Wednesday, October 26, 2016

Nuke Me, Kim Jong-un

Recording


Lyrics

Nuke me, Kim Jong-un
Can you get it up?
Fuck me, Kim Jong-un
Can you get that rocket up?

Can your glorious essence please my humble ass?
Can your joyous pride waste my country's ass?

Nuke me, Kim Jong-un
I want you to force me
Fuck me, Kim Jong-un
I beg for Unification with you

Can your glorious essence please my humble ass?
Can your joyous pride waste my country's ass?

I beg for Unification with you
I beg for Unification with you

I just want to see you up close and personal
Don't mind small dick when power compensates
Don't mind small dick when you can shoot from a submarine
Don't mind small dick 'cause I like big bombs

Can your glorious essence please my humble ass?
Can your joyous pride waste my country's ass?

Sunday, October 2, 2016

New song and recording: "Smelly Cunt"

Recording


What It's About

There is a small, but loud, subgroup of feminists that say that transwomen can never be "real" women because we have never experienced having a "smelly vagina". This song illustrates that we suffer the same oppression that ciswomen do, and therefore are very much "real" women.

Lyrics

I’ve never had a smelly cunt
but I still fear men in the dark
I’ve never had a smelly cunt
but I still fear rape in the dark

its not who you fuck
its not a caste, not abstraction
there’s no release from this, no algorithm,
no relief

I’ve never had a smelly cunt
so where’s my equal pay?
I’ve never had a smelly cunt
still I’m not in “the club”

its social abstraction,
genetic algorithm,
brain development flux
but I know its easier for you to assume I want attention

I’ve never had a smelly cunt
and I’m a better woman than you are


Tuesday, July 26, 2016

draft lyrics: "A Fine Way To Keep From Dying"

I'm going to pretend I don't give a fuck,
And I want everyone to go along with the lie
I'm going to bleed all over these lyrics
Because it keeps me from bleeding on the floor

I don't want to write another sad song
I don't want to write another frustrated verse
But it feels so out of hand

This is when you have more caring than the world can take right now
This is when you love more than the world will accept right now
So I'm just going to pretend I don't give a fuck

I'm going to fake everything
And maybe I'll get somewhere
It's a fine way to keep from dying
A fine way to keep from dying

I don't want to write another line of despair
Another verse about nothing from nothing
But it feels so out of hand

This is when you have more caring than the world can take right now
This is when you love more than the world will accept right now
So I'm just going to fake it until I get somewhere

And I'm going to push that rock back up the hill
Push that rock back up the fucking hill


Monday, July 4, 2016

new song and recording: "Nice Girl"

Just a cheerful punk song:

Recording


Lyrics

I'm not in love, but I like the idea
Not infatuated, but I've got that feeling
Just enough to keep me in pursuit
Just enough to keep me in pursuit

I'm not in love, but I like the idea
It's a relief, and a new anxiety
She's a nice girl, and I want to find out who she is
She's a nice girl, and I want to find out who she is

She's a nice girl, and I want to find out who she is
She's a nice girl, and I wonder what secrets she keeps
She's a nice girl, and I want to find out who she is
She's a nice girl, and I want to find out what’s in it for me


Sunday, June 12, 2016

new song and recording: "Grandiosity"

Recording


What it is about

Bipolar mania. This needs to be talked about more.

Lyrics

These are the days of passive rejection
Of sins of omission
But who really cares?

These are the days of bitter grandiosity
Of driven absurdity
But it takes you places

It's manic self medication
Or maybe manic restraint...
...or maybe the problem
You overthink it, deliberate it
But it will still be here when you get back

These are the days of active resistance
Of sins of commission
And you care too damn much

These are the days of bitter persistence
Of driven despair
But it takes you places

It's manic self medication
Or maybe manic restraint...
...or maybe the problem
You overthink it, deliberate it
But it will still be here when you get back



Saturday, June 11, 2016

draft lyrics: "Straight Girl"

She's a straight girl
And I'm following my heart
She's a straight girl
It's a reckless thing to start

So I've been through this beat before
It first starts mild
Gets inaccessible
Then gets severe

A crush is just a crush
Until you're crushed under its weight
When things get so far out of reach
They become worth so much more to you

She's a straight girl
And I'm following my heart
She's a straight girl
It's a reckless thing to start

There's no peace in mismatched attraction
No peace in it at all
She's a straight girl
And a crush is a reckless thing to start

Thursday, June 2, 2016

draft lyrics: "Grandiosity"

These are the days of passive rejection
Of sins of omission
But who really cares?

