Categories
ancestry birds fire wells

something out of nothing

another stabilising post there are reasons why i need to be unprolific at the moment. a chance to exhibit a couple of songs that i demoed some time ago for various reasons such as back up and to the top.

the first is called fey and is a song i wrote about three years ago i was also reading a book called opening the old testament by katharine dell and there are some old testament references. i could just as easily use gilgamesh and probably have sometime in the past. don’t get me started on the rig veda.

then there’s a version of a song of mine called ex nihil abundancia which i’ve done another demo of. this one is a fairly rough and ready live one that i did with laura lambell which we seemed to have created on sunday april 25 2010 at 16.20. it’s nice to know when things happened. this has some elements of south american history but it’s never made obvious which they are you’ll just have to take my word for it. i wrote a song called ladorada around the same time which was likewise.

fey

ex nihil abundancia

i was also going to add another demo of a song called minerva’s song which is about forests and loss a subject we pondered last night with my friends lance cross and ian powell but i’ve decided to hold it for later as i want to try to add a retrospective track or two to fill it out.

Categories
insects trees

rain yellow flowers

rain yellow flowers caricatures south west england against deep interiors of the african continent during the nineteenth century. this blends into specific meridians of meandering thought. laburnum flowers here dangle concupiscent and aleatorically irrelevant.

i think i’ve pinned it there but don’t blush. derogatory whispers split infinite commands of rectitude. skies consonant and irregular at quavering times to drift nonsensically towards the plains of contusion.

guitars voices and a solitary saxophone resplendent with guttural perches strapped on and blending into darkened vortices of sick – sicle – syphon – ssss.ansidote

renal yell flickering
rhodes year freshman
ripped yeast farine

thanks to bbc creative licence for all the clouds

the rest is silence

Categories
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
gigs music

Neureille album launch

gig

Categories
coathanger trail

Coathanger Trail 2

I don’t really care whether people think what I do is good or not. I know what I’ve done and that’s good enough for me.

This is the 2nd coathanger trail post and it covers the words in northern lands which is the 2nd line of the song.

This is the demo version of Alaska recorded in 1978. It’s a bit rough having come off an old cassette tape copy. It’s never been released. But I think it’s worth a listen. I prefer the vocals on the later ep version which is here. I’m pretty sure that this demo was recorded with an amp, maybe even my own Orange combo, more likely a Fender amp that the studio had, but the later version I think was a direct inject affair which I agreed to at the time because I didn’t know any better.

Basically the guitar is a bit more real. Photo above is how I looked playing that guitar. Actually that one was stolen from my car and the one I have now is different but from 1979 so is still vintage usa luckily.

The way Mike and Andrew play is also very real. That was a good band though unfortunately bound to implode.

I’m happy with my current band though. On Friday night that will be myself, Tom Ranby on saxophone (probably alto); Laura Lambell vocals; Rosalinda Moreno-Parra  vocals. Basically if we had done back in 1979 what we are doing now we would have been absolutely astronomic but sadly it doesn’t work that way.

Still there is a rich vein, a steady seam. I’ll put down my trumpet for now.

Here’s the demo version of Alaska

Categories
fire music

giving fire

playing with fire is a piece of music I wrote – a simple piece of 3 cycling chords (Ebmaj7 Abmaj11 Gmaj7). That’s all there is to it apart from one final B diminished type thing at the end. It has a floaty feel and doesn’t really go or get anywhere except in a sort of peripatetic picaresque sort of way. I’ve come up with a few pieces with the same sort of thing in mind over the last few years, but this is the only one properly recorded. When I first wrote it (at the start of 2010 I think) Laura and I played it live quite a few times and it generally seemed to have a bit of a buzz about it. But by the time we did this recording we hadn’t played it so much which didn’t help. Actually the worst thing was that I cracked my head 3 days before the recording session and I wasn’t quite up to the vocal demands required. Still it doesn’t sound too bad and works in a soundtracky fashion which is ideal for accompanying some moving images.

The picture we burn is by my friend Rod Henderson. He gave it to me a long time ago. The last time I moved house I rang him up and said, look Rod, I’ve got this old picture of yours and I’m trying to minimise my possessions, it’s a bit scrappy and faded now – do you want me to send it you? After a moment’s thought he said no, that I could get rid of it, but to do it in a memorable way. The film is the result of that.

I feel I’m not selling it too well. But perhaps that’s the best way. Build it up to be complete shite and then when you get to listen to it, it’s not that bad. I mean what causes streamlets to meander anyway? Declination? Glacialisation? Or just subtle sublimation maybe.

guitar, vocals * rob vasey
bass guitar, vocals * laura lambell
drums & percussion * paul wigens
tenor saxophone * tom ranby