I'm sitting listening to an awesome soundboard recording of Genesis in LA in 1975. Full Lamb lies down show. Awesome stuff.
This brings me to the fact that Dean and I reviewed the tapes from the Lansdowne show last night. Not usually a chap given to extended bouts of self-congratulation, I must confess I am really fucking stunned with how good they sound.
The highest point, musically, of the set, is the instrumental section of The Bond Of Mutual Distrust which bristles with intense energy and drive.
Dean's comment on the whole thing does kinda sum it up for me... whilst Rob fronts the whole thing with an intensely magnetic and punked-up energy, it's Steve's drumming that really hits you. I really take him for granted. He has without doubt taken on the complexities of the Anubis material and everyone seems to comment on his playing extremely favourably. I seriously underestimate what an incredibly exciting musician he is.
The end of Disinfected with Steve and Rob locking in into percussive thumping, Nick anchoring the whole low end down with frightening force and Doug and I off in flights of fancy over the top....
I think this is going to turn more than one head.
Wednesday, May 27, 2009
Tuesday, May 26, 2009
Hapy Birthday Rob and Dean
May is far too expensive.
Two of the closest of my inner-circle both notched up another run to their respective innings in the past two days.
In a rare candid (ie. not sarcastic) moment, I feel I should reflect upon this with at least a little respect.
Firstly, Dean, who as a co-conspiritor in the Floyd-world and in the studio and then in music that displays slumberous adeptness, can be charged with the honour of rehabilitating my (then) shattered confidence as I was jettisoned from my previous working collective (as they sodded off to make their music elsewhere leaving me feeling like the proverbial rug had been pulled from beneath me), by inviting me into his working collectives and making me (oh, how this decision has caused him much aural-pain -- both hammond and stupid question induced -- since) his keyboard player of choice...
I think it's fair to say I will be forever indebited to the man who takes nearly all of my hair-brained suggestions and over-enthusiasm in his enormously laid-back stride.
I really have no idea where, musically, I'd be today if Dean hadn't placed a call to me to ask if I'd be interested in joining him in the Floyd show. Or even if I'd still be on this whole bloody roundabout. Or still in the playground at all for that matter. I don't know. But I can't underestimate his role in keeping the roundabout turning.
Since then, the emergence of The Expert Sleepersas a creative collaboration and his sterling work on the Anubis record which, due to him, actually got finished(!) and will be mastered next month, have all grown from the inital spark of musical telepathy and empathy that became evident the first time we played together. And, too, the effortless collaborative spirit that dwelt within.
I don't think it's feasably possible to put into words the truth behind what Dean's extraordiary musical mind and unfeasbaly amiable temperament actually represent and mean to me. It is, undoubtably, to his enormous credit and my enormous good fortune that I would be hopelessly lost without his immensely creative, rich mind; unfeasably passionate musicianship and wonderfully ebulliant spirit. Resemblences to former, deposed, long-since-decapitated English monarchs not wishstanding, the man is a giant (metaphorically speaking, obviously) among men. And this I mean.
And then there's Robert. If I had to make a list of those who've most affected me on a musical and personal level, Robert's would be right amongst the very top names on both.
To say I seem to share a creative artery with Robert would possibly be the best way of describing it. He's rather like a co-joined twin connected by the creative artery, the one that supplies the life blood to our ideas. I have never before felt quite such a telepathic connection. It's fair to say, that aside from the best impersonation of me I have ever seen, Robert can predict me rather better than any meterologist can predict the weather.
It's hard to quite describe our exact relationship as it's so unorthodox. The only thing I can pin point it to it's like having a twin brother who looks nothing like you, is six years your junior, but can compare totally in mind and spirit. Obviously, that's only my take on it.
When I began working and writing with Rob all those years ago, he was a teenage punked-up ball of energy with long hair and wristbands. I introduced him to Yes and Genesis. He brought the Tee Shirts, girls suddenly stopped asking for his number, and he began to worship at the alter of the mighty anorak. I often wonder what sort of monster I unleashed.