These are the days of bitter grandiosity
Of driven absurdity
But it takes you places

It's manic self medication
Or maybe manic restraint...
...or maybe the problem
You overthink it, deliberate it
But it will still be here when you get back

These are the days of active reaction
Of sins of commission
And you care too damn much

These are the days of bitter persistence
Of driven despair
But it still takes you places

It's manic self medication
Or maybe manic restraint...
...or maybe the problem
You overthink it, deliberate it
But it will still be here when you get back



Saturday, May 28, 2016

dealing with (musical) rejection

When you write songs, you become highly emotionally involved for two distinct reasons:
  1. The songs usually are personal and emotional in their content.
  2. You worked your ass off to create the songs.
Then someone says you can’t play at their show because they don’t like your sound.

This hurts.

I’ve learned to just say “thank you” and move on. Here is what helps me handle the situation:
  1. MOST IMPORTANTLY:  Desire to never burn bridges. Folks change their minds. If you treat the person who rejected you with respect they might let you play in their show later. They might end up your biggest promoter in the future.
  2. Believing in the music:  Music can be good and not liked at first. This is especially common with innovative material. Others’ lack of vision is out of your control.
  3. Having clear goals in mind:  I know I want to promote the music, so I simply turn my efforts elsewhere toward achieving that goal. Others’ lack of vision is no reason to stop pursuing your own vision. 
None of this is easy, but these ideas helped me through a recent situation involving a multiple act show I was trying to join.

Saturday, May 14, 2016

new song and recording: "Prayer (Say Nothing Again)"

This new, original song is called “Prayer (Say Nothing Again)” and was written in May 2016. The recording and lyrics are given below. Tablature and composition notes will be posted as soon as I finish them.

Recording


What It's About

The song is nominally about giving God the "finger". But it actually is about a crisis of faith which I have mostly resolved. However, since this is (sort of) punk music, I needed a rude image such as the middle finger rather than a sappy metaphor to portray the crisis.

Tablature

Tablature will be posted as soon as I finish it. For now here is a snapshot of my bass notes:

Lyrics

I just want to say nothing again
I just want to say everything again
But you won't listen anyway
But you won't get it anyway
So I'll just say nothing again

I can't let her go right now
So what the fuck do I do?
Trying to find a way to leave the situation
Trying to think of every way to get her attention

'Cause I just want her to stop ignoring me
And if she's not going to talk with me
I need you to explain what's up
I need you to explain what's up

I just want to say nothing again
I just want to say everything again
But you won't listen anyway
But you won't get it anyway
So I'll just say nothing again

Maybe it's slightly obsessive
But its probably real love
And I just want to share it with her
And I just want to spend time with her

So I'll just give you the finger
And say nothing again
But I really want something new to happen
Really want you to explain it to me
Really want you to explain it to me

I just want to say everything again
I just want to say everything again
But will you listen?  I know you get it
But will you listen?  I know you get it

So I'll just give you the finger
And say nothing again

Live Performances

  • 23 May 2016 at Mr. Peabody's in Encinitas, CA
  • 24 May 2016 at 1st Street Bar in Encinitas, CA
  • 25 May 2016 at O'Sullivan's Irish Pub in Escondido, CA
  • 30 May 2016 at Mr. Peabody's in Encinitas, CA
  • 31 May 2016 at 1st Street Bar in Encinitas, CA
  • 7 June 2016 at the Ché Café Collective in San Diego, CA
  • 9 June 2016 at Aztec Brewing Company in Vista, CA
  • 20 June 2016 at Mr. Peabody's in Encinitas, CA

Saturday, May 7, 2016

hard rock cover of Lady Gaga's "Poker Face"

On a whim today I recorded a hard rock cover of Lady Gaga's "Poker Face". I hope you like it:



Live Performances

  • 31 May 2016 at 1st Street Bar in Encinitas, CA
  • 1 June 2016 at O'Sullivan's Irish Pub in Escondido, CA
  • 9 June 2016 at Aztec Brewing Company in Vista, CA

Wednesday, April 20, 2016

new song and recording: "Stand"

This is a DRAFT of a song I am working on. I'm going to a conference before I'll have time to finish it, but want listeners to have access to it now. The recording and lyrics are posted below. Composition notes and tablature will be added as I finish them:

Recording



What It's About

This song is a highly emotional response to the recent anti-trans legislation in statehouses sweeping the country. It is resistance in the tradition of feminist punk rock.

