I write music. I can't help myself. I've been doing it since I was seven or eight years old and I will probably only stop with my last breath. Unfortunately, I've never really figured out (Between parental discouragement, personal disappointments, evil choices and unsuportive peer groups, I have a lot of excuses and reasons. But at the end of the day I never prioritized it highly enough - it's nobody's fault but mine) how to make a living at it. During Imbolc in 2004, I spent a month in India as part of my day-job. That trip had a profound impact on my writing as well as my confidence in my compositional and performance ability. Since then, I have had some personal difficulties, but still a few fruits have grown from those new-found roots.
Some of these tracks are "sketches" which I thought were pleasant enough to listen to and important enough to think about as I refined the original composition.
I have an eclectic collection of gear gathered over the years and I still use all of it (even the analog!)
- Lowden D32 #6664
- Alvarez/Yairi DY76 #53801
- Gretsch unidentified solid-body electric
- Guild B-302F bass
- Various flutes and whistles
- Malachy Kearns' Bodhran
- Generic Tabla
- Fostex Model 80 tape deck
- Roland VS1680 digital studio
- Electro-Voice BK-832 mix desk
- BeyerDynamic M260 microphones
This was the track that started the new round of composing and recording for me. It began as a jam that I loved playing in the living room of my apartment in Bangalore, Karnataka (India), while I was working there on a temporary assignment from my job in Dublin. After a lot of refinement it became what you can hear right now.
What the title says it is. There's a story behind this song if you can hear it. I *do * have a tendency towards the impressionistic when I'm working without words. Unfortunately, this is a beta version of the song; it's been radically cleaned up in terms of composition. I just haven't quite had the time to polish the recording yet.
- Nameless (Waiting for You)
This was composed simply to be pretty. It mostly succeeds, although it seems a little bit 'brittle' to me at times. Maybe that's because I recorded it using a heavy plectrum, but composed it using my fingernails. I was still just learning to play that way, and well - I hadn't really discovered the secret nail polish formulation that could keep them from getting destroyed after two hours of practice :) Anyway, this poor wee track never really got a proper name; hence the subtitle.
- A Year and a Day
Another composition with a story - and it's the wheel of the year. It all just flowed one evening in October of 2005, but it's taken me forever to actually polish it to a high enough standard to release. This is actually one of my favorites, and it's all fingernail work!
- Last Call
My mother died of cancer of the everything on 14 June 2006. That process provided some of the best memories of my life, and a sadness that still jumps out from behing the dresser in the middle of the night. I wrote this piece for her while she was in hospital, but she only got to hear it after her death. I was there when she breathed her last, and I know that she carried it with her.
This is an early version of it and has been tightened up quite a bit since this sketch.
I still speak her name:
Carole Lee Deangelis, 1942-2006