Still, I’m working on a few of recordings and have been thinking about this. First of all, there’s Under Your Wing, one of Norman’s songs. The warr guitar part I’ve given myself to play is pretty challenging (at least, it is for me!). Generally I fluff the odd note on some chord changes and I have a tendency to rush, as does the whole band. So, how should I approach recording my part? One way would be to record a handful of takes, and piece together a take with no fluffed notes. It would be pretty trivial to edit the timing too if I’m pushing the beat. I could probably get it all done and dusted in under an hour. But this somehow seems unsatisfactory to me. I think I’m cheating myself. One of the reasons I like recording music is that a record not only records the music, but also the memories of old friends, places and situations.  And I know that if I put in the effort to practise my part, future-me will appreciate it when I listen back.

A contrasting example is 5ives… an electronica type tune I wrote a year or so again. I’m in process of returning to it as I think it has some good ideas in it. One of things i want to change is the bassline: at the moment it’s played on a synth and I’d like to get it done on my Warr. The problem is, 5ives is a real bugger to play. So what should I do? Well, I could spend ages practising the part to get it tight, but it’s real hard.. the groove has a lilt to it, half way between straight and swing (each beat is five semiquavers, hence the name). And, while the tune is a collaboration, it’s never going to be performed live, so the concept of a record being a record of a musical event is a non-starter. The recording will by the definitive thing. And therefore, editing my part to get it right seems appropriate. The whole track is being created via a method more akin to sculpture than musical performance.

A third track is from a collaboration with an old uni friend. The track’s currently untitled, but the collaboration is tentatively called Puppies Go Boom. So again, this is a track that I’ll probably never perform live. And I’m also struggling with the bassline: I’m trying to come up with something Motown-y, and the recording process is really drawing attention to the fact that I haven’t bothered practising my bass playing these last few years. So, should I edit or practise? In this case, I think that I should practise. Despite what I said in the earlier paragraph.

Obviously, I’m trying to justify too opposing viewpoints, and my arguments don’t really make sense. There is no right answer or approach. And none of it really matters. I’m just killing time on a quiet Sunday afternoon

Was chatting to (the Glasgow based) Dan just now, and he was asking if I’d like to play with his band. I was weighing up the pros and cons, and he came out with this:

give it a bash, its not like I’d stop being your pal if it didn’t work out, I’m too much of a pro that way

what happeend to your old bassist?

we fired him

That man has style.

Anyway, I managed to see three gigs. First up, Magnus Öström at the Lot (which is a lovely venue). As a huge EST fan, I was really looking forward to this gig. And while they didn’t quite match the magic of EST, they certainly disappoint. Overall the sound was a little more rock/fusion/electronic than EST. Can’t think of much else to say right now. I have lots of thoughts, and am trying to edit them down into a “why I like jazz” essay to post sometime. But writing isn’t my strong point. Anyway, good gig, and I appreciated that they avoided taking the obvious musical route. Not easy listening , but thought provoking.

Which is probably the opposite of Niki King and the Elements. Even though it was a set of original material, there was nothing new in it.  I think I would have prefered a set of Motown covers, etc. And while the drummer was very good, more than one drum solo is probably overkill. And I kept wanting the bassist to launch into some Tower of Power style licks. But that’s probably just me.

And finally, there was the Hidden Orchestra & Red Snapper. The Hidden Orchestra were OK (which, probably makes them my second favourite local band!). I’d probably even call them “good” if I wasn’t a little jealous of them all! Still, a little too post-rock for me. None of their tracks capture my imagine and make me grin like an idiot. Worth keeping an eye on though, as they’re signed to Tru-Thoughts (one of the best UK labels) and will no doubt go from strength to strength. Red Snapper made me grin like an idiot though.

• Record Warr guitar parts for the next track on the Invisible Helpers EP. This will probably take longer than I’d like, but will be good for my technique… I’ll find out just cleanly I can play all those arpeggios.
• Make some noticeable progress on some of the tracks for my collab EP.
• Take my old fretted Warwick bass to Red Dog. The instrument’s action is all wrong (loads of fretbuzz) and I’m also wondering if I should get it re-varnished.
• Start learning how to play lead-guitar style parts on the Warr. In particular, find where all the interesting notes are. I can find the obvious notes, and the wrong notes. Although I have a hunch that the problem isn’t with the notes at all: it’s how I play them
• Play my ‘cello a bit. As the poor thing has been sitting in it’s case for too long
• Read a few journal papers. Preferably over coffee.
• Work out the best way to attach my pedals to my pedal board.