Tablature

Tablature will be posted as soon as I finish it. For now here is a snapshot of my bass notes:

Lyrics

Stand up you little chickenshit
when your chosen name is resistance
your choice to live is resistance
It's a simple simple matter really
Revolution in and beyond the mind

I'm exactly who I am and I make no apologies

When your life just wants to be normal
With your name no big deal
It's a simple request really
Acceptance in and beyond the mind
So stand up and demand it

The time is now
The times demand it

Live Performances
  • 23 May 2016 at Mr. Peabody's in Encinitas, CA
  • 24 May 2016 at 1st Street Bar in Encinitas, CA
  • 25 May 2016 at O'Sullivan's Irish Pub in Escondido, CA
  • 30 May 2016 at Mr. Peabody's in Encinitas, CA
  • 7 June 2016 at the Ché Café Collective in San Diego, CA
  • 20 June 2016 at Mr. Peabody's in Encinitas, CA

Thursday, March 31, 2016

performance video, 30 March 2016

Last night I performed "Waste", "Voice in the Distance", and "Talk" at O'Sullivan's in Escondido, CA. (This is a regular venue for me now):




For such an easy song to play on the guitar, "Waste" is hard to get solid live. I'll keep at it! On the other hand, "Talk" turned out extremely well in this recording.

- Emily

Tuesday, March 22, 2016

performance at Mr. Peabody's - 21 March 2016

Last night I performed at a more "professional" open mic in Encinitas. By more "professional", I mean that the sound system and hosting service was more sophisticated than previous venues:



Unfortunately my video recording did not work. It only captured the audio track. Strange.


I waited to play here until I was more experienced, since better musicians and a better sound technician show up at this venue, and I wanted to make a good impression (which I did).

The vocals had reverb added to them, which helped my voice a lot. The only problem with the sound is the buzzing you hear. This is due to the fact that we don't know how to ground an iPhone to the PA. I'm going to research this issue today--may have to buy a better interface or better software.

I took my brother's advice and banged on the guitar during the chorus of "Talk". More precisely, I hit harmonics at strategic points. (He said I needed to be more animated during this section that I currently only sing, because the guitar part is too hard to play and sing over at the same time--although I'm working on it!).

Still getting used to the seventh string. You can hear that I occasionally hit the wrong string because I’m still not 100% certain where I am. This is also because I'm working on not looking at the guitar while I play, since I want to instead face the audience and need to sing directly into the microphone.

Ran into trouble with the Depeche Mode cover. Apparently it could be legally considered "karaoke" since I’m using pre-recorded tracks, despite the fact that they are my tracks and I changed the instrumentation significantly. Therefore the host does not want me to play a cover again using an iPhone. (Had I just played a cover on a guitar it would have been fine--i.e. no pre-recording). So I need to learn more of my own songs to play at this venue again. I think this is going to be an ongoing issue with future venues as I move up the local music "food chain".

Soon I'm going to experiment with filtering out the bass in my voice with filters (to "feminize" my voice). I’ll post a recording of this attempt as soon as I do it.

Sunday, March 20, 2016

new song and recording: "In My Element"

This new, original song is called "In My Element" and was written in March 2016. The recording and lyrics are given below. Tablature and composition notes will be posted as soon as I finish them.

