To honour its recent completion, I’ve written a 4000 word ‘album notes’ account of the making of my new album Abandoned Dancehall Dreams and its individual songs (to be given away free with pre-orders of the album).
The notes chronicle a very exciting time for me and what has been an exceptionally hands-on process for the last six months or so.
While ADD may well have provided the basis of a strong no-man follow-up to Schoolyard Ghosts (as originally intended), I think it’s become a coherent release in itself and not only represents a far more genuinely solo recording than My Hotel Year, but also a more powerful band-style statement than most things I’ve done.
As I say in the album notes, ‘although I have a strong affinity with intimate approaches to making music, ‘big and bold’ is as much a part of my taste and musical identity as ‘small and stark’. In terms of what I enjoy and what I aspire to create, the ‘grand statement’ is as personal to me and as great an interest as the stripped-down song. I like Apocalypse Now as much I do Kes, Pink Floyd as much as Pink Moon, The Wasteland as much as Not Waving But Drowning, and so on.’
While not an extreme departure, I’d like to think that the music possesses a scope closer to no-man’s work than my other projects. I’d also like to think that it’s taken what I do into some unexpected areas.
Aided and abetted by some very talented people, it’s been a delight hearing the material evolve in the way it has. The likes of ‘Hurricane’ Pat Mastelotto, Colin Edwin, Anna Phoebe and the no-man live band have added a great deal to the songs, and along with some superb string arrangments by Andrew Keeling and typically wonderful mixing from Steven Wilson, given ADD a strong character of its own. ADD may be something I’ve produced and co-ordinated, but like a lot of solo albums it owes a tremendous amount to the collaborators who helped develop the material and wouldn’t be the same (or as good) without the contributions of others.
Outside of the main album, I’ve compiled a bonus disc containing outtakes, alternate versions (including recordings the no-man live band made in a studio recently vacated by Motorhead!) and three very different mixes. One mix is courtesy of Grasscut (one of my favourite bands of the last few years), one is by UXB (one of my favourite business partners of all-time!) and one has been done by Richard Barbieri. Richard’s mix features his vision of the piece and his inimitable atmospheric musical contributions. 20 years after our last major collaboration Flame, beyond his mix being special, it was nice to reunite with Richard for what felt like unfinished business.
Jarrod Gosling has provided the artwork and, as with his imagery for Henry Fool, has managed to create a distinctive visual universe that encapsulates (and defines) the feel of the songs on Abandoned Dancehall Dreams.
With less than two months to go to its release, my nerves and anticipation surrounding the prospective response are greater than usual. A good sign perhaps in that it shows I still care! 🙂
The release of ADD will be commemorated with what will be my first two ‘proper’ live performances since the no-man mini-tour of 2012. Playing with what is effectively a fusion of the no-man and Henry Fool live bands, I’m really looking forward to hearing how the album’s material works in a live context.
My hope is that what we produce will be a logical progression from what was suggested by the 2012 performances. Colin Edwin and Myke Clifford offer a Jazzier perspective than Steve Bingham and Pete Morgan‘s root Minimalist classical/Post-Punk influences, so the band’s balance has subtly shifted.
As noodling comes with a punishment of broken fingers, the difference in musical flavour will be an interesting one, I think.
The result of my collaboration with Nick Magnus has now been released on his very fine Esoteric label album N’Monix.
The session was very different from any that I’ve done before and Nick and his collaborative partner Dick Foster acted as much like theatrical directors as music producers. The episodic nature of the recording and the performance / stage instructions weren’t remotely typical of my previous recording experiences, but definitely brought out something new and more dramatic than usual from my vocal delivery. Whereas normally I’d write lyrics and melodies, this time I submitted to somebody else’s idea of what my voice should do and could be. Resulting in an emotional 8 minute ballad about Alzheimer’s, the track also featured Steve Hackett and the wonderful sax playing of
All in all, it was incredibly enjoyable to be a part of and it was something my teenage self would have been very pleased with*.
* I first saw Steve Hackett in the early 1980s with Nick on keyboards. The live versions of the likes of Clocks and The Steppes were incredibly powerful and highlighted Nick and Steve’s rare abilities, as well as the phenomenal ‘presence’ of the Taurus Bass Pedal (and, yes, I still want one!).
Coinciding with the recording of Abandoned Dancehall Dreams, I’ve moved cross-country from Norwich to the Bristol / Bath area (with no disruption to my Burning Shed commitments), and signed a contract with Inside Out Music.
In all cases, interesting new beginnings, I hope.
The Kate Bush back catalogue (1978-2012)
Elvis Costello & The Roots – Wake Up Ghost (2013)
Elvis Costello – Blood And Chocolate (1986)
Mark Eitzel – Glory (2014)
Elbow – The Take Off And Landing Of Everything (2014)
Eno / Hyde – Someday World (2014)
Steve Hackett – Wild Orchids (2006)
IQ – The Road Of Bones (2014)
Sun Kil Moon – Benjie (2014)
The War Against Drugs – Lost In The Dream (2014)
Julian Barnes – Levels Of Life (2013)
Wendy Cope – Family Values (2011)
Jeanette Winterston – Weight (2006)