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geology mixes music nonsense sea

Granite Mix 7

and now a granite mix that deals with my own work. this is my unveiling on this website of my new album which is called true v eye and will imminently be available on itunes and as a hard copy at my amazon store – see the buy stuff page for links. there are only 2 of the tracks from the new album featured on the mix along with a selection from other albums and some obscure places.

the music speaks for itself but it would be churlish not to write a bit about these tracks so here goes. desert ghost dance has nursery rhyme style dialogue and therefore acts as a pair with track 6. a famous german 20th century artist is referenced in the last verse. perplex is a pair with it too because it is also a dialogue of sorts. then there’s suspense which also hovers between heaven and earth, as do, for that matter the children of the sea. domes however merely fly beneath the starlit sky. i’ve already mentioned in my jar – a famous 20th century british writer is referenced in the 3rd verse.

my video for happy song is a shoddy affair but has a certain innocent sweetness in its demeanour which i hope makes up for that.

the track that i’ve called chasing the sun dates to a period when I was using a sampler to create the basics of my music. everything was a home recording and nothing was ever that well-finished but i’ve got a lot of interesting things that may never show the light of day. this one’s made it through though – for a while at least. It contains a sample from a track by sun ra called disco 2100. in the train was recorded in about 1982. at the recording session for the new album i re-recorded this track and my plan is to release both versions on some vinyl later this year. this is a re-mastered version of the 1982 track.

the words for v’nosnu are almost all from primo levi’s magnificent novel if not now when (english translation i’m afraid – an italian version would be good or maybe even a yiddish one). i’d just like to point out though that there is some art to it all the same – though mostly inspiration. in my book inspiration trumps artfulness. a cherry tree aka the cherry tree was somehow inspired and inter-connected with the music of the last track of the mix. I was still at school when I wrote the words which aren’t used in the music but which are

I planted a cherry tree
I watered it every day
in the summer I sat in its shade
one day a cherry appeared on my tree
one day a cherry appeared on my tree
it is for this that we live
it is for this that we live

here’s the mix

ca

Granite Mix 7
Artist Title Album
Neureille Desert Ghost Dance True V Eye
Neureille Perplex Amanogawa
Dry Rib Suspense Whose Last Trickle
Neureille Children Of The Sea Disparue
Robert Vasey Domes Unreleased
Neureille In My Jar Amanogawa
Neureille happy song (for dependable person) Disparue
Robert Vasey Chasing The Sun unreleased
as,hem,syrup In The Train Whose Last Trickle (remastered)
Neureille V’Nosnu True V Eye
Robert Vasey A Cherry Tree Unreleased
Categories
film music

Fern Fronds

I know I just put my song a clef at the end of the last post so this is a bit of repetition but I’ve also had a fern film hanging around waiting to be done and there is a line in the song which goes

fern fronds gently sway

and so I decided to use it as a soundtrack for the film. I have a few of these hastily thrown together moving still lifes which are best watched in full screen mode with the sound set to max preferably in a darkened room hanging like a bat from the ceiling.

On watching it I noticed towards the end a small fly trying to grab everyone’s attention and it made me think of another piece I did a few years ago where a bee steals the show so here’s that one as well. In this one the music is bespoke and uses a couple of samples from my song The Lost Keys which is on the Dry Rib cd Whose Last Trickle.

Categories
music

amanogawa

The new Neureille album is now available on Itunes. It’s a digital release but I have had 200 hard copies made for promotional purposes. I’m packaging these simply in soft plastic cases with some rudimentary homemade art work and notes.

This is the front cover…

and here’s the back

There wasn’t a lot of space for too many words so I’d like to just provide a little bit more extra information here.

Paul Wigens also did the drumming on Disparue. He’s a great bloke and ideal for me to use because of his musical knowledge, experience plus of course his drumming ability. He has a number of musical projects on the go usually, but I’d like to particularly recommend his duo with Pete Judge, which is called Eyebrow.

Jim Barr is another superb musician, his principal musical project being Get The Blessing. He played some guitar on the jam we recorded which was used to produce the 3 extra tracks – Eurapsid, Vega and Altair as well as the Tibetan singing bowl on Cup & Bowl plus all the engineering. But also I should point out that all the recording was done in 2 days and it wouldn’t have been possible to get the tracks to sound as good as they do in that time without his ability to assimilate the music so quickly almost like in the back of his head. For example, most of the saxophone parts were recorded in 3 takes. Pretty much as soon as the takes were done, Jim would have worked out which were the best parts to use.

Someone who isn’t credited at all on the cover who should be is Rob Williams of Ruby Studios who spent a few hours with me tidying the whole thing up and mastering the album.

In addition I want to thank all the musicians in Bristol who have supported and encouraged me, in particular, Everton Hartley and Ant Noel.

Here’s the first song on the album.

A Clef

Categories
music nonsense

Jars & their Anecdotes

There was an old man of Tobago,
Who lived on rice, gruel, and sago;
Till, much to his bliss,
His physician said this –
To a leg, sir, of mutton you may go

from Anecdotes and Adventures of Fifteen Gentleman (1822)

Long years ago, in the days when much of my time was passed in a country home, where children and mirth abounded, the lines beginning There was an old man of Tobago, were suggested to me by a valued friend, as a form of verse lending itself to limitless variety for Rhymes and Pictures; and thenceforth the greater part of the original drawings and verses for the first Book of Nonsense were struck off.

Edward Lear

The majority of nursery rhymes are not strictly speaking Nonsense except in that they are generally without point or purpose. For example,

Now
what do you think
Of little Jack Jingle?
Before he was married
He used to live single;
But after he married
(To alter his life)
He left off living single
And lived with his wife

or

Robert Barnes, fellow fine
Can you shoe this horse of mine?
Yes, good sir, that I can,
As well as any other man.
There’s a nail, and there’s a prod,
And now, good sir, your horse is shod.

Others are nonsensical as,

I had a little hen,
The prettiest ever seen;
She washed up the dishes,
And kept the house clean.
She went to the mill
To fetch me some flour,
And always got home
In less than an hour.
She baked me my bread
She brewed me my ale,
She sat by the fire
And told a fine tale.

It is typical that the Nonsense element involves other creatures acting in a human manner. Sometimes even inanimate objects are personified,

The sow came in with the saddle
The little pig rocked the cradle
The dish jumped up on the table
To see the pot swallow the ladle
The spit that stood behind the door
Threw the pudding-stick on the floor
Odd’s bobs! says the gridiron
Can’t you agree?
I’m the head constable
Bring them to me

Most of these examples come from The Oxford Dictionary of Nursery Rhymes, Iona & Peter Opie’s book written not long before I was born. I grew up with this book on a bookshelf somewhere nearby but it wasn’t until early 2009 that I actually read the book from cover to cover. While doing so I had the idea of writing a song that would try to be a contemporary nursery rhyme. Then one night on my way home from the Bank Tavern in Broadmead, Bristol, after having played there and drunk strong cider and vodka I muttered a number of incoherent babblings into my mobile phone voice recorder. Next day or thereabouts I reworked the words possibly adding a couple of lines. In actual fact it’s nothing like a nursery rhyme, except maybe the chorus. This song is on the new neureille album amanogawa which I am just finalising and you can hear it below. Myself on guitar and vocals, Paul Wigens on drums, Laura Lambell on bass guitar and vocals.

In My Jar