Recording


Tablature

Tablature for this song is posted at:  https://drive.google.com/file/d/0BzqNzl6eyl0MdlR4VXluT0FqN3M/view?usp=sharing

Lyrics

They call it "ships passing in the night"
We were more like ghosts, and quite buzzed
A flash of intimacy, overt sensuality
Not the love I'm looking for, but exactly what I needed

I find I'm in new company
I find I'm in my element
Out of the intellect
And into the fire

Passion and validation make a volatile mix
And when you love a stranger you might as well get it elsewhere
A flash of intimacy, a bold exchange
Not the love I'm looking for, but exactly what I needed

I find I'm in new company
I find I'm in my element
Out of the intellect
And into the fire

I'm reckless to the core
And I wouldn't change a thing

Live Performances

  • 30 May 2016 at Mr. Peabody's in Encinitas, CA
  • 31 May 2016 at 1st Street Bar in Encinitas, CA
  • 1 June 2016 at O'Sullivan's Irish Pub in Escondido, CA
  • 7 June 2016 at the Ché Café Collective in San Diego, CA
  • 9 June 2016 at Aztec Brewing Company in Vista, CA

Thursday, March 17, 2016

performance video, 16 March 2016

Filmed at O'Sullivan's Irish Pub in Escondido, CA. Played "Voice in the Distance" and "Talk", with an audio montage in the middle. The percussionist from the house band joined me on stage:

Tuesday, March 15, 2016

new song and recording: "Voice in the Distance"

This original song is called "Voice in the Distance" and was written during the summer of 2007. I recorded this version in February of 2016, now that I have decent recording equipment. The recording, lyrics, tablature, and composition notes are given below.

Recording



Tablature

Tablature for this song is posted at https://drive.google.com/file/d/0BzqNzl6eyl0MYi1ORHJlMmMyckk/view?usp=sharing

The code that generated this PDF is at https://github.com/emw314159/tracks

What I Wrote It About

I'm not really sure what this song is about. I was slightly depressed during a Willamette Valley summer when I wrote it, and pensive. Either the seasonal field burning had started or was about to.

Lyrics

Silence
On desolate days
Field smoke in the air
A filter of black haze

It was a long cry, out in the wilderness
A shadow, and a voice in the distance

Silence
In desperate times
Running backwards
Running the same old line

Composition Notes

This is the first rock song I make use of synthesizers in, mostly to enhance the bass. I like the result.

The intro is heavily chromatic, influenced (intentionally) by NoMeansNo. I use parallel fourths in the low register—instead of power chords—to get a grittier sound.

The verse instrumentation is simple by contrast. I wanted it out of the way for the vocals.

During my live (one person) performance of the song, the chorus guitar part played from a recording and I emphasize it with power chords played live while singing. This is because the guitar part is too complex for me to play and sing at the same time.

Live Performances

  • 9 March 2016 at O'Sullivan's Irish Pub in Escondido, CA
  • 11 March 2016 at Lush Lounge in Vista, CA
  • 16 March 2016 at O'Sullivan's Irish Pub in Escondido, CA
  • 18 March 2016 at Lush Lounge in Vista, CA
  • 21 March 2016 at Mr. Peabody's in Encinitas, CA
  • 23 March 2016 at O'Sullivan's Irish Pub in Escondido, CA
  • 24 March 2016 at Aztec Brewing Company in Vista, CA
  • 30 March 2016 at O'Sullivan's Irish Pub in Escondido, CA
  • 31 March 2016 at Aztec Brewing Company in Vista, CA
  • 2 April 2016 at the Gopher Hole north of Escondido, CA
  • 3 April 2016 at the Saddle Bar in Solana Beach, CA
  • 10 April 2016 at the Saddle Bar in Solana Beach, CA
  • 24 April 2016 at the Saddle Bar in Solana Beach, CA
  • 25 April 2016 at Mr. Peabody's in Encinitas, CA
  • 27 April 2016 at O'Sullivan's Irish Pub in Escondido, CA
  • 28 April 2016 at Aztec Brewing Company in Vista, CA
  • 9 May 2016 at Mr. Peabody's in Encinitas, CA
  • 15 May 2016 at the Saddle Bar in Solana Beach, CA
  • 7 June 2016 at the Ché Café Collective in San Diego, CA

Thursday, March 10, 2016

new song and recording: "Waste"

This new, original song is called "Waste" and was written in March 2016. The recording, lyrics, tablature, and composition notes are given below.

Recording


Tablature


The code that generated this PDF is at https://github.com/emw314159/tracks

What I Wrote It About

Processing some heartbreak and lovesickness.

