2017 is off to a roaring good start!
In mid-January, I completed recording for my fifth album, The White Island. It’s all improvised guitar pieces, though I pushed the concept a little for the last piece to be recorded, The Eons Are Closing. (Coolness points if you recognize the phrase!) For this I recorded two spontaneous parts on each of 6- and 12-string guitars, the fretless with EBow, and electric mandolin with octave pedal, then arranged the parts jigsaw-puzzle style. A similar approach was used on Like a Riven Cloud and Mister God, This is Taylor.
The final mixing and artwork are all that remain to be done. I hope to release in the spring. Look for the album’s creation story soon.
Next in the recording queue is one of two classical cover pieces that I’m dying to record.
On the live performance front, I’ve been honored with an invitation to play two of North America’s most important venues in the electronic/atmospheric music world: The Gatherings Concert Series and Star’s End Radio, both located in Philadelphia.
The Gatherings celebrates its 25th year, and has hosted many of the world’s most important musicians in the field, including Steve Roach, Robert Rich, Erik Wøllo, Ian Boddy, Saul Stokes, and guitarist Jeff Pearce – one of my most important influences, for whom I will be opening. My set will be 30-40 minutes.
The concert takes place Sat. Oct. 7, 8:00 p.m., at St. Mary’s Hamilton Village, 3916 Locust Walk, Philadelphia PA 19104.
After the concert, I’ll relocate to WXPN Radio at the University of Pennsylvania, to play an hour live to air on Star’s End, currently in its 40th year, which airs from 1:00 – 6:00 a.m. Star’s End cited my albums The Separate Ones and Souls Adrift, in Disrepair as Significant Releases for 2013 and 2016 respectively.
I hope to see you there! More news to come very soon, as the ripple effects from this invitation are considerable…
2016 was largely the Year of Other People’s Music, as almost everything I worked on was either a cover piece or collaborative project.
The only solo piece I worked on in ‘16 – on New Year’s Day – was a take on an idea that has since been composed for a collaborative album. This improvised fretless/EBow whirlwind, The Four Directions Seemed Aflame, will be on the upcoming guitar improv album, The White Island, which is nearly finished and should be the next release.
In 2016, I also wrote guitar parts for two pieces, intended for a duo album with one my favorite musicians, and recorded one of them. That project is still in its infancy.
During the late summer 2015 studio frenzy, I recorded a 20-minute piece for a singer with whom I have long dreamed of working. So, one of my greatest joys of 2016 was receiving the recording of her stellar performance. She utterly nailed it. Pieces such as Like a Riven Cloud and Fading Angel will give you an idea of emotional power in this one. It’s going to close out…. probably Album 8, for which nothing else has been done yet. So that is probably two years away. It will wring out your heart, I can promise.
At my 2015 Sulzer Library concert, I played a 12-string solo version of the Enya piece Sumiregusa. I sent the recording to a musician friend and fellow Enya fan, who loved it. Toward the end of ‘16, I was delighted to receive her invitation to arrange and record 12-string parts for two pieces from her new album. Each is a rich synth/voice drone, around 15 minutes long. I’ve done my parts for one of them, and expect to the other to be done soon.
This will be the second album on which I’ve played a guest role, and I have another invitation to record some drumming for a friend’s album. This material may be used more-or-less as is, or mangled beyond recognition, or both. That recording is expected to happen in January – a good way to start the year.
While I’m not optimistic about the Enya piece ever being released, I have much higher hopes for my arrangement of Arvo Pärt’s Fratres, which is a recording priority for 2017. I first arranged this in 2010, working from the composer’s string quartet version, but this was impossible to arrange properly for one guitar. Luckily, I discovered that the original strings-and-percussion score works easily.
My arrangement for electric guitar and sampled percussion is straight off the score, but I play it much more slowly, and it occupies a huge space. I can’t wait to play this one live…
Thanks for reading, and all the best for 2017!
One of the more personal pieces, this one – published four times during my mid-90s poetic phase. Learning last year of Majken’s early passing made sharing it here … inevitable.
She is missed.
New-grieving baby self:
early warning genius
Invisible fear heralds discovery
Recent turns must lead somewhere
Converse, converge – something fused overnight
This morning room a darkened cloister
as he knows I don’t
Tree of flame, sear away blindness
Sky, Buddha-still, uncloud my vision
See houses? breathless eyes feel them!
