Motocross Legend, Love of My Life, Pt. 20 (Poetry)

You can read this novella from the beginning through this link.


On the afternoon of your death anniversary,
Hand in hand with my daughter,
My other hand holding a bouquet of red roses,
We arrived at the spot on the wooded lane
Where a grooved-bark, mature oak
Watched over your memorial stone,
Nestled in moss, twigs, and clover.
Mottled, watery sunlight bathed the stone
As if illuminating a sacred site.

The limestone or sandstone looked rough,
And had weathered over all these years.
Beneath the relief of a motocross rider,
A marble plaque bore the inscription,
“Izar Lizarraga Oyarbide (1981-1999).
She lived fast and died young,
But her light will shine forever.”
My childhood sweetheart,
My restless wildfire.

I crouched in front of the stone
To deposit the bouquet at its base.
I pulled out a pack of wet wipes
And wiped away the dust and grime.
I scrubbed off a white splatter of bird droppings.

The murmur of families filtered through the trees.
A flock of sheep baahed from the nearby hill.
In the stone’s relief, your helmeted figure
Clutched the bike’s handlebars,
Head tilted forward in intense focus.
Every time I laid my eyes on this figure,
My breath caught, my throat clenched,
And I struggled to loosen the knot
Twisted inside my chest.

“How long ago was nineteen ninety-nine?”
My daughter’s innocent voice asked.
After a pause, I said, “A long time ago.”
“Was she a friend of yours?”
“Yes, the best one.”

My daughter shifted her weight from foot to foot
As her attention drifted further down the lane.
I held her little hand tightly in mine,
And we stepped onto the sun-dappled sidewalk.
A familiar warmth built up behind my eyes:
Tears burning their way out.
The vision of a bumblebee weaving its waltz
Across clumps of yellow and white wildflowers
Became a watercolor blur.

Grief had ambushed me once again:
A monstrous hand reaching out of the deep
To grab me by the chest and drag me down.
I know it will remain my constant companion
For the rest of my days.

That week, I pondered why
I had brought my daughter to visit you.
I was terrified that, after my death,
Nobody who came across your name
Or gazed upon the memorial stone
Would understand what had been lost,
What you still mean to me.
I needed my child to be haunted by you,
To carry your spirit in her heart,
But I feared no amount of talk
Could transmit the depths of pain and love.
So, the memories of you would disappear,
Forgotten even by the spiders
That had built their webs within me.

One day, maybe not long from now,
After the kids we dragged into this world
Have freed themselves from their miserable parents
And claimed a home of their own,
I will lie in my deathbed alone,
Connected to beeping machines.
By then, you will feel like a sunken ship
Deep at the bottom of the sea.
Suddenly, I will breathe in a pungent odor of rust,
And from the center of my consciousness,
A sinkhole will open, a growing black hole.
As the edges of my self crumble and collapse,
Into that darkness, I will reach for your hand.

I doubt the value of words:
Pictures and music capture emotions better.
Yet, this old boy can only play with words,
And I’ve engaged in the game of pretending
That they can bridge the chasms between us.

For decades, a barbed pain has grown its tendrils
From the core of my heart throughout my body,
Creeping into every tissue and organ,
Embedding hooks deep in my bones,
As the pain reached the farthest ends of me.
My wish: that the right combination of words
Could sever a scion of this piercing truth
And graft it onto someone else’s heart.

So thank you, stranger,
For reading thousands of words
Of the only tale I care to tell,
My elegy for Izar Lizarraga,
Motocross legend,
Love of my life,
Who blazed through this world,
And burned away.

* * *

The night of April 27, 1999,
You parked in front of the candy shop.
Drenched under the torrential barrage,
We clambered off and removed our helmets.
The taste of rain mingled with your saliva
While the Aprilia’s idling engine rattled
Like a hiker hopping from foot to foot,
Eager to move on.

We wished each other good night.
Thunder growled as you straddled
Your gleaming yellow-and-white bike.
You pulled on your helmet,
Gripped the handlebars,
And lifted the side stand with a kick,
When I shouted, burning my throat,
“Wait!”