Lyrics

I've had better days
This one went completely apeshit
In shock about how much was wasted
In shock about how much was lost
I've had better days

Trying to turn the page
Turn the mind
Turn my imagination
Trying to turn the page and walk on by
But I can't turn my heart

This hope seeks recognition
Connection, resolution
And it's more about the love I want to give
Than that I want to receive

I've had better days

It's when you pray for a better resolution
But don't care what it is
And you're appalled at how much was wasted
And desperate for what was lost
I've had better days

Trying to turn the tide
Turn the mind
Turn the outcome
Trying to turn this thing around
But I can't turn my heart

This hope seeks recognition
Connection, resolution
And it's more about the love I want to give
Than that I want to receive

Unrequited love is such a waste
Unrequited love is such a waste

I've had better days

Composition Notes

I make heavier use of synthesizers (arpeggiators) than ever before, layering multiple arpeggiators starting at the same pitch over each other. In the low register this adds significant bass to the song. In the high register this creates the effects that I counterpoint the lead guitar with. The interesting thing about the arpeggiators in the high register is that if you hit two notes simultaneously, the effect isn't both notes playing in parallel, it is some unpredicted combination of oscillation between the two notes' individual arpeggiation. I don't know if this is a software bug or actually intended, but the effect is cool!

I use a five string bass and a seven string guitar to get the low notes. This is my first time composing with a seven string guitar and I really like it.


Live Performances

  • 18 March 2016 at Lush Lounge in Vista, CA
  • 23 March 2016 at O'Sullivan's Irish Pub in Escondido, CA
  • 24 March 2016 at Aztec Brewing Company in Vista, CA
  • 30 March 2016 at O'Sullivan's Irish Pub in Escondido, CA
  • 31 March 2016 at Aztec Brewing Company in Vista, CA
  • 3 April 2016 at the Saddle Bar in Solana Beach, CA
  • 10 April 2016 at the Saddle Bar in Solana Beach, CA
  • 24 April 2016 at the Saddle Bar in Solana Beach, CA
  • 25 April 2016 at Mr. Peabody's in Encinitas, CA
  • 28 April 2016 at Aztec Brewing Company in Vista, CA
  • 9 May 2016 at Mr. Peabody's in Encinitas, CA
  • 15 May 2016 at the Saddle Bar in Solana Beach, CA
  • 7 June 2016 at the Ché Café Collective in San Diego, CA
  • 20 June 2016 at Mr. Peabody's in Encinitas, CA

Tuesday, March 8, 2016

second and third performances

Both performances were "open mic nights", and both in coffee houses. I prefer playing in bars since I like tequila better than lattes. However, the advantage of a coffee house is that one of my under-21 musician friends can see me perform.

March 4th I played at the Lush Lounge in Vista, CA. Here is a bad cellphone video of the performance. I can see that I need more practice:



The improvement of this show over my last performance, which you can see in the video, is that I'm now "moving" with the music. In my first show I was so nervous that I remained stiff.

March 5th played at La Costa Coffee Roasting in Carlsbad, CA. This performance went a little better than the night before since I’m getting more experience.

What I learned from this show was not to have the microphone stand too high, since I need to be able to look down to see the guitar. However, it also says I should practice not looking at the guitar more.

From this point out, I'm only going to post performance notes for notable performances, where either I learn something new, or get a great video or photo.

Thursday, March 3, 2016

new song and recording: "Pearls to Swine"

The song is called "Pearls to Swine". I wrote and recorded it in March 2016. A recording, tablature, lyrics, and the composition notes are posted below.

Recording


Tablature

Tablature is available at https://drive.google.com/file/d/0BzqNzl6eyl0MT0ZFSlUzQmJWbzQ/view?usp=sharing

Code to produce the tablature PDF is at https://github.com/emw314159/tracks

Composition Notes

My primary "design goal" was to create tension--strategically. For example, consider the last two measures: I end the song assertively but without the expected final downbeat and without the expected harmonic rhythmic resolve. This leaves an uncomfortable finale. I also use a lot of asymmetry in the non-vocal parts and the fill/transition durations to enhance tension, but not so much asymmetry that I lose the audience.

To use tension successfully in a composition you also have to release it. That is what the verse instrumentation does; it also gets out of the way for the vocals. The chorus instrumentation is a little tenser, but not as much as possible due to stable rhythms, symmetry, and chord changes.