I always had the belief that with the right tools, the mind could run wild and create at a frightening pace. Robert sets that pace. A hyper-creative person who works at lightning speed and always has a backlog of musical ideas, many of which are among the most exciting and interesting I've heard. There's the common streak again. He chomps at the bit to get to work, musically on an idea and will push it and push it until he's satisfied he's broken it's back. The drive is quite overwhelming for one so normally indecisive.
As a person, there are few who are as warm, generous of time and spirit and fun as Robert. He's a soul-brother of the truest nature. In fact, the term should have been invented for him. As English as the drizzle on a grey Sunday, he is imbued with a quick and feirce wit that indicates his intelligence, which he self-depricatingly puts down at every concievable opportunity.
I know of few other people I enjoy the company of as much. My life would be so much emptier for not having him.
Happy birthday to you both.
Immense love and hair-loss,
Uncle Bald
Two of the closest of my inner-circle both notched up another run to their respective innings in the past two days.
In a rare candid (ie. not sarcastic) moment, I feel I should reflect upon this with at least a little respect.
Firstly, Dean, who as a co-conspiritor in the Floyd-world and in the studio and then in music that displays slumberous adeptness, can be charged with the honour of rehabilitating my (then) shattered confidence as I was jettisoned from my previous working collective (as they sodded off to make their music elsewhere leaving me feeling like the proverbial rug had been pulled from beneath me), by inviting me into his working collectives and making me (oh, how this decision has caused him much aural-pain -- both hammond and stupid question induced -- since) his keyboard player of choice...
I think it's fair to say I will be forever indebited to the man who takes nearly all of my hair-brained suggestions and over-enthusiasm in his enormously laid-back stride.
I really have no idea where, musically, I'd be today if Dean hadn't placed a call to me to ask if I'd be interested in joining him in the Floyd show. Or even if I'd still be on this whole bloody roundabout. Or still in the playground at all for that matter. I don't know. But I can't underestimate his role in keeping the roundabout turning.
Since then, the emergence of The Expert Sleepersas a creative collaboration and his sterling work on the Anubis record which, due to him, actually got finished(!) and will be mastered next month, have all grown from the inital spark of musical telepathy and empathy that became evident the first time we played together. And, too, the effortless collaborative spirit that dwelt within.
I don't think it's feasably possible to put into words the truth behind what Dean's extraordiary musical mind and unfeasbaly amiable temperament actually represent and mean to me. It is, undoubtably, to his enormous credit and my enormous good fortune that I would be hopelessly lost without his immensely creative, rich mind; unfeasably passionate musicianship and wonderfully ebulliant spirit. Resemblences to former, deposed, long-since-decapitated English monarchs not wishstanding, the man is a giant (metaphorically speaking, obviously) among men. And this I mean.
And then there's Robert. If I had to make a list of those who've most affected me on a musical and personal level, Robert's would be right amongst the very top names on both.
To say I seem to share a creative artery with Robert would possibly be the best way of describing it. He's rather like a co-joined twin connected by the creative artery, the one that supplies the life blood to our ideas. I have never before felt quite such a telepathic connection. It's fair to say, that aside from the best impersonation of me I have ever seen, Robert can predict me rather better than any meterologist can predict the weather.
It's hard to quite describe our exact relationship as it's so unorthodox. The only thing I can pin point it to it's like having a twin brother who looks nothing like you, is six years your junior, but can compare totally in mind and spirit. Obviously, that's only my take on it.
When I began working and writing with Rob all those years ago, he was a teenage punked-up ball of energy with long hair and wristbands. I introduced him to Yes and Genesis. He brought the Tee Shirts, girls suddenly stopped asking for his number, and he began to worship at the alter of the mighty anorak. I often wonder what sort of monster I unleashed.
I always had the belief that with the right tools, the mind could run wild and create at a frightening pace. Robert sets that pace. A hyper-creative person who works at lightning speed and always has a backlog of musical ideas, many of which are among the most exciting and interesting I've heard. There's the common streak again. He chomps at the bit to get to work, musically on an idea and will push it and push it until he's satisfied he's broken it's back. The drive is quite overwhelming for one so normally indecisive.