Startled, you straightened up,
One foot planted on the sidewalk,
And turned the reflective visor toward me.
I ran to you and hugged you,
Pressing my cheek against the cold helmet.
“You don’t intend to return home, do you?
Who would be so stupid to believe
That you’d go back to your father so soon?
I can’t let you leave, Izar;
If I do, I’ll regret it for the rest of my life.
Stay with me tonight.”

I held your gloved hand
As you stumbled off the Aprilia.
You lifted the visor of your helmet,
Revealing large chocolate eyes
That reflected a shimmer of amber light.
Your brows were furrowed in concern.
From one nostril hung a bead of watery mucus.
“I’d much rather do that,” you said,
“But your mother forbade me from coming back.”
“I’ve taken enough shit from her.
She can suck it up.”
You shook with silent laughter.

I opened the front door to the sight of my parents.
My mother scowled, deepening the lines of her face.
Beside the woman, two steps back, stood my father,
A bald, stooped, hesitant non-entity.

Upon noticing Izar, my mother’s eyes widened.
She opened her mouth to scold me,
But I cut her off.
“Look at what her father has done.”
I brushed away the damp strands of caramel hair
Clinging to the cheek that sported a bruise,
The mottled imprint of your father’s hand.
“Izar can’t go home tonight. It’s not safe.
She’ll stay with me, no matter what you say.”

A glance at the bruise loosened my mother’s brow.
You bowed your head.
“Sorry for bothering you.
I didn’t intend to cause trouble.”
My mother narrowed her eyes.
“You rode here through this downpour?
Girl, you don’t have any common sense!”
“Sorry.”
She tsked, then threw her hands up.
“You pair of idiots. Go take a warm shower.
No, take off your jackets and shoes first.
You’re going to leave puddles all over the house.
My goodness, look at how soaked you are!
Do you want to catch pneumonia?”

As you and I padded hand in hand to the bathroom,
My mother turned to my father, seeking support,
But he shrugged and said,
“Let them be. They’re in love.”

Locked inside the bathroom,
We peeled each other’s soaked clothes,
Then chucked them on the ceramic tiles,
Where they lay like beached jellyfish.

When you untied your ponytail,
The cascading hair stuck to your shoulders.
You rubbed your pruney fingertips.
“We might get sick for real,” you said,
Then sniffled some leaking mucus back in.

I embraced you firmly,
Pressing your stiff nipples against my chest.
You shuddered once, then continued to tremble.
I whispered in your ear,
“My love, in case you have any doubts,
I’ll run away with you.”
You sighed, your breath warm on my neck,
And slid your hands down my back.
“Thank you.”

As we melted into each other,
I caressed the contours of your skin,
The myriad details unique to you
That before you were born,
Hadn’t existed in the universe,
And after you died, never would again.

Yes, Izar, I would accompany you,
Riding pillion, clinging to your waist,
Through the rush of wind and rain,
To witness the sights you longed to see,
To experience what it meant to live.
We would create a shared language,
Speak words that others would find insane,
And build our own space far away.
Nobody could compete with you,
The sole real person in the world.
As long as you were with me,
I was home.

THE END


Author’s note: the last song is “Just Like Heaven” by The Cure.

Remastered “Behind the Door” from Odes to My Triceratops, Vol. 3

I’ve produced about seventy-five songs with Udio, and “Behind the Door” is my absolute favorite. I’d say it encapsulates my whole self to an extent that if I died tomorrow, that’d be alright, because I made someone listen to “Behind the Door.” So now that I’ve become an audio mastering master, or at least better than the average person at this time-consuming task, I had to give it another shot. It sounds quite good to these battered ears of mine.

Motocross Legend, Love of My Life, Pt. 19 (Poetry)

You can read this novella from the beginning through this link.


The eve of your death anniversary
Resurrected the old nightmare once more:
I was riding pillion, clinging to your waist,
While your Aprilia Red Rose growled
As it devoured the highway under its tires.
The rainfall hammering upon car roofs,
Drumming on our helmets,
Splashing against our drenched clothes,
Overwhelmed the steady roar of the engines.
The wind drove icy raindrops into my face.

