The Wasteland

by Timbill Corder

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about

"Has he ever even seen a chicken?"

Recorded in April 2012 in 7 locations across Oklahoma City and Norman (Oklahoma), Virginia Beach (Virginia), and Cleburne (Texas), U.S.A.
Produced in the Aureate Ratite Studio and Stable, Oklahoma City, U.S.A.

If you would like a physical copy of the album, please contact me, as they have to be made individually. If you purchase a digital copy, and would like to make a physical copy yourself, please email me, and I can send you the lightscribe image for the disc, as well.

credits

released May 13, 2012

Timbill Corder – Whamola, Theremin, Mixing Bowl, Korg MS-10, Glasses, Effects, Tank Drum over Timpano, Composer, Arranger, Engineer, Producer
V. Y. Beauregard – Mixing Bowls, Cymbals, Bass Clarinet, Recordaphone
Kerry Folsom – Mixing Bowls, Cymbals, Gong, Miscellaneous Percussion, Waterphone, Snake Rattles, Banjo, Mandocello

Nightingale samples, courtesy of reinsamba; ocean sample, courtesy of digifish music; rain sample, courtesy of inchadney; all samples courtesy of the Free Sound Project

Cast:
Tommy Scheurich – Prologue Narrator
Jason Seitz – Section I Narrator, The Archduke
Danielle Miller – Marie, The Sisters, Section III Female Narrator
Shawn Garmon – Madame Sosostris
V. Y. Beauregard – Narrator Cameo, Section II Narrator
Timbill Corder – Chorus, Section III Male Narrator, Section IV Narrator
J. Benton Gross – Section V Narrator

Text by T.S. Eliot, adapted by Timbill Corder

Special thanks to everyone involved, to Gwen Willows, Isabella Hirst, Sharon and Jim Corder, and the people of MetaFilter Music

Front cover by jjjj56cp; Middle photo by Nicholas Jones; Back cover by Mark Watmough; all photos courtesy of flickr.com/creativecommons

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about

Timbill Corder Oklahoma City, Oklahoma

Based in Oklahoma City, I'm a member of Demons of Gyrophonia and Pasty Anglophiles. I have a Bachelor of Musical Arts from the University of Oklahoma with primary emphasis in Horn Performance, and secondary emphasis in Music Technology. I work best in sounds, not notes, so I try to gravitate toward the Enossification end of the spectrum, where my instrument is the treatment of other sounds. ... more

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