As a person, there are few who are as warm, generous of time and spirit and fun as Robert. He's a soul-brother of the truest nature. In fact, the term should have been invented for him. As English as the drizzle on a grey Sunday, he is imbued with a quick and feirce wit that indicates his intelligence, which he self-depricatingly puts down at every concievable opportunity.
I know of few other people I enjoy the company of as much. My life would be so much emptier for not having him.
Happy birthday to you both.
Immense love and hair-loss,
Uncle Bald
Wednesday, May 20, 2009
Gutted...
My Apple Mac died last night.
I am very very pissed off. Something to do with the hard drives. It's not recognising them, and refusing to boot up.
The Mac had (has?) on it about 35 songs, a recording session I did with Steve of all our old songs, all my photos, every rehearsal Anubis did for the last two years, every gig we played together, every second of film of the band, and my entire itunes library.
Particularly galling is that before it died, Rob and I were working on a new track, and I had broken it's back and brought it into submission - it truly was sounding great. Now it has been returned, electronically, to the ether from whence it came.
This is a major disaster for me, as I have taken to playing with new songs almost on a daily basis. Dean and I are going to try to recover some data and get her rolling again, but I am not optimistic.
I am resigned to losing everything if that is what has to happen to get my computer back. I have some stuff backed up, and thankfully everything pertaining to the album is backed up and safe. But I am hoping that even if I have to replace the hard drives, most of the work can be recreated somehow.
I prepare for the Lansdowne with this around my neck. Nice.
I am very very pissed off. Something to do with the hard drives. It's not recognising them, and refusing to boot up.
The Mac had (has?) on it about 35 songs, a recording session I did with Steve of all our old songs, all my photos, every rehearsal Anubis did for the last two years, every gig we played together, every second of film of the band, and my entire itunes library.
Particularly galling is that before it died, Rob and I were working on a new track, and I had broken it's back and brought it into submission - it truly was sounding great. Now it has been returned, electronically, to the ether from whence it came.
This is a major disaster for me, as I have taken to playing with new songs almost on a daily basis. Dean and I are going to try to recover some data and get her rolling again, but I am not optimistic.
I am resigned to losing everything if that is what has to happen to get my computer back. I have some stuff backed up, and thankfully everything pertaining to the album is backed up and safe. But I am hoping that even if I have to replace the hard drives, most of the work can be recreated somehow.
I prepare for the Lansdowne with this around my neck. Nice.
Tuesday, May 19, 2009
Ahoy for The Lansdowne; New friends.
Tomorrow night we're playing a relatively low key show at the Lansdowne. The band are probably treating it more like a recording session as the tapes for this show, should they be good enough, will be mixed into a live album and put out for release.... eeek!
I know that we're more than capable of performing, although last night's rehearsal was tired and frustrating as we all made far more errors than our perfectionist natures allow. I think a certain amount of frustration at performing the same songs over and over has begun to take it's creative toll and Anubis is ready to begin writing for Chapter Two....
Thankfully, the culmination of the 230503 project; erm... marathon... is relatively close at hand. The album is in for mastering on June 20th. This is at Sydney's Benchmark Studios, which used to be Sydney's EMI studios on Castlereagh Street, and latterly Studio 301, before they themselves relocated to Alexandria; Incidentally, these guys did Department's 'Eponymous' LP in November 2002.
The plans after the next show are to begin rehearsing the whole 230503 album as a piece, with all the segues and changes in situ. Which is going to be an ambitious undertaking to say the least. I am anticipating and dreading it in equal measure.
This will give the arrangers in the band a real treat as there will be the need for plenty of Jamming/Extemplorisation in order to fill the gaps. Meanwhile, I am trying to get to grips with the idea of having to perform both 'Breaking Water' live and the Collapse as one song. Not easy at all. One piece to already have benefitted from 'the arrangement brains' in the band is Flying/Falling which has metamorpisied from being a quirky little electronica thing into a Yes-like epic. A weird transition. But it does sound very good.
Having Nick for this process is handy. He's not satisfied until we've tried absolutely every single way of playing a song that is physically possible. And Steve's inclination to back up his rhythm section buddy and hi-five at every concievable opportunity is unsettling!!! I fear letting them loose on the live arrangement of 230503.