And finally, I’m also off to see the adaptation of the Wind Up Bird Chronicles in the Internation Festival, and Shooglenifty in the Fringe.

Lets see how much of that I get done.

Now I just need to get better at playing the Warr.

spring eh. A nice time of year. Especially as my fear of immenent unemployment looks like it will be unrealised. At least until 2012. Which is good. And the weather is improving. And I’ve finished the draft paper that I’ve been stuggling with. And resubmitted another paper, which all going well will get published. And Louisa has just suggested meeting at the pub in a bit. So things are pretty good.

Musically, as usual, I’ve not been up to as much as I would like. I guess I’m losing enthusiasm as I head towards 30. Which is a great shame. I would really put a bit more effort in. I have a lot of ideas. On the plus side, even though neither of them are “mine”, I am featured on a couple of local releases.

The Invisible Helpers is Norman Lamont‘s new band, and we played our debut gig last month at Secret CDs. You can hear our new “Double A Side” single (ie, demo) here. I’m playing bass on Touched Again, and a little Warr guitar on The Desert Was Better. Norman’s one of the local musicans that I have a lot of time for, a very good song writer and seems to be very consistent. While I’d happily arrange a lot of his stuff in a different way, I haven’t heard a bad song by the guy. They’re all pretty poetic with lots of interesting ideas. So, because of this, I’m trying to hold off a little in my input in the band, I tend to have a habit of messing with arrangements and experimenting for the hell of it, and I’ll happily admit its not always warrented. So the emphasis for me is on the playing, rather than writing/arranging, and working out how to put the warr gutiar to good use is challenge enough for now. Maybe the dynamic will change as I gain confidence on the warr, who knows.

Also, a congratulations to Lindsay for finally getting her album out. I’m told that somehow, my wonky cello playing made it onto two of the tracks (you can probably work out which two by listening). Which is nice, even if I was kicked out the band. I should really get round to getting a copy of the cd to go on my shelf.

Other things

There was some quiet, hesitant noises coming from AlkAndAlC land. The Ali went a travelling round South American. Lucky git. For nine weeks. Lucky git. I think he’s back now, but no idea if he’s still interested in playing some gigs. And we’d have to work out how to play the old songs, which is more difficult than we though.  Turns out playing daft little love songs in modal D can actually be pretty challenging.

Finally, still toying with the idea of “my own  band.” Obviously not fronted by yours truely (who’d want to watch or listen to that?!?!) But form a band, as a band, rather than as a vehicle for a singer/songwriter. Maybe Ed and I will get out act together this year. Or maybe we’ll just talk about it down the pub some more.

• Richard Thompson concert later this month. Loved the new album, and this will be the  first time I’ve seen him with a full electric band. Should be a cracking gig.
• Penguin Cafe Orchestra concert in Febuary. I saw the new incarnation in  the Ed Festival year before last. Was great getting to hear all those lovely little tunes, as the original PCO was before my time. Glad to see the new lot are still going strong and returning to Edinburgh outside of the festival (and hence, cheaper tickets, longer concert, and a more reasonable start time!)
• The Invisible Helpers debut gig and recordings. We were meant to be playing our first gig in December, but it was cancelled due to all that snow (seems to long ago now!). Norman seems to be dead keen to get the show on the road soon though, so I can’t imagine it’ll  be that long til we play. On a related note, we were in the recording studio yesterday laying the foundations down for two tunes. I’m quite excited to hear how they sound as more parts gradually get added.
• Louisa’s first ice hockey match with the Beagals. Although I do worry a little, i can imagine it’ll be great fun to watch! I do hope she makes it through in one piece though!
• Getting my Go Kyu past 20 on DGS. Shouldn’t be too hard, as long as I can avoid making stupid mistakes. Not playing Go for six years makes you careless!
• Getting a 3rd journal paper accepted. Optimistic. And it’s been a while since I had a publication. But I there was more interest in my work than I expected at the Paris AVA meeting, so fingers crossed.
• Continuing to improve my ‘cello playing. Here’s hoping that by the end of 2011, I’ll be better than I was in 2000! Eep. I’m really enjoying trying to play Brahm’s 1st cello sonata just now. And the Vivaldi sonatas.
• Get more of my daft electronic solo music done. You never know, I might manage to do enough for a EP
• The National Museum of Scotland reopening in the summer!
• Potentially, a trip to Skye for a little Scottish Vision Conference around Easter.
• The Big Chill, if I can persuade a few friends to come along
• More hill walking with Ed. About time I walking up some Monroes.

