Posted by & filed under Uncategorized.

(Just inspired and influenced. I haven’t stolen anything in a way that would stand up in court!)

1. Rhapsody in Blue by Gershwin (The big sweeping melody from the end)

2. Rhapsody on a theme by Paganini (The big sweeping melody from the middle)

3. Red by King Crimson

4. Epiphany from Sweeney Todd (What? I like this musical!)

5. Tarkus by ELP

6. Random bits from Phantom of the Opera (Yeah, I like that musical too. Stop judging me! I bet you enjoyed some 80s synth pop or BackStreet boys or something.)

7. Can-Utility and the Coastliners by Genesis

8. Scenes from a Memory by Dream Theater (Is this more embarrassing than the musicals? DT are a bit of a Marmite band aren’t they?)

Posted by & filed under Uncategorized.

1. The entire outside world is infected

2. Murderer, murderer, you’re going to hell where you belong
3. I wet my gills and slip away
4. You can find you gods in alleyways, or in the river mud.
5. Have the mermaid’s come? Do they sing to us, with their sweet and rotting, fishy lullabies?
6. Three shots fired and one shot struck, a pistol to the head
7. Where the devilfish roll in the boiling waves
8. I believe the man in the burned ragged clothing who choked out the story before he died
9. The spores of the creatures that broke through the locks…

(I think we’re nearly mixed. Artwork, maybe a video to do. Release around February perhaps. Whoop)

Posted by & filed under opinion.

What makes a performance authentic? Is it important for the performer to connect with the audience? Is that even possible? Is there something more honest about the authentic, jeans and t-shirt -just-playing-my-songs performer compared to the costumes and theatrics of your Gabriels and Bowies?

I’ve seen some performances recently that are apparently far less considered and theatrical. Mannheim, beautifully noisy instrumental rock with a saxophone, Matt Stevens, half improvised, beer fuelled looping guitar nonsense, and the Barts Chamber choir.

Hang on, what are a classical choir doing on that list?

The rock acts, being the composers as well as performers are perhaps closer to the idea of heart-on-sleeve expression. With the composers mostly dead, there is an extra layer of ‘distance’ with the choir. I saw them sing a mixture of secular and sacred music, unaccompanied in a church. A different style of music, but similarly devoid of theatre. Just the music, none of your nonsense.

I could compare these to my own performances. My songs are narrative, lyrically I don’t claim to be expressing my own feelings and there is perhaps a bit of an arch, knowing attitude to them. It’s just comic-book stories, perhaps it doesn’t matter so much.

The same criticism could be levelled at more theatrical acts. David Bowie and Peter Gabriel’s performances with Genesis spring to mind. All those costumes and characters disguise the true performer. It’s all artifice, and therefore less honest, less real, less true.

The problem with that analysis of course is that it’s nonsense.

The classical performance would have seemed a little stagey to anyone not used to the conventions. You clap for the performers coming out – okay we get that. But then you wait and clap again for the conductor? And you don’t clap in between movements of the longer works? Why?

But those audience conventions are no weirder than what you get at rock concerts. Clapping and cheering after solos? Dancing, swaying, doing what the lead singer tells you? Any performance has a level of artifice. The simple notion of having a separation between musicians and audience, or of having music as a separate art form in it’s own right that you stand and listen to is artificial.

And those rock performers who were apparently heart-on-sleeve ‘authentic’ performers do all sorts of stagey things. Mannheim had a song where the front line walked down into the audience – it was great, but clearly preplanned. Matt does all sorts of movements that have nothing to do with creating the sound and are all to do with creating a visual excitement – including downing a pint of beer at the end of his performance. Get him talking and he’ll happily tell you about the thought processes behind what he’s doing. Stewart Lee and Derek Bailey will be mentioned.

So what about my own stuff? Should I worry that the narrative songs might get in the way of the audience engaging with the music?

I don’t think so. For a start, I’m making this kind of music because I love it. It moves me and given the success of other narrative musical endeavours I can safely assume that there’s a section of the music-loving population who also like this kind of thing. Otherwise how have all those musicals, bands like Coheed and Cambria or albums like Operation Mindcrime been a success?

A useful tool might be the ‘authenticity spectrum’. Imagine a spectrum that ranges from ‘heart-on-sleeve-and-totally-spontaneous’ at one end to ‘contrived-theatrical-and-not-about-the-performer-in-a-directly-personal-sense’ (There may by a more succinct way of expressing that). Different acts might exist at different points on that spectrum, but always this will be a choice. Authentic or not, it’s all artifice.

Because music is not communication, it is evocation. You might like to feel as if you are connected directly to the performer. You might prefer connecting with the protagonist of a story told through song or you might like music that exists in the abstract, the composer long dead, the words a standard religious text that has been set to music a thousand times. Either way, the job of the musician is not to take their emotion and communicate it to you. Their job is to take the music and use it to evoke an emotion in you.

In which case, surely there’s nothing more dishonest than the musician in his jeans and t-shirt claiming to be communicating authentic emotion? No artifice, no theatre? Yeah right. Live performance is all theatre.

Posted by & filed under Gigs, Music, prog, steampunk.

On the 28th and 29th of September I played two gigs: the Summer’s End Prog rock festival and the inaugural Steampunk Convivial at the Crossness sewage works.

I’m very glad there is no obligation to choose a favourite because both were great gigs.

The weekend also got me thinking about the tension between being an artist and having to afford boring but necessary things like food and a home. I travelled to Summer’s End with amiable man-mountain and certified good-egg Matt Stevens. We talked about the difficulties of being a musician, chiefly the economic realities. I have never attempted to make a living from my music and don’t particularly see why any artist should expect to – this is culture not commerce- but it was interesting to consider as we travelled on far too many trains to Chepstow.

Summer’s End consisted of two sets: one ‘busking’ in the middle of Chepstow, the other on the ‘acoustic stage’ (actually a section of Chepstow school dinner hall) between the full band sets.

Here’s a vid:

And here’s a review.

I enjoyed playing, but more than that it was great to catch up with friends and meet in the flesh several people who I’d previously only known on facebook. There was a very genial atmosphere and lots of lovely people – much like at the Crossness Convivial.

Here I performed as part of almost a cabaret that included steampunk morris dancing, umbrella fencing and of course the ubiquitous tea-duelling.

There are differences between prog crowds and steampunks – the clothing being an obvious one: band t-shirts versus the full retro-futuristic, neo-victorian be-goggled glory of the steampunk. More than that, steampunk is a cultural wosame that clearly appeals to a wider demographic: there were far more young people and women in attendance at Crossness than Summer’s End.

However there are also real and joyful similarities. Both are sub-cultures that are fuelled by enthusiasts. Steampunk has its costumes, model makers, tesla coils and tea-duellers but prog is equally as vibrant. Instead of silly costumes, prog has podcasters, collectors and of course musicians (all right, and a few silly costumes).

In both there are products for sale – cds, records, tickets and endless things with cogs on but make no mistake there is no-one making money from any of this (in the sense of cold-hard capitalism. There are very various lovely little niche businesses). This is culture not commerce. And it’s bloody marvellous.

Posted by & filed under video.

Joe and I started filming for a new video. Here’s a break down of one of the shots.

I have no idea when we will finish this. I still have the pesky, quibbling need to earn a living so projects like this happen in the gaps between obligatory nonsense like going to work.

Stupid work.