Know now, cut flower in water
Grow through nourishing Earth, weaned too young
Pathfinder, focus awareness, energy, acceptance
model’s forced smile, numbed eyes
father’s bearded face, experience lines
Nature molting, ready to rest
my daughter seeing
massaging waves, leaves in cycle
soothing chorus of wings
Gaia rejoices – echo me!
open breath smile body
free to converse – what strangers?
erotic life-giving creative
Closed eyes embracing sun,
poisons kissed away –
one celestial afterimage
How I adore you, my love!
At last the words
Not surface for eyes only
but your spirit radiant
seen in our hearts
Beautiful beyond language
I love you beyond thought
this delight, this blessing, this magic
seems to breathe life into Earth
For Majken R., 1970-2010
It’s been too long since my album reviewing days and, while I lack sufficient time for the serious repeat listening which a good review requires, I can at least get back into the practice of calling attention to some of my favorite fellow artists in the Ambient-Atmospheric field.
Lily Pond Orchestra was the name of Douglas Lee’s synth-driven ambient project, which can best be described as orchestral, both in its sonic texture and its compositional ambition.
Douglas was part of the Relaxed Machinery community in its years on the Ning platform, and anyone who had the pleasure of chatting with him can confirm that he was one of the nicest souls you could hope to meet. A real gentleman. We lost him, far too soon, a few years ago, but he left a rich musical legacy which is to be treasured.
Douglas’ final three albums, Tabernacle, Beautiful Day, and Suite for New England could be considered the apex of his work. They are all available from the highly-respected Earth Mantra netlabel, which also has a Bandcamp page for new releases since its 2015 restart. Shout-outs to founder Darrell Burgan and to Geoff Small, who took up leadership of the label in 2015.
Douglas’ impressive discography also includes over 30 other albums and many renditions of classical compositions but, sadly, very little of this is available any longer.There are a few albums available at CD Baby, and a handful of tracks at SoundCloud and MySpace.
However, the three albums mentioned above, by themselves, constitute an impressive body of work. I consider them essential listening, and hope you will find them enjoyable, as many of us do.
Thank you, Douglas!
As with all the arts – and sciences too – I think, one’s tastes and allegiances can – should – evolve over time. We may fanatically adhere to one musician, writer or artist above all in our youth then, in maturity, wonder what possessed us.
I’ve been fortunate enough to encounter some of the world’s greatest writers. Victor Hugo was the lion of my youth, and I still read him occasionally. I might have one more go at Les Miserables, which I’ve read six times. His lesser-known novels Toilers of the Sea and Ninety-Three are terrific page-turners with Hugo’s signature heart-stopping personal and moral dilemmas, and I really should pick up Notre-Dame de Paris once more.
Note that latter title: Wikipedia notwithstanding, it’s not The Hunchback of Notre-Dame; it never was. Quasimodo – as great and noble a character as he is – is not the title character of the novel; the cathedral is. Reading a good unabridged translation makes that clear enough.
Hugo’s irresistible romantic drive stoked my occasionally reckless and misspent youth (or what I like to imagine was), such as when I walked away from a final aimless year at university to undertake the rock musician vision quest. I still remember sitting in a large park in small-town Southern Ontario, being moved to tears by reading of Cosette’s thought, “Perhaps he is my mother, too, this man.”
Of all the writers I’ve encountered, however, the one who resonates with me the most now is Yasunari Kawabata, Japan’s first Nobel Laureate.
Kawabata-san famously said that, after Japan’s defeat in the war, he would only write elegies (although that was arguably no change from his prior work). All of his novels which I’ve had the fortune to read in translation certainly fit that category.
The journey began 24 years ago, when I read The Master of Go for the first time. The elegy ethos – and the tension between the classic and modern Japanese cultures – is perhaps at its sharpest in this story, which is built upon Kawabata’s reporting of a famous 1938 match between a legendary old master and the best of the younger, modern generation of players. Perhaps this is one of the reasons that Kawabata cited The Master of Go as his favorite among his works (and the only one which he regarded as finished).
Kyoto was the capital of Japan for over a thousand years, from the late 8th century until 1869, a year after the Meiji Imperial Restoration, when Tokyo became the capital.
Kawabata’s exquisite descriptions of natural scenes, Kyoto’s numerous religious festivals, and the city itself are sufficient to recommend The Old Capital, but what makes this gem really glow is the masterful, understated portrayal of character and relationship. Little is said; much more is left unsaid. As a molecule is mostly empty space, Kawabata’s meaning is found mostly between the written lines. I don’t claim to understand very much of what he’s getting at, so far; as with any subtle art, understanding comes with practice.