The chorus is the only time in the song I intentionally use chord changes. There are probably chord changes elsewhere in the tune, but I haven't analyzed it and it wasn't on my mind while composing. Instead I was thinking chromatically, especially for the introduction.

Regarding the introduction, it took me as long to write and record it as the rest of the song combined.

Unusual for me, and like when I drafted "Talk", I wrote the lyrics in under an hour. Typically I'll spend days on the task. Like "Talk", I didn't use rhymes. There is only one metaphor--"pearls to swine"--and it is not a complicated one. Naturally it is a common reference to the New Testament.

The bass instrumentation is unique for me: I used two electric basses simultaneously in the second verse and all but the first chorus. In these choruses the bass use is separated by an octave. However I also added one and then two simultaneous synth bass arpeggiators in the second and final choruses, respectively. So this tune is bass heavy and a bit "muddied". I like the effect; we’ll see how others do, and more importantly, how well it works through a PA system.

The guitar use is sparse. I designed it so that the guitar player can sing at the same time. This person is most likely going to be me, and most likely how I'll manage a live performance singlehandedly. See here for an explanation of how I've successfully used this setup before.

I used additional arpeggiators in the high register, sometimes simultaneously, in the final chorus to add harmonic layers. I also used synth effects at the beginning. I'm not 100% happy with these effects and want to learn better tools for creating the sounds I envision in my head.

Lyrics

I gave you kindness and respect
You threw it back in my face
I cast you my pearls
You ground them into the floor
Now I just want to stop wasting time on you
Now I just want to stop loving you

But how can I walk away from how I feel?
How can I choose not to care?
How can love go so badly?
How can love go so badly?

This is not who I want to be
Stuck with feelings that go nowhere
Stuck in a tired pattern
Casting my pearls to swine
Now I just want to stop wasting time on you
Now I just want to stop loving you

But how can I walk away from how I feel?
How can I choose not to care?
How can love go so badly?
How can love go so badly?

This is not who I want to be
This is not who I want to be

Live Performances

  • 23 May 2016 at Mr. Peabody's in Encinitas, CA
  • 24 May 2016 at 1st Street Bar in Encinitas, CA
  • 25 May 2016 at O'Sullivan's Irish Pub in Escondido, CA

Sunday, February 28, 2016

hard rock cover of Depeche Mode's "Enjoy the Silence"

Here is my hard rock cover of Depeche Mode's "Enjoy the Silence". I arranged and recorded it in February 2016:

Recording


Arrangement Notes

I kept the famous lead melody and of course the chord changes, but treated everything else as a blank slate.

Since the song is rather repetitive, I took the approach of piling more and more harmonic material together as the song unfolds. This is especially true in the outro, where I added new material (whether a synthesizer "pad", strummed chords, power chords, or double stops) every two phrases.

The bass is interesting:  I used a combination of an arpegiator and electric bass. The arpegiator gives the main bass line. With the electric bass I added syncopation to add emphasis to the arpegiator’s output. I have long been opposed to using arpegiators, but tried it out and thought the result was too cool to pass up. I guess the trick to music composition is an open mind.

Live Performances

  • 11 March 2016 at Lush Lounge in Vista, CA
  • 18 March 2016 at Lush Lounge in Vista, CA
  • 21 March 2016 at Mr. Peabody's in Encinitas, CA
  • 2 April 2016 at the Gopher Hole north of Escondido, CA
  • 7 April 2016 at Aztec Brewing Company in Vista, CA
  • 10 April 2016 at the Saddle Bar in Solana Beach, CA
  • 24 April 2016 at the Saddle Bar in Solana Beach, CA
  • 30 April 2016 at the Transgender Day of Empowerment event in Oceanside, CA
  • 15 May 2016 at the Saddle Bar in Solana Beach, CA

hard rock cover of Madonna's "La Isla Bonita"

Here is my hard rock cover of Madonna's "La Isla Bonita", arranged and recorded in February 2016:

Recording


Arrangement Notes

I kept the Latin drums (a loop) and the samba bass line, but scrapped everything else. Getting the Latin style right while recording the bass line was challenging at first because that is not how I usually syncopate my rhythms. I added some distortion to the bass to assert my intent of a heavier version of the song.