The next exciting event is the tentative creative steps towards writing fresh material. We want to release 230503 and follow it up within 12 months with a brand new, fully rehearsed concept album that matches and possibly exceeds the one we've just taken six years to make. Am I an idiot?
Some new ideas have been filtering out of Rob and I gradually over the course of the last 6 months, and it's now falling into place. Steve came and added his own distinctlive approach to two songs, one that began with rob and I, and then one which began with Doug, and then Rob and I re-arranged it, and Nick decided the original bass line wasn't interesting enough, so he pinched the guitar line instead... Thats my boy!!!! Steve added drums to both, plus one other short instrumental section we had.
I finished them off to give the boys an idea of how they sound. And now it's the 'adapt and improve' process (In our band, read: change completely). One thing about Anubis is that we are totally not precious about written parts. If one member comes up with a better idea, we go with the better idea. And if not, it's down to who has the hardest punch. The rhythm section always win that one.
Rob has written tentative vocal lines for one piece; and the end of it is just amazing! With lyrics and direction I think we have 'big' moment in our hands, and a launch pad for another of 'those' solos from El Gingeoid.
Then we will probably start the process of conceptualising; naval gazing and putting all the bits together like a giant polyrhythmic jigsaw puzzle.
I know that we're more than capable of performing, although last night's rehearsal was tired and frustrating as we all made far more errors than our perfectionist natures allow. I think a certain amount of frustration at performing the same songs over and over has begun to take it's creative toll and Anubis is ready to begin writing for Chapter Two....
Thankfully, the culmination of the 230503 project; erm... marathon... is relatively close at hand. The album is in for mastering on June 20th. This is at Sydney's Benchmark Studios, which used to be Sydney's EMI studios on Castlereagh Street, and latterly Studio 301, before they themselves relocated to Alexandria; Incidentally, these guys did Department's 'Eponymous' LP in November 2002.
The plans after the next show are to begin rehearsing the whole 230503 album as a piece, with all the segues and changes in situ. Which is going to be an ambitious undertaking to say the least. I am anticipating and dreading it in equal measure.
This will give the arrangers in the band a real treat as there will be the need for plenty of Jamming/Extemplorisation in order to fill the gaps. Meanwhile, I am trying to get to grips with the idea of having to perform both 'Breaking Water' live and the Collapse as one song. Not easy at all. One piece to already have benefitted from 'the arrangement brains' in the band is Flying/Falling which has metamorpisied from being a quirky little electronica thing into a Yes-like epic. A weird transition. But it does sound very good.
Having Nick for this process is handy. He's not satisfied until we've tried absolutely every single way of playing a song that is physically possible. And Steve's inclination to back up his rhythm section buddy and hi-five at every concievable opportunity is unsettling!!! I fear letting them loose on the live arrangement of 230503.
The next exciting event is the tentative creative steps towards writing fresh material. We want to release 230503 and follow it up within 12 months with a brand new, fully rehearsed concept album that matches and possibly exceeds the one we've just taken six years to make. Am I an idiot?
Some new ideas have been filtering out of Rob and I gradually over the course of the last 6 months, and it's now falling into place. Steve came and added his own distinctlive approach to two songs, one that began with rob and I, and then one which began with Doug, and then Rob and I re-arranged it, and Nick decided the original bass line wasn't interesting enough, so he pinched the guitar line instead... Thats my boy!!!! Steve added drums to both, plus one other short instrumental section we had.
I finished them off to give the boys an idea of how they sound. And now it's the 'adapt and improve' process (In our band, read: change completely). One thing about Anubis is that we are totally not precious about written parts. If one member comes up with a better idea, we go with the better idea. And if not, it's down to who has the hardest punch. The rhythm section always win that one.
Rob has written tentative vocal lines for one piece; and the end of it is just amazing! With lyrics and direction I think we have 'big' moment in our hands, and a launch pad for another of 'those' solos from El Gingeoid.
Then we will probably start the process of conceptualising; naval gazing and putting all the bits together like a giant polyrhythmic jigsaw puzzle.
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