The beam of your bike’s headlamp
Sliced through the rain sheets,
Lighting the rear wheels of the truck in front,
That spat up trails of rainwater.
In the oncoming lane, twin beams appeared
And quickly expanded toward us,
Cutting luminous swaths across the blackness.
On my right, traffic signs, trees, buildings,
They all blurred into smudges,
And the sparse streetlamps revealed themselves
Like floating, shimmering haloes.

Lights glinted off the gleaming, mirrorlike tarmac
In ripples of red and blue-tinged white.
Above, lightning leaped from cloud to cloud,
Followed by grumbling thunderclaps.

In my embrace, your body trembled;
You were crying, or at least on the verge,
And you channeled that anguish
Igniting your steel beast’s roar
With a wrench of the throttle.
My heart thrummed with dread.
The acceleration pressed against my bones,
Tightening my chest and freezing my breath.
Along with the golden tracers of streetlamps,
Oncoming vehicles whooshed past us.

Lighting the way ahead, we were falling headlong,
Whipping through the darkness like an arrow.
Teary-eyed from the sting of rain,
I raised my voice over the rushing wind,
Over the rumbling engines.
I shouted, I yelled, I gripped your sides tighter,
Imploring you to slow down.
As if you couldn’t hear me, as if I wasn’t there,
You revved the throttle further,
Making the speedometer needle climb sharply.
Your bike’s chassis shuddered under the strain.
The raindrops felt like dozens of fingers
Poking my numb face to wake me up,
But you kept racing through the storm,
Maybe wishing to outrun yourself,
Outrun all the voices telling you to stop.

As we approached a curve, your Aprilia wobbled,
Its front wheel skidded on the rain-slick tarmac,
And the bike lurched sideways,
Flinging us off.

The color spectrum gleaming through the downpour
From headlights, tail lights, streetlamps, and lightning
Spun into a blur of light and dark
While my body flailed, limbs striking out,
Scraping against the road as I slid
With rainwater gushing over me.
The friction ripped through my clothing,
Seared my skin, and tore the flesh off my bones.
Screams lodged in my throat.

Your Aprilia Red Rose was flipping end-over-end,
Scattering pieces of its decimated bodywork.
My frantic gaze glimpsed flashes,
Illuminated by the headlights of passing cars,
Of your body cartwheeling uncontrollably.

A murky shape, the guardrail,
Rushed out of the rain-haze toward us
Like a reef thrusting from a savage ocean.
You smashed against the metal barrier,
Which launched you into the darkness.
I clenched my eyes shut, bracing for impact,
And awaited the final, wet crunch.
When I slammed into that guardrail,
A loud snap reverberated through my spine
In a starburst of pain.

The impact had squeezed my lungs,
Knocking the air out.
As I gasped, mouth agape,
A thunderous crash against the guardrail
Sent a shockwave through the cold steel,
Making me, slumped against it, shudder violently.
Fragments of the bike ricocheted off the barrier
And stung my arms and face like shrapnel.
The metallic clang lingered as a discordant ringing.

Your Aprilia lay on its side close by,
Gleaming darkly in muddy rainwater,
Its windscreen shattered,
Frame bent, chassis mangled,
Front wheel still spinning.
A rearview mirror dangled from its stem,
And reflected the electric clouds.
Fuel leaked out of the dented tank.
The headlamp’s white beam,
Shining through the cracks in the lens,
Faltered, flickered, then faded away.

The ozone scent of the storm mingled
With the chemical smell of gasoline,
The burnt stench of grinding metal,
And the bitterness on my tongue.
A tingling white noise had spread
To the farthest reaches of my body,
And in the places that hadn’t gone numb,
My shredded flesh screamed
In a fiery, knifelike pain.

Instead of writhing in the gutter
Like a crushed insect,
I would return to your side,
But when I tried to stand,
My limp legs refused to move.
I grabbed the cold, wet guardrail,
Then heaved myself over it.
I hit the grassy, upward slope chest-first,
And mud splattered on my face.

