Release (Afro Celt Sound System)

Structure
0.0–1.38 Intro The intro starts with a drone. It uses two different synth tones,
hard-panned L and R. Both synths are being filtered with low
pass filters (these are used to sweep through all the frequencies
in a tone and modulate the sound by removing, and then adding,
higher harmonic content while always keeping the lower part or
fundamental.) The filtering is often timed so that when the L is
adding treble, the R is removing it and vice versa. It is in free
time. A steady C drone (without ‘modulation’) fades in gradually
from about 19″. Layering of parts increase the texture as talking
drum, synth strings drone, spoken vocal samples are added.
Bodhrán (1), shaker (2) and drum machine (3) help to establish
the steady tempo (50″). At 1.19 female vocalisation (Fig. 1)
enters using heavy reverb and panned centrally, with synth (4)
and drum loops (5 and 6).
1.38- Verse 1 Main female vocal (Fig. 2) comes in singing verse 1. The
2.55 accompaniment is simple chords giving a homophonic texture.
The tambourine (7) takes over from the shaker, playing steady
semiquavers. Kora (9) enters at the end of the verse along with
low synth strings that play an ascending chromatic line (10). At
the end we have a short bodhrán solo before the breath sample
(13), and the bass loop (12) enters playing a riff on two notes (C
and B[flat]), which gives a modal quality. A short flute effect
(showing obvious delay FX (echoes) acts as a link to Verse 2.
2.55- Verse 2 Male vocals (Fig. 3) take over singing a variation of verse 1. A
3.51 more complicated drum pattern (14) appears with a fiddle
playing an accompaniment using double stopping, accents and
triplets (15). Towards the end the low chromatic synth strings
enter. A short drum and bass link leads to the solos
3.51- Solos Uilleann pipe starts the solo section (Fig. 5), joined by the whistle
4.55 (an octave higher) playing mainly running semiquavers with the
occasional glissando (slide). The solos are accompanied by the
accordion loop (playing accented chords)(17) and bodhrán (18)
The solo continues with the low whistle (Fig. 6) playing a more
complicated version of the pipe solo. It is more varied in rhythm
and an increase in rhythmic variety (including the use of
demisemiquavers). The low synth strings accompany the low
whistle along with the accordion. The bass loop has dropped out.
Towards the end the male vocals (19) (short phrases) are joined
by the hurdy-gurdy (20) and bass (12).
4.55- Verse 3 The texture continues as the female verse takes over. The hurdy-
5.51 gurdy and uilleann pipe solo playing underneath the main vocals
– creating a polyphonic texture. There is the addition of a new
synth sample, which plays static chords (one chord per bar). The
male vocal takes over (5′35″) accompanied by the fiddle (23)
with the chromatic low synth strings. At the end the bodhrán
 enters playing its original entry leading to…
5.51- Build The bass re-enters with a more complicated drum part (24).
6.59 Layered on top is an electric piano playing a syncopated two
note melody (F and G) over a chordal/arpeggio semiquaver
accompaniment (25). Underneath there is a second electric
piano playing an oscillating pattern of two notes (E[flat] and F)
(26). The two electric piano loops drop out as a new hurdy-gurdy
loop enters (27). Female vocal samples interject as a new
uilleann pipe solo loop (28) creates a heterophonic texture with
the hurdy-gurdy. Again they are layered with the low chromatic
synth strings
7.28 Outro Female voice sings ‘Reach out and you’ll touch me’ (Fig. 2). Then
bass loop drops out and the second fiddle loop re-enters. At the
end the two electric piano loops enter as all the other loops drop
out. The music fades out.

Melody
 Use of nonsense lyrics.
 Main verse is syllabic.
 Some spoken parts.
 Short phrases.
 Limited range for the female vocal (6 th). The male has a more extended range of a 13 th .
 Vocal samples.
 Repetitive.
 Sense of improvisation from opening female vocals.
 Use of glissando (sliding).
 Use of ornamentation (acciaccaturas).
 Very obvious use of reverb for the whole track.

Texture
 Constantly changing.
 Use of layering.
 Loops.
 Main texture is homophonic.
 Heterophonic texture (during outro).
 Polyphonic texture.

Harmony and Tonality

 Diatonic.
 Key of C minor.
 Modal.
 Chord sequences are repetitive.
 Hint of chromaticism.
 Use of extended chords (7th, 9th).
 Slow harmonic pulse.
 Use of drone.

Tempo, Metre and Rhythm

 Free time at the start.
 Steady tempo established at 50 – 100 bpm.
 Simple quadruple meter.
 Slightly swung semiquavers (gives a relaxed quality to the music).
 Syncopation.
 Triplets.
 Sextuplets.
 Accents.
 Rhythmic ostinato.
 Use of loops.
 Use of riffs.
 Short rhythmic phrases.

2 and 4-bar phrases.