Some Arping by Riadsala

Also, look, see, I have discovered Soundcloud…

Firstly: I don’t like the X Factor. But not for the same reason as most my friends who are complaining about it. I don’t like it cause it’s cheap telly. Too many recaps and voice overs and soundbites. And not enough music or analysis. It it was done properly, openly, and honestly, I think it would be fascinating. Simon Cowell is very good at what he does. Who obviously has a very low opinion of the music buying public (probably warranted, as people do buy the XFactor singles, and go to the live shows).  Oh, and another reason i dislike it: the volume of the crowd is far louder than the volume of the music. The moronic screaming is annoying. Also, I think it’s a bit of a shame to see good interesting vocalists go through the X Factor process. A couple of them sounds increasingly dull and bland every show. But again, Simon Cowell knows what he’s doing and whoever wins will end up making him a load of money.

But, I have to say, I find all the people complaining about the XFactor more annoying. It’s only mainstream weekend tv. And if you’re not a fan of Dr Who, there hasn’t been anything good on tv at that timeslot for years. Lots of years. I think all the musos mainly complain as they feel threatened (which is fair enough if your livelihood depends on it). They see how easy it is for a average-good singer to get national exposure by singing some dull covers. Whereas your average local muso has spent the last few years plying their trade in pubs and small venues in their home town, with pretty much nothing to show for it.

But why complain? Why not try and do something constructive. Yes, pop music in pretty dire these days. Bands seem to be more famous for being famous, rather than innovative. But that wasn’t always the case. The Beatles, Led Zep, Pink Floyd, Prince, Radiohead etc were hugely popular while still being innovative. Then there are also many examples of really really good musicians writing and recording pop music with mass appeal, but still working in incredible musicianship. Go listen to the instrumental parts on all the old Motown hits. All the session musicans where jazz guys, and their playing shines through. Same with Chic. Great fun dance music, with incredible bass and guitar playing. And go check out Michael Jackson. With Van Halen on guitar solo.

I have no firm suggestions. But if a daft facebook campaign can get Rage Against the Machine to Christmas number one, then surely it’s possible for a load of interesting and talented musicians to get together and do something interesting.

Although, then again, maybe not. By all accounts, the music industry is a pretty wretched, nasty place. And I’ve come across plenty of pointless petty arguments in local music circles too (and not all of them involved yours truly!). I guess cause folk often put their heart and soul into his hobby of ours. And when you do that, its easy to take things personally.

Anyway, apologise for this rather pointless post. I guess if  I was motivated, I could edit all of this into some sort of coherent essay. But why bother. I have the flat to myself so I’m going to get some guitar practise done while watching the snow through the window.

Anyways, I thought I’d upload 5ives, as it’s about as finished as it’s ever going to get without a serious new source of inspiration. I hope to reuse some of the ideas at a later date. Maybe even pull it apart, rework it, and play it in a band. But for the time being, I’m calling it done.

5ives – Riadsala

There are two main ideas in this tune. The first one if the rhythm… each bar has 20 semiquavers. For the verse, these are divided into 4 beats with 5 semiquavers. For the chorus, these are grouped as 5 beats of 4 semiquavers. (Additionally, there’s a section near the end made up of 5 bars of 4/4). This gives the verse a half-swung feel, and a nice impression of a acceleraetion when you move from the verse into the chorus as the kick drum goes from every 5 semiquavers to ever 4.

The second idea, is much less realised, and is an attempt to do King Crimson0-style interlocking rhythm guitar parts. This stems from the short lived band with Matt and Doug. I loved the little demo sample that we recorded though, so I decided to keep it. Shame there was never a chance to develop it into something more fully realised. On the plus side, Norman does a good Fripp impression later on to keep things interesting

With thanks to:

Edlundart: vocals and guitars

Norman Lamont: guitar synth/soundscape

Matt Migdley: guitar sample in verse. (Originally from an early version of the tune that was going to be used for Cantor)