seek’. The song was played in ‘The O.C.’ Season Two finale and gained enormous popularity after that. Heap revealed through interviews that a breakdown of technology actually led to the creation of this song. Her new computer was malfunctioning due to a faulty power supply. This halted her work, but she decided not to leave her studio without any work done. So she picked up her harmonizer, plugged it into her keyboard via MIDI and recorded it on her eight-track mini-disc recorder. As she sang into the microphone and played notes on the keyboard, the harmonizer took that vocal input and shifted it to the other pitches depressed on the keyboard. Heap (2005) describes the process:

The only sound you can hear on Hide and Seek is my voice. There’s no keyboard noise. All those harmonies are a result of what notes I play on the keyboard, which then tells the harmonizer which notes to make my voice appear to sing. I can choose the amount of effect (harmonies) to show through. I used about 50/50. So you can hear unaffected natural voice too. The first thing I sang (luckily set to record) were the words “where are we? What the hell is going on?” I carried on playing and singing, reacting to the chord inversions the harmonizer was throwing at me (it was set to four-note polyphony, four notes at a time, but using most or all fingers on the keyboard, the box is forced to choose which notes to use out of a chord) and before my very ears a song had emerged out of nowhere.