The lead guitar part I wrote reminds me of Carlos Santana, which is most likely simply due to the samba background rather than the composition of the lead part itself. The rest of the guitar parts were inspired by an attempt to make lots of noise; something like a Sonic Youth song or Radiohead's "Creep".

Live Performances

first performance

Last night I performed for the first time as “Axis Evil” at the Gopher Hole north of Escondido CA. It went very well given that it was my first live performance in about four years and given that the PA system sucked. I was nervous, but I played through my mistakes. I’ve appended a photo below.

I opened the show, so I started with “Talk”. Since the main band was an acoustic act this surprised the audience a bit, but I wanted to leave an impression. Nobody expected the sound I gave them. Also, since I only showed up with a guitar and microphone, no one expected the rest of the band to come through the PA from my iPad.

I still had to pay for my margaritas though.  J

I spent Friday night strategically removing tracks from the recordings of “Talk” and my cover of Madonna's “La Isla Bonita”; the tracks that I intended to play live. For “Talk” this was the lead material except for the chorus, which is too hard for me to play while singing. For “La Isla Bonita”, I cut the chords that marked the beat and played them live.

I spent all day Saturday practicing. This was a challenge because I needed to both practice singing and prevent overworking my voice. So I rehearsed the guitar part a lot by itself between rehearsing the guitar/singing to give my voice rest.

During the performance my voice shook a little, and I didn’t “move” with the music like I usually do. This was all due to nervousness. But I still sang with confidence that was more an act than how I actually felt.

Thinking in terms of “branding” my music, I had to decide what to wear. I decided not to dress “like a rock musician” and instead showed up as I normally would at that particular bar (I am a regular there, which is why they let me perform). I think this too surprised the audience when a nicely, conservatively dressed woman started with the jarring entrance of “Talk” and sang with a masculine voice. Oh well. I don’t hide who I am when I perform music.


For the tech I used an iRig2 to plug my guitar into the iPad, and used the AmpliTube software to simulate the amp/effects and mix the MP3 file containing the rest of the band. Then all I had to do was plug the output of the iRig2 into the mixer.


Friday, February 26, 2016

new song and recording: "Talk"

This new, original song is called "Talk" and was written and recorded in February 2016. The recording, lyrics, tablature, and composition notes are given below.

Recording


Tablature

Tablature for this song is posted at https://drive.google.com/file/d/0BzqNzl6eyl0MSVdyT0JWb1otbmM/view?usp=sharing

The code that generated this PDF is at https://github.com/emw314159/tracks

What I Wrote It About

What else? Heartbreak and lovesickness.

Lyrics

If I'm loving and kind, then why am I so pissed?
Acceptance would be much more noble
Moving on so much more mature
But instead I'm gonna throw... throw a lyrical fit:

You say I'm brave and nice
Why won't you talk with me?
You say I'm honest
So why won't you talk with me?

If I'm loving and kind, then why not make amends?
I tried to reconnect
Tried to reach your point of view
But now I just don't get it
Now I just don't get it

You say I'm brave and nice
Why won't you talk with me?
You say I'm honest
So why won't you talk with me?

What is the point of love that goes nowhere?
What is the point of love that goes nowhere?

I just want to talk with you...
I just want to talk with you...
I just want to talk with you...
I just want to talk with you...

Composition Notes

Style

When I started writing this I was shooting for a cross between Sonic Youth and Muse, with the energy of punk. I captured the Sonic Youth influence (in the strategic use of dissonance) and the punk energy, but missed Muse. Instead you get to hear my strong Midnight Oil influence in the sparse guitar parts and in the bass grooves.

I wrote the lyrics in less than an hour. Usually it takes me weeks. I deliberately avoided the use of rhymes to create more tension. I also skipped use of dense metaphors and instead just cut to the chase.

Theory

I don't bother to use my music theory training when writing music anymore; I tend to force listeners through my own key changes, chromatics, and mixed scales. (I do this whether I'm writing rock, orchestrial music, or string quartets; the exception is when I write jazz charts). I also avoided use of punk and metal cliches such as power chords. For that matter I ignored standard chords of any type.

Instrumentation

I'm playing both guitar and bass (5-string). That's also my mediocre voice in the mix. I left out the use of a synthesizer since I thought it would rob the intensity. The drums are an algorithm--because I can't play them--I'm going to go back and program better beats for the song later.

Live Performances