I crawled onward, clawing at the grass and soil,
Coating my hands with squelchy mud.
The relentless pounding of heavy rain
Along with the deep rumble of distant thunder
Isolated me in a cocoon of noise.
Every creep up the slope ripped me open with hurt.
In jagged gasps, I breathed razors.
Where are you, Izar? Where are you?

The blades of grass glistened
With a fresh spray of blood.
Silvery light from turning headlights
Swam in waves over a body splayed face up
Like a doll tossed in a tantrum.
Your drenched, ripped red jacket gleamed.
Gashes oozed through the torn jeans.
The crushed helmet still clung to your head.

Beside you, I pushed myself up onto my knees,
And lifted the cracked visor of your helmet.
Raindrops splattered in concentric circles
On the blood pooling within the face aperture.

I attempted to take your helmet off,
But your neck strained, its muscles taut,
As if your head might snap off.
You couldn’t breathe.
“Stay with me, Izar. Don’t leave me, please.”
When I scooped blood out of the hole,
My fingers didn’t graze your face.
I sank my hand up to my wrist, to the elbow,
But I couldn’t reach you.

I woke up with a start, drenched in sweat,
Gasping for breath, clutching at my throat.

My fingers are calloused
From decades of clawing
At the dark soil of this world
To drag myself back to you.


Author’s note: the song for today is “I Lost You” by The Walkmen.

The next part will conclude this story.

On audio mastering #2

Last month I wrote a post about the art of mastering a song by adjusting its frequency bands through carefully analyzing the spectrogram, something I had never bothered to figure out before. Here’s that post.

Although I haven’t produced any new songs with Udio, because I’m trying to finish a novella I’ve been working on for seven goddamn months, I’m halfway through remastering the third volume of Odes to My Triceratops, which are a bunch of concept albums about a triceratops. I’ve changed how I master audio in subtle but powerful ways, so read on if you give a shit about this stuff.