Kawabata-san’s influence must inevitably drift into the music, and so it has, from the beginning of the eyes cast down project. It’s most notable in the elegy pieces Like a Riven Cloud, At This Body’s Final Hour, Transitional and Mister God, This is Taylor, as well as an album in progress about which it’s too early to speak. As I wrote in the story of the Souls Adrift, in Disrepair album:
“For me it sums up the material world, with us struggling our way through it. Fish out of water. A suitable continuation of themes ruminated upon in the Separate Ones album…” In a sense, as far as this world is concerned, I can only write elegies, too, because this temporary, chaotic ball of matter, birth and death is not our home.
Airplay for the Souls Adrift, in Disrepair album so far is keying on two tracks: Fading Angel and Sirens of Maya. Thanks to the following for playing the music:
Steve & Chrissie at One World Music
Stefan Schulz at Syndae
Bill Fox at Galactic Travels
Chuck van Zyl at Star’s End
All of these folks have played music from at least one of my prior albums, and I greatly appreciate their support. Thank you, all!
I’m delighted to announce the upcoming release of my fourth album, Souls Adrift, in Disrepair, on my Kalindi Music label. It will be available by download on July 12 and on CD shortly thereafter. The album’s release page is here.
I think of the album as… three guitar symphonies, a dark drift and an elegy. Possibly an oversimplification, but close enough to be helpful.
I had met Royce & Tali a mere five days beforehand (thanks, Eve!), towards the end of their 6-week residency in downtown Chicago (part of the Pop-Up Loop series), and we just went for it.
Many thanks to Royce & Tali for making the day, and for lending me their inspiring artwork for the CD package.
As always, every piece has a story…
Of the pieces which began as live improvs, Fading Angel needed the least rewriting to reach its final form. For the recording, I set aside my usual live playing approach and recorded all six guitar parts separately, playing them all the way through without looping. This approach allowed me, on each pass, to vary tempo, phrasing, and dynamics – unlike looping, where each repetition is exactly the same – and to interact with the previously-recorded parts even more closely than I can when looping.
I also did this for the other two guitar-driven pieces, and anticipate doing so for recording similar pieces going forward.
Astral Drift creates an unsettling atmosphere, using processed metallics, ocarina, voices and breath with an occasional guitar chord, and a few brush strokes of synths to keep us grounded, so we don’t go spiraling off into the void.
Sirens of Maya is built on a loop that’s all electric guitar harmonics, an approach I later ported over to acoustic guitar for Snowdance in Starlight on my album Divinations. Sirens of Maya is a three-part canon, but those parts aren’t strictly synchronized, which makes it a loose canon (someone had to do this). I had some more fun with my EBow on this piece, and I’m getting pretty good at hitting just the right amount and drawing back – before anything breaks. I also mixed up the guitars more than usual, using 6- and 12-strings as well as the fretless.
A live version of Sirens of Maya is the album’s pre-order bonus.
Transcending Memory features my Danelectro electric 12-string tuned to Alexander Scriabin‘s famous mystic chord. This piece was a lot of fun to record and should be a blast to play live. The 12-string lines carve out an eerie space, over a roaring processed singing bowl drone.
At This Body’s Final Hour closes out the album with a plaintive piano melody over a haunting synth-guitar blend, occasionally punctuated by a thumping bass drum and featuring a chorus of chanting voices (thanks to Dasi & Leyla for joining in). The instrumental track slows to half-speed over its 18 minutes.
So what’s with the album title, anyway?
Well, it goes something like this:
The album is dedicated to the memory of our longtime companions, Sandor Cat (who passed on two days after the performance with Royce & Tali), and his brother Kalman Cat, who left us two years later. Sandor’s six-week illness was a difficult time, and was hanging thick in the air when showtime rolled around.
So I wanted the album and track titles to convey something of the gravitas of the time. For me it sums up the material world, with us struggling our way through it. Fish out of water. A suitable continuation of themes ruminated upon in the Separate Ones album, this closes a circle in some ways. Other circles await.
I was also looking for something powerfully descriptive, like many of Dirk Serries‘ wonderful titles. I’m well aware of the cognitive dissonance of the word “disrepair” in this context – which is way more animé than I intend – and that it may at first be read as “despair”, which is way more “emo” than I intend, but anyway…
1. Fading Angel 9.41
2. Astral Drift 17.17
3. Sirens of Maya 12.55
4. Transcending Memory 15.55
5. At This Body’s Final Hour 18.04
Here is a preview clip, with highlights from all five pieces:
I hope you find the album enjoyable, and worth purchasing. Many thanks for your support!