  1. Download the WAV file of the song from the Udio interface.
  2. Open the original WAV in Audacity.
  3. Normalize both channels at -1db.
  4. Export it as a 24-bit/192KHz WAV stereo file. I read somewhere that you shouldn’t try to master audio using a WAV file of lower quality, and never ever using an MP3, which are compressed to begin with.
  5. Forget about Audacity and open a better audio editing program. I use iZotope RX 10, which is perfect for my purposes. Load the recently exported WAV file.
  6. Modify the EQ based on good base values (you can look up some and save it as a preset). Ensure that it comes with a high-pass filter at 30hz (roll off 24 db); apparently the human ear doesn’t hear anything below that frequency, so you’d just be leaving pointless data in.
  7. Normalize at -1db.
  8. Don’t bother with compression, multiband or not; I’ve come to believe that applying compression to a song is a crutch, because you can achieve similar but far better results by adjusting the individual frequency bands.
  9. Apply an azimuth operation on the song. It equalizes the volume of both channels and ensures that they are in sync, in case the audio came with some unsightly delay due to poor handling of mics. That won’t happen with Udio songs, but you might as well do so. However, blindly azimuth-ing a song can bite you in the ass: some parts of the song might only sound on one channel for artistic reasons, so ensure that you relisten to the whole thing afterwards. If the azimuth operation clearly shouldn’t have been applied to a specific segment of the song, revert the operation and only apply it to the rest of the song.
  10. Normalize at -1db.
  11. Now comes the fun part: messing around with frequency bands. iZotope RX allows you to set six manipulation points along the whole frequency spectrum. You should put each manipulation point smack in the middle of the following frequency ranges (you can prepare these manipulation points and save the set as a preset):
    • Bass (60-250 Hz)
    • Low Mids (250-500 Hz)
    • Midrange (500 Hz – 2 kHz)
    • Upper Midrange (2 kHz – 6 kHz)
    • Presence (6 kHz – 10 kHz)
    • Brilliance (10 kHz – 20 kHz)
  12. Go to your favorite part of the song and EQ each frequency band one by one, raising and lowering its volume little by little as you listen on your absolute best headphones. I own a pair of $400 noise-canceling headphones by Sony which do a fantastic job of isolating me from this horrid world.
  13. Notes on what raising or lowering each frequency band affects:
    • Bass (60-250 Hz): mostly the punch of drums, as well as similar instruments. I usually want them punchy, but it can distort the vocals if you go too high.
    • Low Mids (250-500 Hz): this is an interesting frequency band: too low and the voices and instruments will sound tinny, too high and the song will sound like mud. It features the “body” of many instruments.
    • Midrange (500 Hz – 2 kHz): mainly voices and guitar-like instruments.
    • Upper Midrange (2 kHz – 6 kHz): most of percussion that isn’t too bassy. This one is very easy to EQ for the entire song: raise and lower this frequency band until the pitch of the drums sounds right. If you raise it too high, some singers’ “S” sounds will hurt your ears.
    • Presence (6 kHz – 10 kHz): high lingering sounds like hi-hats, cymbals, and such. You can rarely raise or lower this much without altering the pitch of other percussion instruments, so I suggest very narrow frequency range manipulations in this range.
    • Brilliance (10 kHz – 20 kHz): this one is a bit hard to describe. Some call it “air,” similar to the sound your thumb and index finger make when you rub them together. It provides interesting details. A base EQ should likely raise this by about 8db. If you raise it further, it will likely screw with the pitch of the drums.
  14. Apply the EQ changes you prepared for your favorite part to the entire song. Particularly when working with Udio songs, it’s rare that the rest of the song requires very different EQ levels than your preferred part, so your changes act as a great new baseline.
  15. Go through each part of the song and apply individual changes to their frequency bands depending on that part’s needs: sometimes a segment should be more bassy, or the midrange be 3db higher because the guitar won’t sound as good otherwise, etc. However, ensure that you don’t screw up the transitions between the different segments of the song. This can easily happen if you raise the upper frequencies too much in one segment in comparison with the adjacent ones.
  16. When you’re happy with the state of the entire song, revise its spectrogram focusing on “instrument or vocal stripes” (not sure what to call them) that are either too white (meaning too loud in comparison to the rest of the spectrum) or not white enough (are buried in the mix).
  17. If you spot instrument stripes that are isolated between frequency bands, and that aren’t affected much by raising or lowering those manipulation points, hover your cursor over that line to figure out what frequency it’s located at. Then, move one manipulation point to that frequency and pinch the range of frequencies the manipulation will affect by scrolling with your mouse. This is a fantastic operation that I recently discovered. It that allows you to bring attention to isolated, perhaps even buried instruments like cowbell, ankle rattlers, tambourine, etc.
    • For example, in the images seen after this list, that solid strip in the “presence” frequency band is located at the 8100 Hz frequency, and is some sort of fancy percussion instrument. If you attempt to bring it further to the surface with a general manipulation point, you’ll distort the pitch of the drums.
    • Thankfully, in the EQ editor, as seen in the following picture, and as said before, you can narrow the breadth of the affected frequency range by scrolling with the mouse.
  18. Normalize at -1db.
  19. Change the viewer from spectrogram to waveform. See those spikes in the corresponding image? Those spiky fuckers will be the bane of your life. A single protruding spike in the waveform will prevent the song from normalizing correctly, as it will adjust to the loudest millisecond of sound. I doubt that using some “limiter” operation is a good idea here, because you will shear part of the sound. I just carefully zoom into those parts, select the spike, and reduce its volume level with the Gain tool. You will likely need to do this dozens of times as you adjust the volume of the song.
  20. Use the clip gain tool, as seen in the corresponding image further down below, to properly raise or lower the volume of certain parts of the song. It’s usually a good idea to match the volume levels of all the song parts, but some do seem to need to sound lower. It’s a matter of taste.
  21. Finally, normalize at -1db.

Images for point 17:

Image for point 19:

Image for point 20:

Anyway, I hope this post helped if you’re also embarked on the marvellous journey of mastering songs. And if not, well, screw you.